#doing it without complaint

[novelconcepts]

Thinking on how the surviving Yellowjackets are present for one another’s deaths and talk themselves out of culpability. Thinking on how Lottie’s distraction contributed to Travis’ death, how she continued to believe and insist she didn’t kill him. Thinking on how Misty’s injection resulted in Natalie’s death, how she continues to distance herself from fault. Thinking on how Lottie is now dead. Thinking on how Taissa might have been there, but not in control, how that might feel like she wasn’t responsible even if her hands did the pushing. Thinking, thinking, thinking on how they learned this early. We didn’t kill Jackie; the cold did. We didn’t kill Javi; the lake did. We weren’t going to shoot Ben; the Other was. Thinking thinking thinking on how impossible it is to forgive yourself for heinous actions (or inaction) if you refuse to admit to it in the first place.

Thinking thinking thinking on how Natalie was the only one to fully accept the knife in her hand, the blood on her skin, the choice resulting in a man’s death. Thinking on how she came the closest to actually healing. Thinking on how she, from the start, refused the blinders the others need to survive.

[tvuniverse]

the eddie kissing buck first propaganda needs to be stopped at all cost ✋I know i know, i'm probably going to be taken out back and shot several times BUT hear me out:

buck needs to get off that squeaky spinning wheel and for that he needs to be the one initiating Something -either love confession or kiss or both i'm not picky- because as my good friend Bobby (#rip) said he's always been the one going with the flow and not knowing how he even got into a relationship in the first place so him breaking that pattern is essential to his own personal growth. he hasn't initiated a first kiss on screen a single time. he's always been either caught by surprise (taylor and tommy), or been asked out on a date without necessarily expecting it (ali and natalia), and even his first date with abby mostly happened because of external pressure (hen and athena cornering them), and she ended up being the one to kiss him first later on.

and for eddie it's the opposite, he's always been the one initating pretty much everything with his love interests: calling shannon in the first place and then kissing her first, asking ana and marisol out on a date. He's always had to make that choice for himself, and buck pretty much jumped any time someone showed interest in him and only started considering his own feelings when things started to get rocky in his relationships. So them actually switching that because buck is that sure of his feelings for the first time, oh that would be so juicy, so good, so delicious.

anyway this is not me starting discourse ❌ because i hate that but just me officially campaigning (at the very last minute) for buck initiating the love confession and/or their first kiss. thank you for your consideration 🙏

[hyacinthsdiamonds]

I'm sorry but the irony of Nico calling Max unprofessional is sending me so bad like sir there's an entire garage full of people, who were literally in the trenches trying to survive the Brocedes fallout while just doing their jobs, who might have a few things to say about your (& Lewis') level of professionalism at that time 😭✋️

[luminarai]

Attempting to get the beast used to a dental hygiene routine is… well, it’s going.

(She stayed that way for a solid 8 seconds despite hating being held belly up so I think it’s safe to say that Mim is not beating the ‘tiny speaker playing elevator music instead of a brain’ allegations any time soon.)

[baejax-the-great]

I actually need everyone to read Caroline Alexander's "The War that Killed Achilles" so they can see her argument for how the Iliad lays out the contrasts between Achilles and Agamemnon specifically as it comes to leadership in the war. Homer actually does include suggestions that Achilles wouldn't have mismanaged the war and would have evaded the personal conflicts that Agamemnon not only allows but instigates and then everyone can stop saying batshit things about how Achilles couldn't lead

[sillyandgoth]

todd anderson is a passenger princess

[basket-of-radiants]

Why were you so disappointed by Rhythm of War?

This has been sitting in my askbox for years. I've taken several cracks at answering, only to get frustrated with the subject matter and burn myself out every time. I didn't like Rhythm of War. More than that, I didn't like it in a way that tainted my enjoyment of the entire series. And despite what it may seem, I don't actually enjoy discussing things which I don't like. I always want to talk from a place of good faith. Which is why now that my feelings towards the series are a little more positive, I think I can finally answer this.

I'm going to try to stay away from specific plotpoints and story beats for this post, because my goal isn't to nitpick (if for no other reason than it would take a week to write this post), I'm just looking to talk about my overall impressions. I think that might mean the only spoilers here will be structural? idk, if you haven't read Rhythm of War yourself then you should probably do that before looking for other people's opinions anyway. 

I liked Way of Kings when I first read it. I didn't love it at the time, but I liked it. Certainly enough to keep reading once I'd finished. One thing that made me a bit uncomfy, however, was the war against the Parshendi. They were this unknowable enemy which the book was not interested in knowing. An inhuman army. Their main purpose was to kill Kaladin's friends, or else be killed by Dalinar's armies. And yet the Parshendi, and the parshmen in the form of Shen, did show hints of personhood. And so it bothered me how Dalinar spoke so casually about how the Alethi had decimated their numbers, how the others used the war as a means to amass wealth and power. (It didn't bother me in a "this is a bad book" way but in a "these characters are bad people" way.)

One of my foibles as a reader is that when a book is very clearly treating one side of a conflict with more humanity, I tend to be a bit predisposed towards the other to account for that. And with the Alethi clearly being the invading party and superior military force, there was also some underdog favoritism. I didn't really like how the book treated the Parshendi. This is to say that going forward, the singers would be more important to me than any other through line.

So imagine my delight at reading Words of Radiance and meeting Eshonai, one of the Parshendi, who even gets her own point of view sections! They were no longer being treated as a faceless mass, we were getting to see things from their perspective as well. And it became plain to see the damage the Alethi had done to them. I couldn't really bring myself to root for Dalinar or really any of the humans against the listeners. I couldn't even bring myself to like most of these characters. I still enjoyed the book but once it became clear there wouldn't be a peaceful conclusion, let's just say that I wouldn't have wept for Dalinar and Adolin if Szeth had managed to off them. Like everyone in the book, I assumed that going forward all the parshmen would be turned into evil voidbringers in the everstorm and that the listeners were mostly dead. Except for Rlain, and Eshonai because I'd read or been told that book 4 would be Eshonai's book and thus had assumed she was fine. (Oathbringer spoilers, she was not fine.) So ultimately it was still a bit of a downer way to end the book. 

So imagine my delight at reading Oathbringer, where for the first time singers were being treated as people, full and real people, and where the human characters could no longer ignore or dismiss them. We met Khen and the others, common singers who were sympathetic and just wanted freedom from bondage. We see Venli grapple with the loss of her home. We see Leshwi and Moash connecting with and understanding one another. We learn of a history where singers were the original inhabitants of the planet. Parallel to this, Dalinar is having a truly excellent character arc about confronting one's past actions and acknowledging them to move forward and do better. I loved Oathbringer, for some years it was my favorite book, and I was excited as hell to see what came next. At the time, it seemed to me that there is a clear direction the story is going. Two books about needless war, and then a third where the main cast is forced to acknowledge the personhood of their enemies. This was so cool, all of my feelings from the previous installments were being validated, the characters were going to have to face what they've done in the past and outgrow their militaristic mindsets, I was so sure of that.

Imagine my disappointment when that does not even remotely resemble the direction the story went in Rhythm of War. RoW presented a clear, straightforward “us vs. them" narrative, where every character was totally fine with killing singers. Characters aligned with the singers were either flattened into wholly evil versions of themselves (Moash) or were expected to turn on their side in favor of the humans (Venli.) Because clearly there was no reason good people would be on the side that's all former slaves trying to stay free. Maybe there's some sort of accord or understanding between Navani and Raboniel that I might have found meaningful if the seeds of mutual understanding weren't already there in Oathbringer and then apparently ignored for a year by all the characters.

I have a lot of issues with how the listeners are handled in these books. (Here's some elaboration.) Following OB, I had thought that all my concerns were going to be addressed. Following RoW, I knew they never would be. 

Which is my main complaint, because that's the thread that matters most to me in this series.

I have a lot of other Things as well. Gonna just talk about a few big ones. 

One outsized source of disappointment that may seem a little petty, and which probably is, is that I felt mislead by the premise of the book. It had been announced that this book would center Venli and Eshonai, and I was unbelievably hyped for that. That did not really turn out to be the case. The purpose for their backstory chapters felt less about exploring them as people and contextualizing their arcs, and more about filling in gaps of world history. In the main plot, Venli was a POV character and she certainly played a role, but honestly not a very important one overall. To me she felt like a side character in her own book. I don't think it's controversial to say that the main character of RoW was Navani. A lot of people really like Navani and are happy about that. Unfortunately I'm not one of those people, and I found it all the more difficult to enjoy her when it felt like it was coming at the expense of some of my favorite characters. 

This particular gripe somewhat comes down to preference, obviously everyone prefers to read about characters they like more than those they don't, and it can go both ways. (For instance, on a craft/technical level RoW is probably the superior book to W&T, but I liked the latter a lot more because of my stupidly outsized attachment to Szeth and Nale.) But I do think there's something of a real criticism in how the book would rather focus on the feelings of a queen rather than those of a genocide survivor, and how the former's are given significantly more weight and import. It ties in with my main criticism, I think. 

And then there's how human/human racism had also been wholly cast aside as a plot point. Jasnah fixed slavery so that's resolved, and the only person who still cares about structural racism is the evil bad bad evil villain Moash/Vyre, who is now wholly irredeemable and who you're allowed to totally write off because he's sold his soul to Odium. I've already talked a lot about this. Other people have already talked about this, probably better than me. The writing was actually on the wall for me in OB, but again, RoW was when I fully accepted that this was never going to be addressed. 

There's something else that probably deserves its own discussion rather than being quickly tacked on at the end here, but here we are. This book changed how the series approaches war. 

In WoK, war was very clearly portrayed as a bad and inglorious thing. It was brutal, it was painful, those at the bottom died cruelly and unceremoniously and pointlessly while those at the top turned a profit. Every day was a new horror. The enemy were never evil, they were always just more people forced to go through the same thing. Through the next couple books, it felt to me that even if the characters had accepted war as necessary, there was still a tragedy to it. Conversely, in RoW (and W&T) war is basically a series of boss battles, in between which our protagonists can kill dozens of footsoldiers with barely a thought in the same way WoK had criticized.

Final note on all this, it sucks how we have no perspectives from the former-slaves-singers demographic. Those guys are really thrown under the bus, and seemingly get no self-determination now or ever. It was a glaring problem to me in RoW. Conscripted and enslaved humans and singers probably have just as much ground to form mutual understanding as a fused and a queen. (In fact they already had. In Oathbringer.)

In essence, RoW disappointed me because it left me with the distinct impression that none of the series's most important through lines (well, most important to me) were going to be resolved well. I liked W&T, but I haven't revised my opinion very much about the overall handling of these topics across the series. Maybe one of the reasons I was able to enjoy W&T so much more was because I no longer had such high expectations.

[stillness-in-green]

The thing that doesn't make sense to me if Izuku resolved to kill is how it doesn't let them prove AFO wrong? AFO did his big reveal which only makes it clearer how deep the grooming went and it should've been time for Izuku to understand Tenko and Tenko to understand the abuse then reject the mindset forced onto him. But Izuku killing Tenko doesn't do that. Tenko just dies. It feels very wrong.

I guess Izuku just wasn't very interested in proving AFO wrong! Honestly, the only thing I immediately remember Izuku disputing the guy on was the same thing he disputed Shigaraki on: that he was anything more than a human being. AFO isn't a Demon King, but just a lonely man. Shigaraki hasn't transcended humanity; there's still a human somewhere deep inside of him. Izuku won't correct his allies' use of dehumanizing language for Villains, of course, but he's quick to push back when the Villains themselves self-aggrandize.

Sorry, I really only have withering disdain for Deku at this point. And I guess I don't really see any evidence that Deku was ever particularly driven by "proving AFO wrong." He wants to stop AFO, certainly, but that's because AFO is a monster who takes advantage of vulnerable people to maneuver them into doing Bad Things that advance AFO's Bad Plans and sets them onto Bad Paths that are difficult to walk back, not because he expressly opposes AFO on this or that ideological point about the nature of humanity and society.

(Hit the jump for the rest of a somewhat rambly reply.)

If anything, current evidence is that neither Deku nor the manga itself really do disagree with AFO about the frailty of humans, as expressed by Tsukauchi answering Deku's question about how to prevent future tragedies by shrugging and saying, "You don't, because life fucking sucks sometimes and that's just how it is. Our hands are completely tied on improving the system as we have it, so all we can do is punch out the Villains that appear in front of us to stop them from causing more harm."

That's also me being a bit harsh, of course. The fact that Deku is even still asking that question in the epilogue suggests that the manga hasn't reached its final answer yet, and maybe it will yet come up with something better! It doesn't have much time left, but it's still possible!

All the same, Deku is still having to ask that question in the epilogue because he never truly faced it over the course of the story. Never thinking about what Shigaraki as a person said in favor of fetishizing the Crying Child, never coming up with any kind of non-violent plan of attack or conversational approach, I have to ask what exactly about Shigaraki did Deku ever disagree with AFO on?

AFO, in the end, characterized Shigaraki as a puppet he molded exactly as he desired, a doll who he sculpted and programmed to act as he wished, a feeble child who has never made a single decision that AFO didn't cultivate him to make. So far as I can tell, Deku never really contested that framing. He didn't know the extent of it until the full reveal, of course, but Deku, like AFO, insisted on approaching Shigaraki solely through that "Crying Child" lens. He seemed to believe that nothing Shigaraki said or did on the surface really mattered (save as a reason that Shigaraki had to be stopped and potentially killed), that the "truth" of Shigaraki was that feeble little weeping boy who never grew up.

How could Deku possibly "prove AFO wrong" in that context? He doesn't even disagree with him! I mean, he's got some nice talk about how people deserve a second chance, sure; he says that people doing wrong doesn't make them Villains for the rest of their lives. What does do that, however - insofar as I can tell from how opaque the series keeps Deku throughout the final war - is refusing the hand out of the darkness. You stop being a victim and become a Villain for the rest of your life by choosing to remain a Villain even when offered an alternative (no matter how patently awful that alternative is).

Shigaraki chooses to remain a Villain and Deku doesn't have a counter for that because Deku never really got past the false binary represented by Villains and Victims to begin with. And I think the same goes for people who expected Shigaraki to just fold when he realized the extent of the grooming he'd undergone. Disallowing Shigaraki any agency in who he is and what he's done is defining him the same way AFO and Deku both did; when Shigaraki refuses to accept that framing, refuses to be a passive victim, the only thing left for him to be is a Villain. And when a Villain refuses to stop...

Well, Hawks already told us what the Heroes' answer to that is. "Someone has to die." As no one ever stepped up to prove him wrong, as far as the story is concerned, he isn't.

AFO always knew that victims can be turned into Villains with the right nudges; that's the whole reason for him cultivating "warped seeds" whenever and wherever he found them. Hero Society is - and always has been - much too rigid in its enforcement of the Hero/Villain/Victim narrative to effectively combat him. Crucially, Deku - the boy who wants to bring everything back just the way it was - doesn't disagree with him. He thinks AFO is an asshole for setting people up to fail, but he doesn't disagree about what failure means. So if AFO, Deku, and the story itself are all in agreement, what's even there for Deku to disprove?

Now, there is something that would prove AFO wrong, but it isn't something you can do while insisting on drawing lines to separate sad manipulated woobie victims who just need to be saved from awful unrepentant villains who just need to rot. It isn't something you can do while infantilizing Shigaraki Tomura.

The way to prove AFO wrong is to make room in society to help all Villains. Even if they aren't asking for it, even if they never ask for it, and even if they're jolly bastards who don't really deserve it! As long as there's a point at which it becomes okay to give up on trying to save Villains, Shigaraki will remain unsavable. He will insist on being unsavable. He could no more let that go than All Might could step aside and let AFO's attack kill an innocent at Kamino.

That's what it means to be a Hero for Villains.

Ultimately, what makes AFO right is that he knows that Hero Society makes it difficult if not impossible to uncross the victim-to-Villain bridge, and so anyone who does cross that bridge (with or without his influence) is that much more susceptible to him. Deku, in turn, thinks the only Villains he can save are those who drop everything and come sprinting as fast as they can back to the Hero side, so anyone who won't do that is someone he can't help.

Shigaraki refused to stop trying to create a better world for Villains. Toga refused to live in a world that would imprison her. Twice refused to give up on the friends no Hero would help. It's the same with every other Villain who refused to quietly endure their status quo: in a society that refuses to change how it treats Villains, anyone who won't submit to suffering in silence cannot be saved.

That's the paradigm AFO exploits, and Deku will never prove him wrong without resolving to change the paradigm first. We'll see if the last two chapters get him there.

[vaguely-concerned]

just for fun this time during 'sea of blood' I counted out all the venatori corpses I think we can be pretty sure were lucanis' handiwork before we show up (not including the ones he kills in his initial cutscene, and with an assumption that he's been at work mainly up and down in the areas we move through until we find him, not behind the locked door -- I think that's mostly the work of rampaging undead and other venatori-hoisted-by-their-own-petard suchlikes). can thus happily inform you lucanis has killed at least 32 venatori before rook and company get there. at least one of them he's impaled on their own weird crystal spike things the venatori mages cast as an AOE attack and that they're trying to keep him contained with when we find him. so he's clearly been keeping busy lol. that's my boy dispensing poetic justice and claiming some enrichment in his enclosure while he's at it good for him!

[ganondoodle]

sometimes i wish i was one of those artist that make people go "this is a PAINTING???" or "with WHAT programm/medium???" but its just not what i can do or find fun :/

[bemycherrynow]

Adding this as evidence to my “Knuckles is a mamas boys” folder

[dazedantics]

Valentines is over

But Mister Hunt is always on the prowl

Ready or not, be prepared to be struck by love this evening

[epicfirestormer]

TRANSFORMERS ONE SPOILERS IN BOUND!!!

My current explanation as to why Skyfire/Jetfire isn't in Transformers One is because he died somewhere during Sentinel Prime's betrayal. Imagine he was a part of the High Guards, one of the scientists working alongside Shockwave and Starscream, before everything fell and he just happened to be one of the few to die first.

Or maybe, even, Skyfire/Jetfire went on a patrol, scouting out for research and resources while the fight between the Quintessons was still ongoing, and just got a bit too close between them and Sentinel had to take him down. Just to make sure he didn't spread the word, but didn't check to see if he was taken out. Instead, he just crashed, somewhere far off, forgotten and left to perish. Presumed dead by everyone else. Just like when he was frozen in ice.

[seiwas]

iwaizumi hajime the type to run to the store for you at some outrageous time like 2am—

—in nothing but his sweatpants, sleep shirt hastily thrown on. it’s thinned out from each wash and is way too faded to be worn out; there’s a hole or two somewhere on the sides. and his hair’s all messed up, sticking out every which way with a bit of sleep still in his eyes.

he’s yawning through the aisles, slides smacking against the store floor as he looks for what you need. self check-out is mechanical at this point, movements memorised.

when he comes back home—to bed, you’re sat up against the headrest, waiting. he drops the paper bag beside you and climbs under the covers, slinging an arm around you as he whispers in your ear, lazy and sleep-laden while his eyes fall shut, “need anything else?”

[divorceblogger]

technology meets the flesh through the severance procedure, which metaphorically speaking, involves a penetrative aspect that radically alters the recipient’s body resulting in the creation of a new consciousness housed in your body that shares your biological resources (without involving sexual reproduction, in this specific case. remember - erotic entanglements are discouraged on the severed floor) - and the people created through this method are as helpless and vulnerable as children. their diets, clothing, rewards, punishments and work hours are strictly regulated in a similar fashion. it’s not particularly a coincidence that cobel is a) intimately acquainted with the skills that are involved in mother craft and uses them to invade devon’s home and is, as we learn in 2x09, also aware of the protocols involved in handling jame eagan’s sexual encounters that result in pregnancies while b) simultaneously overseeing a floor of enslaved employees she often chastises as ‘children’ as she drives them to finish the project involving technology that she invented and would presumably allow gemma to ‘sire’ a new reality for creating conscious beings that humans would have to contend with. severance is the reproduction show. of course it ends up also digging into ideas of corporate interference in motherhood in various set ups from fertility treatments for prospective mothers to severed birthing retreats for term mothers to workplace sexual exploitation (where helena & jame eagan are concerned)

[tiedsh0es]

Sighhh while I love inanimate Insanity I think they struggle with ending seasons. I still don't like episode 18 of s2 or s3.

While not terrible episodes, the episodes before them are so much stronger and set up things that don't go anywhere.