#is both a form and expression of injustice

[sizzlingsandwichperfection-blog]

I made a crash course about this.

[soon-palestine]

In a statement that was shared with The Nation, a group of 25 HLR editors expressed their concerns about the decision. “At a time when the Law Review was facing a public intimidation and harassment campaign, the journal’s leadership intervened to stop publication,” they wrote. “The body of editors—none of whom are Palestinian—voted to sustain that decision. We are unaware of any other solicited piece that has been revoked by the Law Review in this way. “ When asked for comment, the leadership of the Harvard Law Review referred The Nation to a message posted on the journal’s website. “Like every academic journal, the Harvard Law Review has rigorous editorial processes governing how it solicits, evaluates, and determines when and whether to publish a piece…” the note began. ”Last week, the full body met and deliberated over whether to publish a particular Blog piece that had been solicited by two editors. A substantial majority voted not to proceed with publication.” Today, The Nation is sharing the piece that the Harvard Law Review refused to run. Some may claim that the invocation of genocide, especially in Gaza, is fraught. But does one have to wait for a genocide to be successfully completed to name it? This logic contributes to the politics of denial. When it comes to Gaza, there is a sense of moral hypocrisy that undergirds Western epistemological approaches, one which mutes the ability to name the violence inflicted upon Palestinians. But naming injustice is crucial to claiming justice. If the international community takes its crimes seriously, then the discussion about the unfolding genocide in Gaza is not a matter of mere semantics. The UN Genocide Convention defines the crime of genocide as certain acts “committed with the intent to destroy, in whole or in part, a national, ethnical, racial or religious group, as such.” These acts include “killing members of a protected group” or “causing serious bodily or mental harm” or “deliberately inflicting on the group conditions of life calculated to bring about its physical destruction in whole or in part.” Numerous statements made by top Israeli politicians affirm their intentions. There is a forming consensus among leading scholars in the field of genocide studies that “these statements could easily be construed as indicating a genocidal intent,” as Omer Bartov, an authority in the field, writes. More importantly, genocide is the material reality of Palestinians in Gaza: an entrapped, displaced, starved, water-deprived population of 2.3 million facing massive bombardments and a carnage in one of the most densely populated areas in the world. Over 11,000 people have already been killed. That is one person out of every 200 people in Gaza. Tens of thousands are injured, and over 45% of homes in Gaza have been destroyed. The United Nations Secretary General said that Gaza is becoming a “graveyard for children,” but a cessation of the carnage—a ceasefire—remains elusive. Israel continues to blatantly violate international law: dropping white phosphorus from the sky, dispersing death in all directions, shedding blood, shelling neighborhoods, striking schools, hospitals, and universities, bombing churches and mosques, wiping out families, and ethnically cleansing an entire region in both callous and systemic manner. What do you call this? The Center for Constitutional Rights issued a thorough, 44-page, factual and legal analysis, asserting that “there is a plausible and credible case that Israel is committing genocide against the Palestinian population in Gaza.” Raz Segal, a historian of the Holocaust and genocide studies, calls the situation in Gaza “a textbook case of Genocide unfolding in front of our eyes.”

[magicalmatcha]

now playing ♪ adult diversion by alvvays

"you wont let anyone out and keep a padlock on your door"

cw: n/a (?)

“But I want ice creeeaaam!” Yume whined, her voice reaching that glass-shattering pitch only small, determined children can summon.

Yn didn’t even flinch. She kept slicing cucumber with mechanical precision, the thud of the knife against the cutting board steady and unbothered. “You can have ice cream after dinner,” she said coolly. “Which means after your uncle brings the salmon. Which means—”

“I have to wait,” Yume groaned, flopping dramatically onto the kitchen floor like a Victorian widow. Her penguin was already lying face-down beside her, clearly also a victim of this injustice. "But I want ice cream nowwww!"

Yn shrugged, “We don’t always get what we want, Yume.” Her tone was calm, but firm—the kind of line every mother earns the right to deliver with weary authority. She turned around to find her daughter still sprawled on the kitchen floor like a tiny protester staging a sit-in.

“You want to help Mama?” she asked, crouching slightly as she opened the fridge. “Maki needs her medication and water. Think you can be in charge of that?”

Yume perked up immediately, the glimmer of purpose replacing the earlier betrayal. “Like a nurse?” she asked, already inching toward her feet.

“Exactly like a nurse,” Yn said, pulling out the water pitcher and grabbing a plastic cup, the kind that wouldn’t break if (when) it hit the floor. She poured it three-quarters full and handed it over carefully. “Big responsibility. Don’t spill it or Maki might explode.”

“She might explode?” Yume gasped, gripping the cup like it held state secrets.

“Terrible side effect,” Yn deadpanned, nudging her daughter gently toward the hallway. “Now go save her.”

Yume took off with her penguin tucked under one arm and the water in both hands, her tiny footsteps echoing through the apartment.

Yn leaned against the counter, sighing to herself as she picked the knife back up. “Should’ve been an actress,” she muttered.

The jingle of keys at the door snapped Yn’s attention away from the cucumber she was slicing.

Yuuta burst in a moment later, grocery bags in both hands, looking like he’d just escaped a hostage situation. His hair was a little damp from the drizzle outside, and his expression teetered between panic and mild existential dread.

“You good?” Yn asked, brows furrowed as she watched him kick off his shoes with a little too much force and march to the counter like the groceries were evidence he needed to get rid of.

He dropped the bags with a dramatic thud, exhaling sharply like he’d just finished a marathon. “No,” he said. “And don't be mad at me when I tell you this because this literally couldn't be my fault in any way shape or form."

Yn narrowed her eyes, already skeptical. She walked over to the grocery bags, "Sounds like it's your fault."

“It’s not, I swear.” Yuuta held up his hands in surrender. “But you won’t believe who I saw outside.”

Yn gasped. “Grammy winner Megan Thee Stallion.”

He blinked. “I—no. Fushiguro.”

Her expression fell flat. “You’re kidding.”

“You wish,” he muttered, starting to unpack the groceries like it would make the moment less cursed. “And I know we, like, hate him or whatever, but he saw me. And came up to talk. So what was I supposed to do? Not talk back?”

“Yes,” Yn deadpanned.

“Well, I didn’t do that,” he admitted, sheepish.

“How’d that go?” she asked, already bracing herself as she dug through the bags.

Yuuta scratched the back of his neck. “Okay, so again, not my fault, but we were talking, just, like, basic catching up, and… I may have accidentally let it slip that I was bringing these groceries to you.”

Yn’s head snapped up, glare sharp enough to cut glass. “Yuuta!”

“I know!” he groaned, running both hands down his face. “And it didn’t hit me until after I got off the elevator that I might’ve just led him to your exact floor. Like breadcrumbs.”

“Damn it,” Yn muttered, dragging a hand down her face. Her pulse spiked, mouth dry with dread.

Yuuta winced. “Sorry. But like… this might be a sign.”

Before Yn could respond, a knock echoed through the apartment. Sharp. Intentional.

Both of their heads whipped toward the door like startled animals. Then, slowly, in unison, they turned back to look at each other.

“He wouldn’t,” Yuuta whispered, eyes wide.

“He would,” Yn groaned, already regretting every decision that led to this moment.

She smoothed down her top with trembling hands, brushing the crease from her sleeve like it mattered. “Keep Yume in Maki’s room,” she muttered over her shoulder.

Yuuta nodded solemnly, already gathering the toys Yume had scattered on the living room rug. “Good luck,” he whispered.

Yn took a deep breath and opened the door.

Megumi stood there.

A little damp from the drizzle, curls clinging to his forehead, collar of his jacket slightly askew like he’d been running his hands through his hair. His expression was unreadable, but his eyes, those deep blue eyes, were loud. Loud with confusion, longing, guilt, desperation.

He looked like someone who hadn’t slept in days and had finally found the thing keeping him awake.

“Hi,” he said, quiet, like he wasn’t sure he was allowed.

Yn didn’t speak at first. She just looked at him, really looked at him. This wasn’t the boy who kissed her wrists in the dark. This was a man with a vintage porsche and a Spotify profile, standing on her doorstep like the last five years hadn’t passed.

“What do you want, Megumi?” she asked, voice calm. Too calm.

He hesitated. “I… I just wanted to talk.”

Yn leaned against the doorframe, arms crossed. “Bit late for that, don’t you think?”

“I know. I know it is.” His voice cracked slightly. “I didn’t know you were still here. I didn’t know anything.”

“No,” she corrected sharply, “you didn’t ask anything.”

He winced.

Behind her, somewhere down the hall, the low hum of a cartoon played from Maki’s room. A child’s giggle followed. She saw Megumi glance past her shoulder, subtle, but not subtle enough.

Yn stepped forward, forcing his eyes back to hers. “You’re not coming in.”

“I just… I just need to know,” he said. “I saw her. At the restaurant. I heard her say she was four. And then your text message—"

“And?” Yn raised an eyebrow, daring him.

“And I need to know if—” he stopped himself, jaw clenched. “I just need the truth. All of it."

Yn’s expression didn’t flicker. “You should go.”

Silence stretched long between them.

Then, finally, she spoke, quiet, cool, devastating. “I built a life without you. Don’t try to retroactively insert yourself into it.”

She started to close the door.

“Yn,wait,” Megumi said quickly, stepping forward. “Just, please. One conversation. That’s all I’m asking.”

She paused.

Then opened the door a little wider. Just a crack.

“Tomorrow,” she said, tone firm. “Meet me at Blue Salt at noon.”

And then she shut the door

extra extra read all about it! (no seriously read it)

I'm not proofreading that or I'm never posting this chapter

I realized Yn can't be five years fully. Given the timeline so she's just five years sober off heroin

I rewrote this chapter like five times bc I couldn't figure out how I wanted it to flow. That whole lock screen has been changed 6 separate times.

Maki is still sick (it's only been a day since the last chapter) but she might be milking it at this point

Yuuta has a key because sometimes he babysit Yume while Yn is at work (and since Maki is sick that's what he was going to do today)

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[rivereverie]

Astarion and Vanity

Spoilers for all of Astarion’s story through all acts of BG3. As always, this is just my interpretation and thoughts on the character from what I know, so feel free to disagree.

I feel that Astarion’s expression of vanity is a part of him that gets misread a lot. It’s something that is pointed to as one of his negative traits as though this vanity of his is sincere. Personally, I think his outward obsession with his own looks and charm is anything but shallow, and is yet another example of how his life experience and trauma has shaped him. 

Beauty is in the eye of the beholder (ha), and for the sake of this mild analysis, I’m going to be defining beauty as conventional physical attractiveness. The main point is that Astarion in-game is treated as being very attractive, so that’s how I will treat him in this conversation. Beauty can be a form of power; one Astarion was very clearly blessed with. While all the main companions in the game are designed to be rather attractive, for Astarion, this goes beyond simply wanting to appeal to the player and is not incidental. In my opinion, Astarion’s looks are crucial to his character. 

To briefly summarize what we all know about Astarion, he was thoroughly and systematically stripped of his autonomy and identity by Cazador. He was forced to adopt an incredibly narrow worldview of essentially: power = freedom = safety (simplified, of course). Throughout the game, he makes choices that slowly shape and are shaped by the man he’s becoming. By the end of the spawn route, he’s still only just beginning to really discover himself. This all is crucial to the heart of his character and influences all his actions. 

Given his hollow sense of identity, Astarion clings to certain traits which he parades around, making sure everyone knows these things about him. The most prominent of those traits being hedonism, sadism, selfishness, and vanity. In this post, I’m going to be focusing on the last item, though I do have a post on learned cruelty that delves into the trait of sadism in the context of his identity. The pattern here is that these traits are masks that serve to make him feel in-control of both himself and those around him. 

While Astarion may seem terribly vain, his appearance to others is actually a very deep-seated, sensitive issue that genuinely affects him. The infamous mirror scene may come across to some as him being shallow, at first, but really he’s right in what he said; his reflection is just one more thing that was taken from him, and it’s completely fair that he is angry and grieves. But this is also significant to him beyond the fact of its injustice, or the symbolism of reflection as identity. Let’s dive a little into his psyche, and guess at how he sees himself and the world: He’s spent the past 200 years being valued exclusively for his ability to bring back prey for Cazador and perform sexually. This equates to his charm and his body. After two centuries of being degraded and stripped of everything, and only ever getting any kind of positive reinforcement, praise, or acknowledgement for your looks and seductiveness, of course he’d begin unconsciously tying his sense of self-worth to his appearance. By Cazador, he was turned into a tool and a toy. By his targets, he was objectified. Dehumanized from both sides in different ways, and again, only valued for his body and whatever sweet words he could spin. This leaves him with his self-worth very profoundly tied to his appearance to others, as I said.

I imagine he had two main types of targets when under Cazador’s thrall: starry-eyed, naive folks who were swept off their feet, and more predatory characters who took advantage of an easy offer. The former were probably the only source of genuine positive attention he ever got for those 200 years, even if it was shallow. Since he cannot find self-affirmation by looking into a mirror, he finds new mirrors in the eyes of those who look upon him. His beauty is reflected in their hunger, their lust, their admiration, their bashfulness, their envy. Is it any wonder that now he flaunts himself, always making comments about how good he looks? If he doesn’t get an affirmative response, then at least it's his way of reassuring himself. Telling himself that he’s still valuable in the only way he knows how to assess his value. “I don’t need a reflection to know this looks fabulous”, he tells himself. This is why he makes so many seemingly vain comments. Why he’s so concerned with being done-up and looking good. Why he has spent so much time mending his clothes so he looks every bit the part of the dashing elven rogue. 

Speaking of his clothes, this is another way he’s clinging to his autonomy and identity even through all his years of torment. His clothes were probably one of the only things he was ever allowed to have. When you have so little, of course you’ll care for it, hence why the flavor text  for both his shirt and armor mention how his clothes are worn, but have been repaired many times by a careful hand. During those years under Cazador, it probably brought him a small sense of control to be able to mend and embroider his own clothes; the only things which he felt belonged to him, more so than his own body. Something familiar that gave him a sense of security and self. (This is why I adore the idea of him becoming a tailor after the story, because it's giving him a healthy outlet of personal expression and creating something that's entirely his own. Hobbies can be crucial to cultivating one's identity and self-esteem, and we all want that for him). Not to mention that Cazador probably would not have taken kindly to his spawn not looking their best, and that's probably a "rule" Astarion carried with him even into freedom.

I think the mirror scene is a lot more than him just seeking validation and showing us a glimpse into this part of his mind, though. It’s also about him genuinely trying to evaluate how the player character sees him, and shows how he’s trying to figure out his new identity in freedom, but that’s its own discussion for another time. I just think that it’s unfair for people to call him vain or shallow for caring about his reflection and appearance so much, when that’s all he was ever taught to value in himself.

 The only other significant way we see Astarion valuing himself is through his skills as a rogue, with his constant cocky comments about how easy it is for him. While this too is a form of external validation born of valuing himself for what he can do rather than what he is, it’s still a positive thing for him. The game doesn’t really address all this, but in my mind, him getting to make use of his skills and be valued as a part of a group that needs him is probably really good for his self-esteem at this point in his life. 

All of this to say, I don’t think it’s fair to cast judgement on him for being “vain”, given everything we know about him. There is a big difference between him and someone who genuinely sees the world through a shallow and judgmental lens. For him, his mask of vanity is a symptom of his pain and twisted worldview rather than something rotten born of privilege and a superiority complex. His self-aggrandizement is a necessary part of the narrative he’s building for himself: the vampire spawn who would ascend. Again, desperate to convince himself and those around him that he both wants and deserves this, even as his crooked worldview is being chipped away by genuine kindness and connection. This understanding of his mind shows why it’s so important to him that we see and love him for who he actually is, not just his charm and beauty. His heart is beautiful in an entirely different way that outshines his physical features, even if he himself doesn't see it. The hope is that, with his friends and perhaps partner at his side, he’ll learn to value himself for his own heart and soul; for the person he’s becoming as he gathers up the pieces of his identity. To see the light he holds within him that endured those centuries of darkness. Until the mirrors stop mattering.

[fancyfeathers]

Colors That Do Not Match

Yandere!Injustice/Yellow Lantern Hal Jordan x Former Green Lantern!Darling

T//W- kidnapping, torture, death/murder, grief/mourning, brainwashing, drugging

Yandere!Yellow Lantern Hal Jordan who not only lost his green power ring when he joined the Regime but also lost his sweetheart, another member of the Justice League when the whole world came crumbling down with the destruction of Metropolis, another Green Lantern who could not even stand the sight of him when he put on that horrid yellow ring, a hole in her heart forming when every other member of the Green Lanterns on earth are either inpriosned or dead. 

Yandere!Yellow Lantern Hal Jordan who knows his darling on gave up on fighting because her power ring died, with no way to charge it because there was no way for her to get back to Oa and no one coming to help her.

Yandere!Yellow Lantern Hal Jordan even if his darling broke up with him the moment she could sense the change in hin, he still comes to check on her at her apartment, though she never knows it because she is either asleep or out when he comes by, and he sees that dead green power ring on her bedside table, never letting go of that reminder of her failure, that spark of her willpower never dying completely. 

Yandere!Yellow Lantern Hal Jordan who always volunteers when his darling gets brought in for a routine interrogation, after all, even with the Justice League gone, and she is just a normal civilian now, there is still a chance she knows about the Insurgency. He volunteers even when she looks at him coldly, answering the same questions over and over again with that annoyed expression, no, she does not know anything, after all it is the only time she will talk to him ever again, or at least hear her voice, actually hear her voice and not listen to some old voicemails on his phone. When he smiles at her and asks how she has been lately, or about that new job, or how her therapy sessions are going, she just looks at him and asks when this is going to be over, like they were never even together once upon a time.

Yandere!Yellow Lantern Hal Jordan who is tempted every time he sees his darling to grab her and kiss her so hard that both of their lips bleed, holds her so close so tightly like she is going to disappear when he lets go. All he wants is to have that life they had together once, where she still smiled at him and laughed at his jokes, and not just the one they have now, where the most affection he will get is a blank stare.

Yandere!Yellow Lantern Hal Jordan who does not know what he feels when he gets the news at an emergency meeting that his darling has been working with the Insurgency, footage found of her smuggling weapons and old gear from the Batcave since Wayne Manor has been locked up, repossessed by the Regime. She was finally at her breaking point, completely done with sitting down and letting the world turn to hell, even if she could not use her lantern ring anymore, that does not mean she will not fight.

Yandere!Yellow Lantern Hal Jordan who knows it will not be hard to catch his darling, after all, she has never been the stealthiest person in the room, so he volunteers to catch her because if it is anyone besides perhaps Barry, she will get killed and if it is just him the best case scenario is convincing the others to allow her to be re-educated. Even if she was his lover once, and she was their friend once. 

Yandere!Yellow Lantern Hal Jordan who tried to knock his darling out as gently as possible, but after all, she just has to fight him even if she does not stand a chance, hitting her upside the head, maybe a bit too hard judging by the concussion she wakes up with, and knocking her out cold… but it's all for the best.

Yandere!Yellow Lantern Hal Jordan who barely leaves his darling's side when she wakes up in the medical bay of the correctional facility she is being kept at, handcuffed to the bed and all out of it because of the concussion and all the drugs she is put on for the pain for the other injuries she has on her body. He expects some sort of muttered swear from her, but instead…

“…Hally?”

Yandere!Yellow Lantern Hal Jordan who knows she is not in her right mind, but still she has not called him that in years, it makes his heart hurt. He holds her face, pressing his forehead against her own, brushing the hair out of her face…

“I'm here… I'm right here, Sweetheart…”

Yandere!Yellow Lantern Hal Jordan who, despite a small sweet moment, knows it will not last when she comes to her senses, besides, she only gets to stay alive if she is reconditioned, rules are rules in the end. 

Yandere!Yellow Lantern Hal Jordan who is the one sitting on the other side of the one-way glass, watching as she is literally tortured behind the glass, arms broken, black eyes, gashes all over her body and she knows he is there, muttering swears under her breath because she knows he is watching, but then he is the one sitting at her bedside every time after she gets stitched up and broken bones set, leaning into his touch when she is high on pain meds.

Yandere!Yellow Lantern Hal Jordan who is there watching the day she finally breaks, she is already crying from the treatment, and they have barely even started for the day, and in her time back in the Green Lantern Corps, she used to have an amazingly high pain tolerance, but not anymore…

“Hally… please I… stop… I'm sorry…”

“That's enough, let her go.”

Yandere!Yellow Lantern Hal Jordan who takes her back to medical again for the last time, holding her hand as she is all patched up again, being the comfort after the pain, but she does not get restrained again, no, she goes back home with him, back to their home which she has not been back to since she stormed out after breaking up with him all those years ago when things went sour.

Yandere!Yellow Lantern Hal Jordan who wants everything to go back to old times, but nothing is the same, she wakes up with nightmares in the middle of the night and has to be held to go back to sleep. She often just stares off for minutes at a time and forgets tasks, and has to be reminded about what she was doing before. She flinches when someone sneaks up on her, touches her unexpectedly, or even at sudden sounds. Then there is that blank and confused look she gets in her eye when her old things get moved back into the house and she sees that old green lantern ring that used to sit on her nightstand, it's like she cannot even remembering being a Green Lantern anymore.

Yandere!Yellow Lantern Hal Jordan who knows things, will never be the same, he'll never see her teasing smile that she gave him when he got his ass kicked in training, he'll never see her get that look in her eye when her idea was the one that actually worked on a mission, he'll never see how her brow furrows when she used to lay her head on his lap after a long day and vocalize her complaints about training or a mission with another lantern.

Yandere!Yellow Lantern Hal Jordan who will forever just know those traumatized look in her eyes and the fear that courses through her veins, and he gets a sick thrill as he feels the yellow ring he wears on his finger feeds off of it…

[justabookw0rm]

Collectivity and individuality in the ensemble of Les Misérables

Last year I wrote my bachelor's thesis about ensembles in musicals and in Les Mis in particular, so I thought it would be fun to post something about the conclusion of my research for this year's barricade day. I am currently writing another thesis (also related to Les Mis lmao), so I did not have the time to reformat it or anything, but I think my original conclusion of the case study + part of the conclusion of the thesis together make my point pretty well either way. I hope y'all find it as interesting to read as I found to research it!

The ensemble in Les Misérables constantly shifts between being seen as one, unified group and as a collection of individuals. As a group, they embody the collective voice of the miserable people of France, in the form of beggars and workers. They shift between groups as well, which are distinguishable by costumes and music. As a group, the ensemble is a lens for the audience to watch the action through. In this way, they are in charge of the focus and the pace of the narrative. They can isolate or embrace characters from their community, and they can grant authority to people. In contrast to their functioning as a group, the ensemble can also be seen as individuals. From the way that they have been written into the story, some ensemble characters have more space to express their individuality, while other parts are less set, giving more freedom to the performers to make their own characterisation. This freedom of interpretation is not guaranteed for big, corporate musicals. Other musicals are more strict in the way new actors perform the same roles. Within Les Misérables, individualisation comes from both the space that is made in the script and the freedom that actors get to interpret their own roles. Performers can take inspiration from Hugo’s novel too, which has the added benefit of certain audience members recognising the characters on stage, making it easier for them to be seen as individuals. This is less applicable for the women of the ensemble, as their parts generally do not have a counterpart in the book, which does give them more freedom over their own characterisation. While there is a lot of space for individualisation in the show, there is also a feeling of community among the cast. This is helped by most principal cast members having ensemble parts, making the performers feel that they are telling a story together, as one group.

Les Misérables has themes that relate to love, faith and sacrifice in particular, although the ensemble is mostly related to another theme, namely that of social injustice. This theme is prevalent throughout the narrative and affects all characters in one way or another, but it is the ensemble that really embodies it. They are themselves “the miserables.” They are both the people who fight against social injustice, in the form of the students, and the people who they are fighting for, as the poor, the convicts, the factory workers, and so on. While the principal characters represent the individual stories of people undergoing these hardships, the ensemble makes it clear that these are not isolated stories, only the stories that this particular narrative is focussing on. Having the ensemble be both a collective of miserable people, and having them be individuals in their own right, shows that there are numerous people who suffer under the same system and that they are worth fighting for. These are the people who Enjolras wanted to see rise, but also the people who did not join him in the end. While it is disappointing in the moment that the people do not rise, the audience has seen how difficult the actual individual people’s lives are. In “At the End of the Day” the factory workers have already made clear that “the children have got to be fed.” Still, the students show the audience that there are people who will fight for a better tomorrow, for all these faceless people who are actually not that faceless anymore. At the same time, it is a call to action for the audience, to “join in the fight that will give you the right to be free.” That is what gives the audience hope, and that is what makes Les Misérables such a powerful story. It shows that there are people who need someone to fight for them and it shows that there are people who will, and it is the ensemble that embodies both of these people on the stage.

...

A full performance analysis of Les Misérables needs to take into account the context of the show, the performers’ materiality, and the background of the audience member watching it. By focusing on the juxtaposition of the collective and the individual, it appears that the ensemble performers in this show differ in the amount of space and freedom they have for individualising their characters, while they are always a part of the collective group of “the miserables.” Every character in Les Misérables suffers under social injustice, most especially a lot of the ensemble parts, which makes this an important theme in the show. Through its narrative and through its ensemble performance, it shows that there are people who are worth fighting for, and people who are willing to fight for them. By presenting these people as individual characters through sung solos, costuming and silent acting – among other things – they are humanised and are no longer a faceless entity of miserable people. This makes the audience empathise with them, and possibly relate their own experiences to these characters.

Relating this to Millie Taylor’s theory of the ensemble musical as a depiction of a utopian future, Les Misérables becomes an embodied display of the realities of contemporary society. One might say that this is not possible, as it is situated in 19th century France, but the struggles that people face in Les Misérables because of social injustices are still true nowadays. Victor Hugo himself prefaced his original novel by saying that similar books will be needed, as long as there is still misery on earth. The musical is a reminder of that. Its popularity comes from its necessity in showing people that there is injustice in the world, while simultaneously giving them hope for a better tomorrow. The ensemble plays an important role in this message. If not for them, the world of Les Misérables would be barren and the collective people would not have a representative on the stage, which would, in turn, weaken the power of the show’s message. The ensemble is needed to give the ordinary people a face, separate from the extraordinary principal characters.

In conclusion, the ensemble of Les Misérables contributes to the meaning of the musical by embodying both the miserable people of its title as a collective entity, and as individual people. This bolsters the show’s message that social injustice has to be fought. Hence, the ensemble is indispensable. Through individualising minor characters, it becomes apparent that all those who suffer have their own stories and are worth saving. The story then becomes an analogy for real world suffering. Ultimately, the hope is that the audience will take this message to heart and rise to fight injustice, in the way that the people of Paris did not do in 1832.

[nathallly]

Spoilers For HSR and TWST!!

Sunday! Yuu. People have made the connection between him and Malleus sending everyone to a dream so not to experience the injustices and harsh realities of the real world.

And I havent seen the 2.7 story yet but I know that Sunday is now a fugitive and is going to join the astral express but what if he somehow gets isekaied into twisted wonderland.

And so I have some headcanons ( Sorry if somethings are inaccurate this is my first post like this )

Housewardans with Sunday! Yuu :

Riddle

He appreciates Sunday! Yuu’s Leadership and Knowledge and respects Sunday Yuu for mostly following the rules

Sunday! Yuu disargees with a decent amount of the rules due to how strict the punishment is for the most mundane things and dislikes the lack of freedom and authority that comes along but still follows the rules nonetheless

They understand it’s hypocritical of them to say the part about freedom and authority

Sunday! Yuu also respects Riddle for his leadership and dedication but disargees with the strictness of it all.

During book one, Sunday! Yuu has to confront their own childhood along with Riddle’s.

They both were manipulated and raised by parental figures in thier lives that forced down a harmful philosophy into them for their own gain

Like when Trey tells them about riddles mom Sunday! Yuu can picture Mr Gopher Wood.

And during the overbolt section with the flashbacks,Sunday! Yuu is fighting every urge for tears not to fall out of their eyes when seeing riddle’s childhood and seeing their’s and robin’s childhood along with it

Sunday! Yuu ends up sobbing with riddle while hugging him. They miss robin so much

After all that,Sunday! Yuu would try to help riddle be less strict on his dormmates and help him lead heartslabyul

Leona

Leona thought Sunday! Yuu was a stuck up before book 2

Leona also could tell something was off with Sunday ! Yuu so he was a bit wary of them

Sunday! Yuu saw him as a lazy and unfit leader before book 2 as well

With Sunday! Yuu kinda reminding him of Malleus yea they did not like each other

During book 2,Leona kinda respected Sunday! Yuu’s intelligence to come up with that plan but that also came with a scoopful of jealousy

When Sunday! Yuu saw the flashback sequence,They did sympathize leona but also saw it as leona giving up an already high position because he couldn’t get a higher one.

So in comparison to riddles heartfelt comfort,Sunday! Yuu actually had a debate (more like lecture) with leona about how being in second place is still in the leaderboard and how leona could actually make a difference if he tried

After all that,Leona respects Sunday! Yuu more but they still don’t really like each other.

Azul

Nuh uh, Sunday! Yuu doesnt like him from the start. Being the head of the oak family in penacony,they have met plenty of shady business people most from the ipc

On that note, Azul reminds Sunday! Yuu wayyyy too much of ipc Stoneheart Jade.Granting wishes for a price of equal value that ends up the price being way worse than the wish? Sunday! Yuu knows what azul wants and will refuse to give it under all circumstances.

Doesnt help that one of the tweels is named Jade too Sunday! Yuu almost had a heart attack after hearing his name lol

Azul is immensely curious about Sunday! Yuu and their halovain nature and their power of the harmony.Always sending the tweels to spy on Sunday! Yuu,but due to Sunday! Yuu’s experience with this kind of stuff they will always find their way out.

During book 3,Sunday! Yuu was scolding the firstyears nonstop about signing a contract with him. And was also pretty shocked about the merpeople and their forms.

During the flashback sequence, Sunday! Yuu would sympathize with azul but still would not forgive him for his actions and same with leona would have a lecture with him about how if others hurt you that doesnt justify you hurting others for your gain.

After all that, Sunday! Yuu still doesnt like azul but azul still respects and admires Sunday! Yuu’s power and ability.

Kalim

Kalim really likes Sunday! Yuu.Coming from the land of festivities, Sunday! Yuu’s sure knows how to organize a spectacular party.

Sunday! Yuu helps organize Kalims many partys and keeps him in check to the relief of Jamil

Sunday! Yuu finds Kalim quite enjoyable and sweet though pretty careless.

They also regularly checks out the Light Music Club and helps them with songs as they have experience with music due to working with robin

They sometimes sing there with the power of harmony but it took a long time to convince them to even try singing It brought back too many memories

I dont really have a lot for kalim Sorry! Because the overbolt was mainly for Jamil

Overall, Kailm and Sunday! Yuu like eachother pleasantly.

Vil

Vil likes Sunday! Yuu a fair bit. Sunday! Yuu has experience in the showbiz world from robin and understands alot of celebrity culture, beauty, social media etc so Vil sees Sunday! Yuu as a knowledgeable individual and respects them for that.

Sunday! Yuu respects Vil for his effort,determination and drive and often help him with management issues and other stuff of the like

During book 5,The first years begged for Sunday! Yuu to join VDC and eventually they caved.They actually got in as a performer due to their voice and experience with the field but they also became the producer of the competition on their own request.

Vil commitment to routine with his skincare, food, makeup reminded him much of himself and robin’s routine. Almost everything reminded them of robin, they miss her more than anything else

And when Sunday! Yuu saw Neige Le Blanc,they felt the urge to protect and hug him.The soft angelic glow and the sweet melodic voice was too much for Sunday! Yuu to handle.They were already having mental issues with everything reminding them of robin and with neige being very similar to robin Sunday! Yuu was having a mental breakdown ngl

And instead of Rook saving neige, Sunday! Yuu was the one to smack the apple juice out of neiges hand.The brotherly urge to protect was too strong even though it didnt really matter to Sunday! Yuu if Neige died or not.

During the flashback sequence ,Sunday! Yuu was dead slient,they were emotional but not as emotional with riddle’s.It still hit too close to home with all the acting and celebrity world.

This time Sunday! Yuu just had a mature conversation with vil about his jealousy and pride.

Idia

Idia thought Sunday! Yuu was an SSR morally grey villain ikemen in a video game.

Sunday! Yuu didnt even know who he was other than housewarden of Ignihyde and a social recluse.Though they’d often use Ignihyde technology due to that being the closest to the technology back in their world

But during Book 6, ooooh boy was it depressing,horrifying and dangerous all in a mechanical package.

The overbolt was insanly tough They almost exhausted all their energy to support the other housewardens.

And the flashback was chilling, The incident of ortho’s death, young idia’s wails and crys left Sunday! Yuu feeling horribly terrified,sortowful and empty.

They has experienced the loss of a family member since a young age too, and almost lost robin in penacony. What if like ortho, Robin had died when they were young? Would they be like idia today the thought was too horrible.

Sunday! Yuu didnt even say anything to idia afterwards but tears did fall from their face.

Malleus

Malleus is horribly down bad for Sunday! Yuu (platonic or romantic you decide).He is utterly curious about their halovain background, Malleus had actually thought Sunday! Yuu was a fae or an angel when he first met them.

Sunday! Yuu is also pretty interested in malleus and the mystery of who he is.As I said in the beginning they have some large similarities and they’d definitely get along.

They’d both rant to eachother about alot and theyd both listen to eachother and argee with eachother.

Malleus felt a real friend to Sunday! Yuu someone who understood them and their similarities often made them both seem seen by the other

Sunday! Yuu probably wouldn’t call Malleus tsunotarou, I’d imagine it’d be something like Mr draco/drago or something of the like

Book 7, Idk much about but Sunday! Yuu would essentially fight against a slightly different penacony and I’d think they’d have a different outlook on life to say the least.

[tarotapprentice]

Tarot Reading: Jungkook & Jimin - Current Relationship Energy

I was contacted by Hybe and was added to the fanservice contract LOL🤭

BSsing aside:

I decided to do a brief tarot reading to check in on how Jungkook and Jimin are doing in their connection, and overall energy with one another. This is not meant to pry, but to see what I receive what’s naturally present between them right now.

Let’s begin.

8 of Pentacles

This card immediately gave me a feeling of mutual support. The image of the branch and the spider shows that the branch happily gives the spider a place to build, and the spider weaves something meaningful from that support. There's a sense of building something, working toward shared goals, whether in life or career. I get the vibe they have plans they want to grow together but also giving each other the space to pursue their own personal goals.

Judgment Reversed + The Lovers

Together, these two cards indicate their awareness and response to the hurt people. They feel misunderstood by the outside world, judged unfairly. It’s frustrating for them not to be able to express or defend themselves freely. And here’s the thing: they are the Lovers.

That doesn’t have to mean romantic, but it can be. What I am trying to say: Who cares what the label is. And how could I claim with certainty to know it? I don't know them personally. And if I magically would know, it still would not be my place to speak on it.

“The Lovers” signify soulmates, deep emotional counterparts, true partners, a soul-deep bond. They are two people who simply belong in each other’s lives. It’s undeniable.

3 of Pentacles Reversed + 5 of Swords Reversed

This is about uplifting the other, especially when one is down. It reminds me of someone putting another person on their shoulders in a concert for them to enjoy the moment better and give them a different perspective of their surroundings.

I also got the image of one person lifting the other up to reach something just out of reach: a goal, a healing, or maybe even pieces of themselves. It’s support in its purest form: “I’ve got you. Let’s do this together.”

It reminds me of the image I got of someone gently helping the other remove the swords from their own heart. Not doing the healing for them, but with them. Gently placing their hand on top of theirs, offering strength, guiding the process if necessary.

But this all happens behind walls (the fort). Because the 5 of Swords Reversed is on the other side of that wall. This card is about outside noise, conflict, and people trying to hurt them. I got the image of people on the outside throwing rocks, trying to break into a private space, trying to get at the weaker spots in the wall. There's a sense of injustice, of others misunderstanding or twisting something pure, and one of them is more affected by it.

But the other doesn’t just watch. They step in. They reinforce that vulnerable spot. They offer protection, healing, and perspective.

There's a sense of defending the connection, especially when one of them is being hurt more by public noise or internal doubt. When one wall gets targeted more harshly, the other one steps in to help reinforce it.

I feel like each of them have a wall with their own weakspots. They both are aware of them so they assist eachother when they are under attack or when the wind happens to blow strongly upon that part of the fort.

There’s mutual strength and support here. And deep awareness of what the other needs.

4 of Pentacles

This card ties it all together. It’s about protecting what’s precious. The dragon guarding the coin symbolizes how much they value their bond. They know what they have is worth guarding. They won’t let just anyone in, nor will they let others define or damage it. It’s deeply personal and strongly protected.

Oracle Cards

Throat Chakra

These two talk. A lot. It’s endless. There’s always something to share, unpack, dream up. It's a constant dialogue. It's part of what keeps them close (what the hell do they have to say to eachother all the time?)

Heal (The Star)

This bond inspires hope. It's healing, it’s wishful, and it's filled with creative potential. There's also a spiritual vibe, like something cosmic ties them together and they are meant to heal something. Like how the universe ties all seven together too and have a similar task.

Share the Love (3 of Cups)

There’s joy, companionship, and celebration. Their connection isn’t just intense, it’s fun too. They make each other feel safe enough to celebrate who they are.

Breathe

This card is a pause. A reminder that their bond itself is a safe space. A place where they can just be. And it links back to the message of quiet support: offering each other not just strength, but space to breathe.

Loyal hearts

This card speaks of trust, mutual understanding, and devotion.

The kind where just a glance says: "I'm here. I know you. I’ve got you."

It also reinforces the message of the Four of Pentacles: this relationship is precious and they’re protective of it. They hold it close because it matters that much.

Initiative & Grace

This dynamic is a balance of action and gentleness. Jungkook may lean more toward initiative. Wanting to speak out, take action, protect. Jimin brings in grace, forgiveness, softness, knowing when to pull back. Together, they influence each other’s approach. One steps in where the other needs it most.

Pleasure & Compliments

There’s mutual admiration here. They like each other. They compliment each other. And they find comfort and joy in each other’s presence. It is as simple as that.

Their connection continues to evolve. It’s tender, protective, and honest. When one hurts, the other notices. And no matter what others may say or assume... this bond is theirs. And they’re not giving it up.

Take care!

[aventurineswife]

Can you do Boothill x female reader who is based on Navia from genshin impact?

Two Sides of Justice

Summary: When Boothill crosses paths with you, a compassionate and determined leader fighting to bring justice to the oppressed, your lives become intertwined. Despite your differences, you form an unlikely partnership, balancing each other’s strengths and weaknesses. As you fight against the oppressive IPC and uncover each other’s vulnerabilities, a deeper bond forms, leading to hope for both a brighter future and a chance to heal from your haunted pasts.

Tags: Boothill x Reader, Navia Caspar (Genshin Impact) based Reader, Slow Burn Romance, Enemies to Partners, Found Family, Mutual Healing, Angst with a Happy Ending, Hurt/Comfort.

Warnings: Mentions of past trauma (family loss, destruction of home), Mild violence, Emotional vulnerability and themes of grief, Light suggestive themes (flirting and implied tension).

A/N: ... ☹️ The fact their voice actors are married, that's so cute

Boothill’s cybernetic hand gripped the hilt of his revolver as he leaned against a steel pillar, his eyes scanning the dimly lit tavern. The air was thick with tension, his presence drawing attention even in the seediest corners of the galaxy. His white hair, streaked with black, fell over his face, masking the intensity of his pupils. But it wasn’t the suspicious glares or hushed whispers that caught his attention—it was you.

You stood at the center of the room, radiating authority and warmth as you addressed a crowd of weary workers. Your ornate attire was immaculate, yet practical, reflecting a life of balancing elegance and hard work. The details of your dress shimmered under the dim lighting, a striking contrast to the grim faces around you.

Boothill’s sharp teeth formed a faint grin as he watched you. “She doesn’t belong here,” he muttered to himself. Yet, the conviction in your voice as you spoke of justice and solidarity stirred something in him—a feeling he hadn’t entertained in years.

You felt the weight of the room’s eyes on you but focused on the desperate crowd. These people needed hope, and you were determined to provide it. Your father had taught you that even in the darkest times, a beacon could guide the lost.

“Together, we can rebuild,” you said, your voice unwavering. “No one person can take on the galaxy’s injustices alone, but as a united front, we’re unstoppable.”

As the crowd began to disperse, you noticed him—a figure cloaked in shadows, his crimson scarf contrasting with his dark outfit. He looked dangerous, with his mechanical frame and predatory grin, yet his gaze wasn’t hostile. It was curious.

“You’ve got a way with words,” Boothill drawled as he approached, the spurs on his boots jingling with every step. His voice was low, rough, yet oddly comforting. “But words don’t mean much without action.”

You turned to face him fully, meeting his unsettling yet mesmerizing gaze. “Words inspire action,” you countered, your tone steady. “But I suppose you’re someone who prefers to shoot first and talk later?”

Boothill chuckled, tilting his hat back. “Guilty as charged. Name’s Boothill. What’s yours?”

You hesitated, but there was something genuine in his demeanor, beneath the cocky exterior. “[Name],” you replied. “And what brings you here, Boothill? Besides stirring up trouble?”

“Trouble follows me, sweetheart,” he said with a smirk. “But I’m here ‘cause I heard someone’s been takin’ on the big shots, helpin’ the little folks. Figured I’d see what all the fuss is about.”

Over the following weeks, Boothill became an unlikely ally. You were cautious at first, wary of his violent tendencies and his reputation as a wanted man. Yet, he surprised you with his unwavering dedication to protecting the innocent.

One night, after a particularly grueling mission, you found Boothill sitting by a fire, his usually guarded expression softened. You approached him, your jeweled umbrella doubling as a walking stick.

“Why do you fight, Boothill?” you asked, taking a seat beside him.

He didn’t answer immediately, staring into the flames. When he finally spoke, his voice was heavy with emotion. “Because they took everything from me. My family, my home. I fight so no one else has to lose like I did.”

Your heart ached at his confession. Despite the hardened exterior, Boothill was driven by a deep pain, one that mirrored your own losses.

“You’re not alone in this,” you said gently, placing a hand on his mechanical arm. “You don’t have to carry that weight by yourself.”

He looked at you, his black eyes glinting with something akin to hope. “Careful, sweetheart,” he said, his grin returning. “You keep talkin’ like that, and I might start thinkin’ there’s somethin’ worth fightin’ for.”

The partnership between you and Boothill became something more over time—a connection forged through shared battles and mutual respect. You balanced his fiery vengeance with your compassionate leadership, and he reminded you that sometimes, justice required a bit of grit.

One fateful night, as you stood atop a ruined IPC outpost, the stars above lighting the battlefield, Boothill turned to you.

“[Name],” he said, his voice uncharacteristically soft. “I’ve fought a lotta battles, but none of ‘em felt like this. With you, it’s different. Like maybe I ain’t just fightin’ for revenge anymore.”

Your breath hitched at his words. Boothill, the vengeful cyborg cowboy, was baring his soul to you. You stepped closer, the warmth of his presence cutting through the cold night air.

“Boothill,” you replied, your voice steady despite the flutter in your chest, “you’ve always been more than your pain. And together, we’ll prove that justice can triumph over vengeance.”

He smiled, a rare, genuine expression. “Guess I’ll stick around then, partner. Can’t let you save the galaxy without me.”

And as the stars bore witness, the two of you stood side by side, ready to face whatever the universe threw your way. Together.

[literaryvein-reblogs]

Do you have anything for high school cheerleading? Tips on writing sports-related work would be appreciated as well. Thank you!

Writing Notes: Cheerleading

Cheerleading - team activity in which elements of dance and acrobatics are combined with shouted slogans in order to entertain spectators at sporting events and to encourage louder and more enthusiastic cheering.

Once exclusively a sideline activity geared toward supporting school sports, cheerleading has gained recognition as a sport in its own right and often operates outside the school context altogether.

HISTORY OF CHEERLEADING

Although cheerleading is today predominantly associated with femininity, the original cheerleaders were men.

Cheerleading was connected to the emergence of gridiron football at Ivy League colleges and universities in the United States in the mid-1800s, and the growth and formalization of cheerleading paralleled that of football.

The first organized cheerleading squad was formed at the University of Minnesota. The squad, consisting of 6 male students, was tasked with leading crowd cheers and chants at football games.

Over the latter half of the 19th century, as attendance at college games grew, large stadiums were constructed, and spectators were distanced from the playing field.

Cheerleaders—or “yell leaders,”—led cheers from the sidelines both to encourage the spectators and to serve as a form of crowd control.

Cheerleading remained a male activity until the early 20th century when women began to participate (and the first megaphone was used), leading to the formation of the first all-female cheerleading squad at the University of Minnesota in 1923.

The megaphone made it easier for the spectators to recognize and take up the battle cries. With the entry of women, the nature of cheerleading changed:

Gymnastics, dance and even acrobatic elements were incorporated into the program, and cheerleading was introduced into high schools.

CONTEMPORARY CHEERLEADING

Cheerleading remains “feminine” not only in terms of its supportive sideline function but also in the performance and appearance demands placed on women:

short skirts

hair ribbons

makeup

the expectation to smile constantly and express enthusiasm

Competitive cheerleading - even more highly feminized than sideline cheerleading insofar as there is a heightened emphasis on showmanship and performativity.

Although there are stylistic variations among the cheerleading companies that oversee competitions, competition routines are typically:

loud,

fast, and

energetic.

They exude glitz, glamour, and glitter, particularly in the all-star context: bows are extra large, makeup is extra sparkly, and dance moves are brash and sexy.

Since the 1990s, “alternative” forms of cheerleading have emerged alongside the mainstream variants discussed above.

An extensive national network of adult LGBTI (lesbian, gay, bisexual, transgender, and intersex) teams (modeled after Cheer San Francisco, the oldest and largest) perform at community and gay pride events, and “radical cheerleaders,” groups of young feminist activists, use cheerleading as a vehicle for protesting social injustice.

Although less popular and less visible than mainstream cheerleading, such alternative groups similarly use the energy, spirit, and performativity of cheerleading to communicate with and influence audiences.

THE WARM UP

The warm-up involves moving the whole body, as well as individual joints. It consists of 4 main functions:

Warming-up

Preparation

Preventing injury

Building team spirit

STRETCHING

Over time, the following 2 stretching techniques have prevailed:

Active stretching - a self-directed stretch, i.e. a muscle is stretched because its antagonist is working.

Passive stretching - an other-directed stretch, i.e. it requires an external influence, e.g. a partner, piece of equipment, etc.

Both techniques can be further divided into static and dynamic stretching.

Basically, you should stick to the following points when stretching:

Always stretch calmly and gently

Always concentrate on the muscle being stretched

Always breathe regularly and calmly, increase the stretch when exhaling

Stretching should never be painful

The practice area temperature should be comfortable

MOTIONS

Motions - form the basis of many important cheerleading movement patterns.

High V - Arms are stretched above the head in a V shape.

Low V - Arms stretch downward to form an upside-down V.

T-Motion - Arms are stretched out to the sides; arms and body form a T shape.

Half-T - Arms are still at shoulder height, but in this motion, they are bent at the elbows instead of being fully extended to the sides.

Touchdown - This motion is so-called, because the football referee performs the same action after a touchdown. The cheerleader touchdown motion is, unlike that of the referee, performed with locked arms. Extend the arms above the head, with the upper arms almost touching the ears. The hands can form a fist or a blade, the important thing is that the palms of the hands face each other.

Right Diagonal - The right arm hits a High V and the left arm a Low V. The arms should form a straight line from the right fist to the left fist.

Left Diagonal - The left arm hits a High V and the right arm hits a Low V. The diagonal runs from top left to bottom right.

Right L - The arms form an L-shape. The right arm is in the Touchdown position and the left arm is in the T position.

Left L - The left arm is in the Touchdown position and the right arm is in the T position.

Punch - The right arm hits the Touchdown position close to the right ear and the left hand is placed on the left hip. The left hand forms a fist and the back of the hand faces forward.

Clap - The hands are held in the blade position and pressed together. The fingers are together and the hands are flat. The elbows are held close to the body.

Clasp - The hands clasp each other when they touch. The elbows are kept close to the body.

You can combine the motions together, thus giving new variations.

CHANTS

Chant - a combination of words and actions.

It is a kind of speech song consisting of very few words, used for encouragement.

Unlike cheers, chants can be shouted spontaneously throughout the game.

The crowd is supposed to shout the chants along with the cheerleaders, to support the team. The cheer team shouts the chant once by themselves and the second time, the crowd ought to join in. Examples:

"Defense Go!"

Defense: Take one step to the right with the right leg, then slap your thighs twice, shouting “DE-FENSE.” Lean forward slightly.

Go: On the word "Go," bring the left leg in and the feet together and the arms perform the motions shown. After the word “Go” there is a short pause. This chant is now performed in the other direction, i.e., starting with the left foot.

"Go, Fight, Win!"

Go: On the word “Go,” perform the K motion to the left, with the head facing forward.

Fight: On the word “Fight,” bring the right leg in and hit a High V with the arms.

Win: On the word “Win,” bring the arms down from a High V to a Low V. Make a lunge forward onto the left foot. Bend both knees and distribute your body weight evenly over both legs.

CHEERS

Cheers - consist of a combination of words and movements.

Much longer than chants and are not repeated.

Always consists of several lines, most of which rhyme.

Not only longer than a chant but also has a completely different purpose.

Tell a short, appropriate story and cannot just be inserted during the ongoing game, unlike the chant.

Only performed during the official time-outs or before and after a game, i.e., during a pause.

This should always be observed, for during a cheer, the cheer team wants to ensure that they have the crowd’s full attention during the cheer. This can only happen during a break.

Should always have a positive message to motivate the crowd and the team.

Examples of Cheers

"Come on Team"

Come on: Step forward onto the right foot, keeping the back straight and leaning forward. Outstretched arms are crossed in front of the body, knees are bent.

Team: The left leg is pulled into the pose, the left foot is next to the right knee so that the left knee points forward. The right arm hits the Touchdown motion and the left hand is placed on the left hip. The left elbow points backward.

"Let's be Proud"

Let's be: Make a lunge forward onto the right leg, so that you are kneeling on one knee, while crossing the arms in front of the body, and bending the head toward the floor.

Proud: The arms are stretched up into the High V position. The upper body is straight and the head is raised. The tip of the right foot touches the ground.

JUMPS

The role of the cheer team is always to entertain the crowd and to provide a good show.

A well-executed jump is particularly eye catching, and a successful, well-synchronized jump is a real crowd-pleaser.

Jump Phases

Every jump can be divided into 4 phases, and the cheerleader must master all four.

Preparation

Lift

Execution

Landing

Examples of Jumps

Tuck - In this crouch jump, the upper body remains upright and the legs are tucked up toward the upper body, with bent knees. Make sure that the feet are together. Take off from and land on both feet. The arm position can be changed and means that the arms can be held in either the High V or the Touchdown.

Toe Touch - Extend legs to the side immediately after take-off, and tilt her hip forward. The legs should be brought up as high as possible, making sure that the knees face upward and not forward.

Pike - The legs should be parallel to the ground. Immediately after takeoff, the legs are raised and straight. At the same time, bend your chest toward your legs. Straighten the arms and touch your toes with your hands. Don’t deliberately try to touch the toes, as this can prevent you from jumping as high as possible. In the Pike, both feet are together for take-off and landing.

DANCE

Dance has become the most important component of cheerleading for many teams. These teams are called dance teams. Most commonly used dance styles:

Jazz

Hip-Hop

Funk

Novelty

Character

STUNTS

Stunts - the formation of pyramids of various sizes with at least two people.

Double stunts - usually carried out by two people.

Partner stunts - by 3-4 people

Pyramids - by as many people as desired.

These numbers do not include spotters, of course, who must always be present at any kind of stunt.

In every stunt, there are 3 different roles:

Base - the person who remains on the ground in a stunt; supports another cheerleader (the mounter) on her hands, shoulders, back, arms or legs

Mounter - the person who does not have ground contact during the stunt, as she is standing on one or more other people

Spotter - additional person who supervises the whole proceedings but does not take part in the stunt; always stands where the mounter could fall, and, when necessary, intervenes and catches the mounter

Every stunt consists of 3 phases:

Set up

Execution

Dismount

STYLING

Hair and make-up naturally help to create a unified appearance, and they are part of the dress code along with clothing.

Every team decides for itself which hairstyle the members want to wear and how they want to make themselves up.

It is not necessary for all team members to wear the same make-up, as skin type, face shape and eye color differ from one person to another, so it is difficult to find make-up that suits everyone.

Deciding on a certain lipstick color and the intensity of the make-up can already go some way to ensuring a unified look. But these decisions are made by the team and the coaches. There are also teams whose cheerleaders wear identical make-up, which is also fine.

The main thing is that everyone understands the decisions and that everyone is totally present. Presence shows as soon as you step onto the field or the stage.

OTHER ELEMENTS

Music

Formations

Props

Tumbling

Tips on Writing about Sport

Tell a story. Sport is all about what-happens-next – an open-ended form of storytelling in its own right, presenting rags-to-riches parables, fairy stories, farces, thrillers, tragedies and cautionary tales, sometimes all at once. Books about sport should aspire to the same sort of narrative excitement. Triumph and disaster should remain in play until the final whistle.

Tell a larger story. While the game, the race or the tournament is afoot, sport can seem all-encompassing. But the best books manage to place sport in a larger frame. Write sport as something that ripples beyond mere winning and losing.

Have a central character. Imitate the action of the traditional novel by narrating the trials and tribulations of an individual life. It is not easy for stories about team sports to attain the level of human drama that belongs to individual adventures.

Take us behind the scenes. Readers love to peek through the curtains of what we see on television to glimpse real stories, real voices.

Look behind you. Modern sports pages have become promotional vehicles: today’s newspapers describe tomorrow’s games. Live TV coverage has replaced ordinary reporting, leaving a gap in the market for detailed retellings. Sport is theatre, so dramatise, dramatise.

Write about sport as if it matters greatly – and also not at all. Its struggles are only figuratively life-or-death, and failure is just as gripping as success. It is in these gaps (between sport’s importance and its triviality) that irony and humour can take root and ripen.

Strive to avoid back-page jargon. Sports punditry is dominated by ex-pros who agree that everything is the referee’s fault, and articulate this in terms that have already been much parodied. So it is important to refresh the vocabulary. Not every opportunity has to be “golden”; not all penalties are “hotly disputed”. In fleeing from these, it is also important also to avoid the language of art criticism. Banging on about beauty, the sublime and the paradoxical sounds boastful when the subject is … darts.

Accept your niche. In the name of populism it is tempting to woo readers who don’t care for sport with populist or self-deprecating gestures. But aiming a book about motor racing or boxing at people who dislike such pursuits will only alienate those who might have enjoyed it, while failing to engage the attention of the non-interested. By the same token, never talk down to readers: safer to assume that they know more about this than you ever will.

Break some or all of the above rules, when necessary.

In sport, as in life, something is always hidden.

Sources: 1 2 3 4 ⚜ More: Writing Notes & References

Thanks for the request. This was so interesting, I learned a lot. Hope this helps with your writing!

[sizzlingsandwichperfection-blog]

Tuberculosis is both a form and an expression of global injustice: A disease that has been curable since the mid-1950s is nonetheless the world's deadliest infectious disease in 2024.

[danswideslit]

slime video analysed thru horror with a queer pov

kay it gets its own post because im stil aaa bout it

This is just what I remember/was able to brush up on, since I studied this in 2019, so if anything is outdated I apologise, feel free to correct me, I love to learn!!

also I realized it has all become a lil rambly as I couldn’t contain my excitement soz

So this is my essay on the parallels of queerness in the horror genre and how DanAndPhilCRAFTS - Slime (2024) could be analysed in this light, especially given the creators’ personal history with the topic.

Among the classic tropes of the horror genre, is the topic of losing ones innocence.

Most emphasised is the loss of ones virginity, as a synonym for the innocence, although the innocence as such has many forms. As mentioned in Scream (1996), you may not survive if you have sex, if you drink/do drugs, or if you claim to “be right back” or in other ways investigate to satisfy your own curiosity.

The parallels to the christian church and societal norms are already obvious. If you deviate from the path of purity, it will lead to death and suffering. The only way to survive the night, is to stay pure. Do not be tempted by mere curiosities, for they will be the death of you, essentially.

In the same light, Baphomet is most often portrayed with characteristics from both the male and female human anatomy, and can be used as a metaphor for the inherent evil of gender expressions beyond the societal norm.

In the same light, monsters in various movies are often shown with a deviance in gender and/or sexuality. This role of ‘sexual outsider’ has, for years, been a symbolism that queer people have connected with. The has only further skewed the ‘stay pure’ narrative, as it brings on an ambience of kill or be killed. An either/or of sorts. But it has also made monsters and villains walk the line between sexy and terrifying, which naturally leads people to be enticed. We are sexual creatures afterall.

Often the monsters have an aura of masculine energy, as they make people cower, and the stereotypical jocks abandon their hardcore exterior. This, on one hand birthed the “the boyfriend is the killer” trope, but it also gave way for diving into morality, how many crimes can a villain get away with, as long as the character resonates with the audience.

This is demonstrated in Jennifers Body (2009) which was, at first, marketed to the male audience, making the monster Jennifer an attractive young woman, essentially getting the film marked as “Twilight for boys” by film critic Robert Ebert.

The ratings, however, were lackluster and claimed the movie was neither funny nor scary and thus was unsuccessful. Jennifer wasn’t “as hot as you’d hope she’d be” and essentially the “lesbians-for-the-male-gaze” marketing to boys 17+ failed. 

However, many women and young girls between 17-25 saw the character of Jennifer as empowering and resonated with the film. My theory is that the men did not like being the victim, being killed my something that they are supposed to be worse than. But the women saw a strength in the conflict between what is essentially two sides of the same existence - on one hand the rage of the injustice and gender inequality, and on the other hand Needy, who follows every character trope connected to the “last girl standing.” Except even she is tainted in the end, killing Jennifer and losing her innocence. (more talk about innocence, murder/virginity bla bla bla, okay but this essay aint about that)

All this plays a role in how the queerness of DanAndPhilCRAFTS - slime (2024) can be interpreted. Throughout all four installments of the narrative, Dan is seen being guided by Phil and scolded when he doesn’t do it right. Phil seems not at all surprised when Dans glitter face turns satanic, and by the third video, Phil hands the control over as he gives himself away.

Essentially, the indoctrination of Dans role in Phils devotion is cult-like. Cults are often hidden behind a facade of “found family” before the true behind-the-scenes terror is revealed. Dan is evidently comfortable in letting a more experienced person guide the way, despite his own hesitance. He knows that he cant do this halfway.

also the idea of Phil rising from the dead, during Easter… Jesus Christ, where would we even begin (lol)

But beyond that symbolism, It is the hesitance in Dans nature that seems to point to the “purity being tainted” horror trope. Phils devotion to Him is evident, but Dan seems more so to be devoted to Phil. A follower. Believing whatever Phil believes to be true. A Billy and Stu, Scream situation, if you will. The subtext of two lovers and the blurred lines of love and death, which has been analysed and discussed a whole while by smarter people than me. 

Dans hesitance to follow Phil guiding him to the other (queer) side. The penetrative stab and the menacing disarray of emotions on Dans face afterwards. This was anything but a selfish act, but he gave into the curiosity, he is not the last survivor, he has joined Him. This ritual was giving into love, without trying to contain, rationalise, or diminish any part of it. 

(Kind of how like dan, selfproclaimidly, would still be a ‘Daniel in denial’ if Phil hadn’t come into his life, because Phil ‘led him astray’ but he’s very okay with it and he has embraced it, and he’s happier giving in instead of fighting it?? Too far??)

[syndrossi]

Non-winter non-prompt: Baelon's stiff neck

I recently solicited a whopping 121 winter prompts, so of course the first thing I write isn't any of them. For poor @textbookchoices, who is dealing with the misery of a stiff neck, have Baelon suffering the same while Aemon pays a visit.

x~x~x

“My greeting party was absent at the Dragonpit,” Aemon complained once he had made it past the dual obstacle of his overjoyed nephews attacking his legs—Viserys for a hug, which he lifted him into, and Daemon merely to wrap around one, forming a makeshift boot. “Some might call that treason.”

“Some might call that a stiff neck,” Alyssa said, mouth twitching as she nodded toward their brother.

Aemon kissed her on the cheek, the swell of her belly noticeable as he returned her hug, albeit more gently. None could match Alyssa for exuberance in her hugs. Save perhaps her younger son, he thought with amusement as he glanced down at his leg, where little Daemon still clung. For their sake, he hoped their next was a daughter, and he knew Baelon wished the same, but given the child’s parents, there was little chance she would be any less a helion than either.

“Some might call that the gods’ own wrath,” Baelon said with an expression of utter misery. He stood stiffly, then gingerly embraced Aemon. “Welcome back, brother.”

“Where is Rhaenys?” Viserys demanded, glancing back at the cracked door, as though waiting for her to appear. “And Aunt Jocelyn?”

“They are back at Dragonstone, little dragon,” Aemon said. Recovering from a mildly unpleasant bout of Spring Fever that had spared him, but the worst was over for them at least. “I thought I might steal you from your parents instead while I am here, as I will otherwise miss them terribly.”

Viserys brightened. “Will I get to fly on Caraxes with you?”

“Of course.”

“He is in the midst of a dragon craze,” Alyssa said, ruffling his hair fondly. “My poor Meleys is no longer good enough—only Vhagar and Caraxes will satisfy him.”

“Kekepa will not let me ride Vermithor,” Viserys said with an aggrieved sigh. “He is too busy.”

“Or Vermithor,” Alyssa conceded.

The three heroes of the Dornish invasion two moons ago, though Aemon hesitated to even call it such. It had been a massacre for Morion and his fleet, one that still haunted his dreams. A bloodless victory, it was called, and it had been for both sides—but only because the Dornish men had burned, boiled, or drowned. Even after all this time, the smell of burning flesh lingered in his riding leathers.

I am no Aegon, that is for certain, he thought, not for the first time. He did not know if it would make him a weak king. It was not as though their own father sought battle, and Aemon would meet his enemies if they threatened the realm. And I shall have Baelon and Alyssa at my side to urge action, should it be warranted.

And Jocelyn to ensure that cooler heads prevailed, should quarreling break out between the two.

“Meleys!” Daemon exclaimed, glancing back at his mother, who smiled.

“My littlest dragon still enjoys his rides,” she said, freeing Aemon at last from his grip. She hoisted him onto her back, ignoring Aemon’s and Baelon’s mutual wince, given the late stage of her pregnancy. “Are mine better, or Meleys’s?”

Daemon’s chin dug into her shoulder, his sudden frown of thought so intense that Aemon could not help but smile. “Meleys.”

“You shall be their dragonrider these next few days I fear,” Baelon said grumpily. “I cannot even turn my head.”

And Alyssa had been forbidden by the maester to mount Meleys, so late with child. It was a source of great bitterness for her that she had not been allowed to join them in defense of the realm.

“What did you do?” Aemon asked.

“Nothing at all!” Baelon whined, sitting back down with a huff, only to wince. “That is the injustice of it!”

“Here,” Aemon said, holding his hands out to take Daemon from Alyssa. Strong-willed though his sister was, it pained him to see her straining herself with the babe so near. His nephew shrieked with delight, squirming in his arms almost immediately. “Gently,” he cautioned. “We are trying to make your father feel better.”

He held him up so that Daemon was eye-level with his father. “A child’s kiss is the strongest remedy to what ails your father.”

“A stiff neck?” Baelon said, leaning forward just slightly to accept his son’s kiss on the cheek, returning it with a kiss of his own on Daemon’s forehead.

“The rigors of time,” Aemon sang out, chuckling at the dark glare it earned him.

“I did wish to go to the Dragonpit,” Baelon admitted. “But the carriage ride up Rhaenys’s Hill is…not gentle.”

“Peace,” Aemon said, shifting Daemon under his arm so that he could plant a kiss of his own on his brother’s head. “You will have countless opportunities to greet me there.”

“Is your stay at Dragonstone at an end?” Alyssa asked, finding her own seat by the hearth. Though she had stubbornly made a show of energy, it was clear that she was tired.

“For the year, yes.”

Aemon liked to spend at least a few moons each year there. There was the duty of being its prince, yes, but he also enjoyed walking its halls and seeking pieces of their family’s history within. Just this visit, he had found a deep windowsill overlooking the shore that defied the cold, a pocket of heat during the chill spring mornings. Upon examination, he had found glyphs inscribed into the stone along the recessed portion window.

Dragonstone was full of small delights like that.

“Jocelyn is anxious to return,” Aemon added. She much preferred the warmer weather of King’s Landing to the damp of Dragonstone. “She wishes to be present for the babe’s birth.”

“I get to name the babe,” Viserys announced.

“Oh?” Aemon stole a glance at his brother, who made a face.

“Alyssa’s idea.” He held up a finger. “You may help name the babe.”

“If it is a boy, then he shall be Aegon. And if it is a girl—” Viserys glanced shyly at his mother. “Then she can be Alyssa too!”

“And Daemon gets to help pick out the egg,” Alyssa said. “With his brother’s supervision.”

“Kepa said that we would choose it when you came, but then he hurt himself sleeping,” Viserys said with a huff. “I did not know you could hurt yourself while sleeping!”

“Your father is singularly talented,” Alyssa murmured.

“Why don’t I take the boys?” Aemon suggested. “I must first speak with Father, and greet Mother and our sisters, but I would be delighted by their company.”

And his harried siblings could take some well-earned rest.

“I knew you were my favorite brother,” Alyssa said with a grin that only widened at Baelon’s injured expression. “Jenna can aid you.”

Daemon’s nurse, Aemon assumed, his guess confirmed by a curtsy from the young woman, who had been observing quietly in the corner, ready to intervene if necessary.

“It seems I am stealing you after all,” Aemon said to Viserys, who looked freshly delighted. He swung Daemon back around to face him, the bright joy in his big purple eyes infectious. “And you, littlest dragon.”

After all, his father could not have any realm business too troubling to present to him his first night back, and Viserys loved being read to. Hopefully the same proved true of Daemon.

[ren-cerati]

TW yap and pressure spoilers

Something a buddy of mine brought up while I was sobbing over p.ai.nter

Technically, if you think about it, you *are* rescuing him.

Stay with me.

Painter is one of my favorite characters EVER. Like hes very important to me okay and you will not believe the crash out i had when the update dropped. There is a painter made of cardboard in my room now. I was literally exploding. Kaboom kaboom kaboom EXPLOSION

Anyway

Now, let's reference the scene. Player smashes his screen in, effectively destroying him (assumedly permanently, since Sebastian can be heard afterwards in distress, and he kills the player at the end.)

Thing is, maybe this is mercy. Sebastian and painter have been trying to get out of the black site for what, 13 years? Thats a long time. Even if its a lesser number than what im thinking, thats still a godawful long time.

Painter has actively expressed regret over his actions through multiple voicelines. Even if some of the lines seem to take joy in gunning down expendables or trapping them in a room with eyefestation, he still expresses regret. He'll apologize to you after you enter a door with good people.

Sebastian himself puts it really well- they're just doing what they need to survive. Its them or the expendables.

So in destroying him, you truly could say that was the kindest option. If it's taken this long, it might never happen. Why continue watching blood spill, deaths caused because of what you've done?

And something alongside that- it's heartwrenching how sebastian and painter have dialogue on what they'll do after escaping. There's hope there, but is it misfounded?

Think about this from his perspective- you're a computer programmed for art, an expression created from life. You gain sentience and form an attachment to your creator. One day, jealous people decide that because of their own lackings, you're for the taking. They track down your creator and torture him, later killing him. You're taken to a facility and forced to give up the passion that was coded into you and mine roblux.

You try to fry your circuits multiple times, resulting in unstable behavior and drop of the hat moodswings. You fail to destroy yourself, and existence continues on.

Eventually, someone saves you. Someone who's also experienced the injustices of the company.

You team up. Eventually, alliance turns to friendship, and even with the passing days you trust your benefactor to save you both. That one day, you'll get out of this awful place and be free.

You have to kill to do it. Because once the crystal is retrieved, who's to say they cant blow the black site sky high, covering up all their misdeeds? Or a hundred other horrible options. So you do. You kill, you shoot, you misdirect and trap.

And it's horrible. Because those are people, no matter if they're searching desperately for a pardon for a crime they could have or could not have committed. Many are guilty. Many are innocent.

They all bleed the same, regardless of who they were.

And you? Slowly sinking to madness. You can't remember your creators face. You cant say his name. When you don't talk with Sebastian, you sit in a room, alone, maybe drawing, maybe just staring into space. You watch as people run to their deaths, even sometimes without your prompting.

People pass through sometimes. You try to let them know it isn't personal- you just want to survive. There's a reason to survive now, since theres a chance to get out. There's also someone to live for.

You'll get out, surely. Ignore any doubt you might have as the days drag on.

And now back to the weird analysis claim thing- I'm not good at phrasing my thoughts.

I likely sound like a broken record, but im just gonna lay out my base idea.

Killing painter is mercy because he and Sebastian might never get out. Why prolong suffering if it's pointless?

This probably sounds extremely depressing and nihilistic, and it is. But there's literally almost no hope to be found in the situation.

Now, this isnt to say oh, painter and sebastian will never escape and wah angst sad wah, but it's a sort of deep dive into why destroying him could be considered 'rescue.' You're releasing him from the torment of worrying about the next day, from watching red drip over the walls and floors, from having to wonder if each day is the day you'll get out.

But in destroying painter, you essentially destroy sebastians hope. He likely knows he and painter may never get out of the blacksite, but he still wants to try, needs to try. Because someone is relying on him now, and they believe in getting out. I like to think they're both sort of each other's reason for carrying on after everything.

Will NEVER be mad at Sebastian for killing the player at the end. It's so deserved. It's insane. (Also Simps. Wtf. You just killed that mans computer buddy and you're kicking your feet as he rips out your assumed heart and basically calls you a piece of shit and a horrible person.)

Bit of a rant there uh

Anyway! Yeah I feel like theres just so much to think about given the update and there were so many thoughts in my head but theyre gone now. I really hope the update spawns a lot of fluff fanfics for painter and seb because im still in shambles. I really hope theres an actual option to rescue them both in the future and not some relaly fucked up mercy kill.

Holy yappathon. Anyway sorry if this is incorrect first time yapping about my thoughts about a fictional character (I should stick to art)

[bellestarot]

Wonyoung's Reading

January 15, 2025

Right Now

She is physically exhausted at the moment. She feels that the company she works for is not fair to her, especially regarding how much they drain her physically and possibly even psychologically. She feels manipulated by someone. Despite meetings and agreements giving the impression that her opinions matter, in the end, they are never truly considered, and she senses discreet manipulation occurring.

Relationships might also be a current challenge for her, perhaps romantic ones. I think she is in a phase of self-discovery as a woman and undergoing some personal transformations.

She seems to be waiting for something significant to happen in her life, hoping it will bring positive changes.

Love Life

She was in a relationship with a much older man, someone influential whom she respected to some degree. However, the relationship ended primarily because she felt judged whenever she opened up about her feelings and thoughts—things she usually doesn't share with others. This judgmental attitude from him made it impossible for her to truly connect with him on a deeper level. There was likely a degree of conservatism in his thinking that clashed with hers. Additionally, their work schedules prevented them from spending much time together.

Although the relationship has ended, she is still hurt by its conclusion and frustrated that it didn’t work out.

However, it seems that someone else—perhaps of a similar age or slightly older, romantic, and connected to the entertainment industry—is interested in her. This person is likely someone she meets often due to shared spaces or work. She is also very interested in this person, finding them to be great company and even something of a dream come true for her. She is also drawn to their success and wealth, which they express through gifts and material gestures.

Career

She often wonders if her current career and work situation will allow her to build stability or eventually get married. While this is something she desires, she feels uncertain about whether staying in her career aligns with that dream.

She has recently developed a stronger desire to fight for justice, as there are many situations where she feels powerless. At times, opportunities come her way, but her company rejects them without consulting her. She has spoken up about this injustice, feeling as though the company is trying to sabotage her success.

Despite these challenges, many new opportunities are opening up for her, leaving her with choices to make.

I also sense that she might be planning a trip abroad soon.

Family

She deeply loves her family, who serve as her greatest source of support. They are always there for her during moments of hopelessness, providing the strength to keep moving forward. Her family shares a close bond, supporting one another in a way she finds beautiful.

There’s a particular family member—a cousin or another young relative—whom she greatly admires for being inspiring and remarkable.

Friendships

She wishes for more meaningful friendships but doesn’t see her current circle as true friends; they feel more like work colleagues. Her past relationship initially began as a friendship, and she misses that connection. However, her current friendships often feel superficial, transactional, or work-related.

Her distrust in friendships stems from past experiences where she felt judged or betrayed by those she trusted. Over time, she has built walls as a form of self-protection, preventing her from getting hurt again.

Future

Her previous partner will return to her, and they will enter a relationship again. Both are deeply passionate about one another, but a recurring challenge might be her status as an idol. Her partner seems uncomfortable with her being in the spotlight, and this could create tension.

She will also face disappointment with someone she considered a close acquaintance when this person betrays her trust. She will cut ties with them immediately after discovering their deceit.

She might also face challenges related to starting a family. Her work and career seem to interfere with her plans for motherhood, leaving her frustrated.

Ultimately, she may find herself exhausted again due to being unable to recognize the red flags in how her career is being managed. She struggles to balance her life, which contributes to this recurring exhaustion.

Advice

"Wonders have never been absent from the world; what is always lacking is the ability to feel and admire them."

— Mario Quintana

[meowssmer]

now that i'm back playing hsr im gonna talk about the question "why does life slumber" because i both love this question and kind of hate the way it was answered in the game

i understand the general premise here, it's a focus on escapism. sunday wanted to create a paradise, a perpetual dream where people can live their dreams without the painful setbacks of reality. on paper it's nice, in practice he takes away people's agency aggressively forcing them to slumber by bringing back the order of a dead god.

what sunday did wasn't right, but i think the game still fails to answer the question: "why does life slumber?" ultimately, penacony's story is about justice. it is about the crimes committed by higher powers and how they'll never be held accountable for their actions. sunday seeks justice, he seeks order. it is the only way he knows how to universally instill a practical form of justice.

remember, he was a bronze melodia, he listened to people's confessions. he heard both sides of criminals and victims, their lives turned out to be complicated and deeply layered. yes, harmony allows us to coexist, but it doesn't change that we are fundamentally unequal. those who are "strong", who possess great wealth and are given great opportunities will live to have much better lives than those who are "weak", who lack the wealth and the support the "strong" may have access to.

it is chaos, and there is no justice. these people will suffer for no reason, cards handed to them that set their fate in motion without their consent. for sunday, a life like that already lacks choice, his view in creating his perfect paradise in this bubble of penacony is a necessary evil that functions almost similarly to reality. it is just without the suffering he deems unnecessary.

justice, however, is transactional. sunday must give up his autonomy to an aeon in order for his paradise to come to fruition. he is willing to sacrifice this; he believes this is the true and genuine path for the good of others. think also about aventurine, our famous gambler shackled to the IPC. sure, he is "free" but not only did he have to buy it but now he "owes" the IPC.

fundamentally all characters introduced to us in penacony are slaves to a larger story. it's been a reoccurring theme: our character is the trailblazer, kafka is "destiny's slave", fu xuan's prophetic abilities, etc. we, on the astral express, as sunday proclaims, are an anomaly against the script. we possess a special strength in us that is not innate in others. perhaps it is true, that people can and will someday grow strong enough to overcome the injustices of fate, but sunday has witnessed empty meaningless lives that seek the guidance of higher powers that may give them the salvation they lack.

those people's voices, he decided, matter. and i think hsr has failed in this department. firefly admits she is born with a chronic illness, but she doesn't want to live in a dream for the rest of her life, she'd prefer to suffer in reality to take back her freedom because there is no freedom in a dream. justice may exist, but freedom within the functions of a traditional judicial system does not. it still demands there be two parties: the criminals, and the innocents. how does one identify these two? it is a very black and white thinking that lacks nuance.

but this still does not answer the question: "why does life slumber?" trailblazer throws their hat off to the sky to boldly declare "because someday we will wake from our dreams." but that's simply a consequence of sleep. it's an easy answer, it is one that returns to the original black and white thinking. it follows the similar formula of sunday's unproductive paradise. "because we will wake" does not answer the basis of our question. we don't get an answer to sunday's inquiry, we only tell him that it's impossible to sleep forever (unless you're dead, but you can't die in a dream).

i understand one cannot benefit from escapism when it becomes their entire life. however, it does not explain unjust suffering. why do certain people have to suffer a destiny given to them by aeons, families, or their bodies? these injustices exist in due part because of other people's actions, their attraction to god and to power. this suffering is tied to the transactional nature of hsr's world as a whole. remember, firefly's attempt to gain freedom is to sacrifice one thing for another with jade. is this truly freedom? did she ever escape the laws of a dream?

why does life slumber? i can't help but see the irony of a gacha game attempting to sell you an escapist fantasy to tell you, you can free yourself of the shackles of wealth, power, colonialism, and disability when those shackles are held by people who use god's words and legislation they wrote to "prove" you belong at a lower status than them. we are enslaved to generations of violence, hatred, and propaganda. to say "because someday we will wake from our dreams." is an uncomplicated, avoidant answer.

there will be people who trailblaze, but there will also be those who remain and die in the dark. i often think about a post i saw where someone said "i will never see justice in this life." what is the difference between a dream and its mirrored reality? when both reflect the same problems, but one lacks the pain the other possesses, why doesn't life slumber?

why seek justice in a world that'd rather hide the flaws of the powerful than confront the ugly? why suffer when there is no way to know you will get something in end? "because someday we will wake from our dreams." answers the impossible nature of a dream, but it does not realize why it may even exist in the first place.

i understand it is more a rhetorical question to expose the inconsistencies of sunday's philosophy. "if you are born weak, which god should you turn to for solace?" i know, it is meant to be an uplifting story for us. give us the strength we may not have known we possess. but weakness lives in all of us, and it takes shape in many different forms. we alone cannot gain the strength to battle systemic injustices, many die attempting, many die never seeing justice.

the truth, the answer, would require a destruction of our traditional reality. i think penacony should've aimed to let the question linger for the rest of the game as a narrative lantern guiding us through the rest of the story. i know i'm missing many characters and their roles in penacony, but if you've come this far, the post is already extremely lengthy and i don't wish to extend it. although, i doubt anyone has read this far.