medusajellyfish69

[medusajellyfish69]

A series of scenes from Regulus Black's life, centering around the year he died.

[medusajellyfish69]

"I was never really able to hold you, then..."

[medusajellyfish69]

why did ppl decide punk only means things that are good and that i like instead of just treating it as a word for a subculture like why does everything have to be punk for you. well i know why its so they can put this like counterculture and anti establishment flair on every stupid thing they do online instead of going outside n actually doing something to benefit a community. which they would still call punk if they did it

[medusajellyfish69]

kim edit I felt compelled to make after watching the bcs finale! :)

[medusajellyfish69]

an edit i made 😛😛

[medusajellyfish69]

lonely soldier

[medusajellyfish69]

I MET LADY MAGIC IN A SURREY CARPARK

After 15-year-old Squib Harry Dursley has a near death experience, Lady Magic and Fate restore his magical core, and he's sent off to Hogwarts to reunite with his brother, the Boy-Who-Lived.

Jamie Potter, the child of the prophesy, has been cultivated by Tom Riddle since his second year. After escaping the Diary, Tom has been working to locate Voldemort's wraith with Jamie's help. In return, he intends to help him escape the responsbilities of the war and prophesy.

Harry is dropped into this with no knowledge of magic, and the unstable core of a child with no magical training.

The Potter family is at breaking point, Harry is completely lost, and Voldemort is becoming active around Britain again... so what to do?

Read with the link above :))) Any feedback much appreciated.

[medusajellyfish69]

“And My Soul, Dumbledore?” — The Case for Snape Never Killing Before That Night

We often talk about The Prince’s Tale as the final reveal of Severus Snape’s true loyalties—but there’s a moment in that chapter that gets overshadowed by the big memories, the Patronus, the “Always.” And yet it might be the most damning and revealing line in the entire series.

It’s this:

“And my soul, Dumbledore? Mine?”

Let’s sit with that for a second.

Snape is being asked to kill. Not for power, not for punishment, not for vengeance—but out of mercy. Dumbledore is dying. The end is already written. All he’s asking for is dignity.

And Snape balks.

He doesn’t recoil at the strategic risk. He doesn’t flinch at the morality of sparing Dumbledore’s life.

He flinches because of the possibility that this will damage his soul.

This isn’t the voice of a killer.

That one line unearths so much about who Snape is beneath the persona—beneath the spy, the double agent, the snarling teacher. It reveals that he has not taken a life before.

Because if he had? This would be a non-issue. He wouldn’t need to ask. The damage would already be done. The soul, already torn.

But instead, he stops and asks:

Will this be the thing that breaks me?

That’s the cry of a man standing on a line he hasn’t crossed.

And the fact that he still believes in the soul at all is deeply significant.

Let’s compare him to real killers in the series:

• Voldemort doesn’t flinch at murder—he does it for power, to fracture his soul on purpose.

• Bellatrix (and many other Death Eaters) kills for sport.

But Draco, when faced with the same choice, cannot do it. Harry, even in war, casts Expelliarmus.

And Snape—the supposed villain of the early books, the morally ambiguous double agent—asks if his soul will survive it.

He’s not worried about punishment. He’s worried about what killing will do to him.

That is not the thought process of a man with blood on his hands.

Dumbledore’s response is everything:

“You alone know whether it will harm your soul.”

Not “Your soul’s already lost.”

Not “It won’t make a difference.”

Not even “You have no choice.”

Dumbledore leaves it to him.

That means he believes Snape still has something to lose.

He wouldn’t ask this of someone whose soul was already fractured. He asks it of Snape because he knows this will be his first and only kill.

The implication is enormous.

This is a man who has done horrific things. He’s served Voldemort. He’s used dark magic. He’s endangered children.

But he has never killed. Not once.

And when he finally does, it’s to:

• Honour a dying man’s wishes.

• Spare a child’s soul (Draco’s).

• End suffering, not prolong it.

And even then, it tears at him.

So what does that make him?

A villain? An anti-hero? A deeply damaged man trying to atone? Maybe all of the above.

But not a murderer.

Not by choice. Not by pattern.

Just once. And it nearly breaks him.

[medusajellyfish69]

first time writing fanfiction of a character : uughh i hope this is all canon accurate... it cant be canon innacurate at all or the enitire fandom will throw rocks at me...

10057th time writing the character: heres them working at a mcdonalds

[medusajellyfish69]

is being a fujo actually that annoying to people

[medusajellyfish69]

new snape casting: musings

i’m conflicted, and ultimately, i think it’s for the worse.

on a basic level, i find black snape very interesting! severus is a character that we understand is disadvantaged and was actively targeted because of the things that made him disadvantaged. he was an impoverished, unattractive, abused half-blood (blood status in HP already being a…. weird, messy allegory for race. insert criticisms of fantasy racism here.) his bullying at the hands of white wealthy students and his radicalization into a hate group that targets people like him but offers him power he has not had access to before rings as particularly painful and impactful if he is a black character. this is a concept that has been explored well in fanworks! snape as a racial minority, not only black, is something fans have tackled and tackled well.

HOWEVER.

when you’re a studio not writing fanfiction or creating fanart but creating a high budget series that will be shown to and engaged with by millions - racebending previously white characters is tricky. when done poorly, it seems like a shallow and very corporate attempt to add diversity in a way that primarily opens the door to harassment of POC actors and neglects to tell original stories about POC characters. when done well, it can add layers to the story that enhance it in an amazing way. the new interview with the vampire show is INCREDIBLE. louis and claudia being black is so integral to the story and its new setting and is done so well it’s almost shocking that it’s not in the original source material.

i do NOT think the writers of this show intend to engage with severus as a black character in a way that is as thoughtful and creatively driven as the writers of IWTV. i think this is a choice that is actively DANGEROUS: severus is already a divisive character, who, as a canonical white male, is already controversial and deeply disliked by many. when a lot of this controversy and dislike comes from perceptions that he perused and stalked a (white!) woman, joined a hate group when rejected by her, and remained manically obsessed with her after her death - casting a black actor seems genuinely sinister. especially if we get white (in particular) sirius and james castings. james and sirius (more so the latter) have nuance. neither are perfectly good. but we, as readers, are intended to understand that ultimately they were good hearted people, even if they did bad things, who died heroes and are deeply important figures to our main character. what story are the writers telling if they deliberately change the character they bullied, and one tried to kill, into a black man?

not to mention the harassment paapa essiedu will receive for this casting. do you remember how awful and violent the harassment campaigns against halle bailey and rachel zegler were/are? how do you think people are going to treat him? does the studio producing the series CARE? do they have protections in place for him?

in conclusion: do i think paapa essiedu can do it? yes. he’s incredibly talented. but: red flags! red flags everywhere! racebending does not bother me the way it bothers freak conservatives, but this seems like an actively unwise and dangerous decision for the reasons above.

but also: 90% certain this show is only being made because JKR is pissy that the main three have grown up and are kind people that have not let transphobia melt their brains. don’t watch this shit - and if you do, yar har, matey. don’t give JKR any more money. don’t engage with this stupid ass reboot. hopefully it gets cancelled and we can all forget about it and the mold poisoning gets her once and for all

[medusajellyfish69]

Types of Argument: Aristotelian

There are 3 basic structures or types of argument:

Toulmin Argument

Rogerian Argument

Classical or Aristotelian Argument

Classical or Aristotelian Argument

The Aristotelian or classical argument is a style of argument developed by the famous Greek philosopher and rhetorician, Aristotle.

In this style of argument, your goal as a writer is to convince your audience of something.

The goal is to use a series of strategies to persuade your audience to adopt your side of the issue.

Although ethos, pathos, and logos play a role in any argument, this style of argument utilizes them in the most persuasive ways possible.

The basic format for an Aristotelian, or classical, argumentative essay:

Introduce your issue. At the end of your introduction, most professors will ask you to present your thesis. The idea is to present your readers with your main point and then dig into it.

Present your case by explaining the issue in detail and why something must be done or a way of thinking is not working. This will take place over several paragraphs.

Address the opposition. Use a few paragraphs to explain the other side. Refute the opposition one point at a time.

Provide your proof. After you address the other side, you’ll want to provide clear evidence that your side is the best side.

Present your conclusion. In your conclusion, you should remind your readers of your main point or thesis and summarize the key points of your argument. If you are arguing for some kind of change, this is a good place to give your audience a call to action. Tell them what they could do to make a change.

Sample Aristotelian Argument:

Sources: 1 2 3 ⚜ More: Notes & References ⚜ Writing Resources PDFs

[medusajellyfish69]

Apostate

[medusajellyfish69]

I am 100% team Tomarry and don't really like Tomione, but if somehow Harry is not in the picture and you have to ship Tom with a Golden Trio member, it's gotta be the brightest witch of her age.

Harry's got the narrative mirror, Parseltongue, magic power and of course his cute look going for him when it comes to Tom.

Hermione cleans up rather well (why do you think jock extraordinaire Victor Krum wanted to date her) and is very intelligent and has 10 OWLs

Ron is very unremarkable. He is a an every man. Nothing special to look at, not very bright, no great power. Just a good guy.

A guy we see at pubs complaining about his bitchy boss, receding hair lines, problems with the missus.

Hard to imagine a guy like that with a very powerful, very pretty homme fatale like Tom.

Who are you people. Have you not ever been in a relationship

Hermione isn't "smart" - she has an absolutely prodigious memory. "Brightest witch of her age" means this is a precocious skill. This also has absolutely nothing to do with Tom's values. Tom is a creative maelstrom; pretty much all we hear about Voldemort magic-wise is how he keeps inventing crazy spells. The person who's closest to him, Snape, shares this trait (hence my fervent belief they had some doomed daddy issues mentorship situation). What do we know about Hermione? That she HAAAAATES magical creativity. That she's terrible at applying her knowledge - the evil coin she made is an expression of an advance in her understanding of the subject (she's learning and evolving!), but also a straightforward use. She brings her school textbooks with her to self-soothe.

Personality-wise, you could not find a worse pair. Hermione has a strong justice drive (not moral fibre, I mean that insane substrate of stubbornness where you embody a holy war on your beliefs even if you're objectively and obviously wrong) and detests creativity, so Tom's villainy is irrelevant; she's going to be annoyed and horrified by his genius and have strong opinions on it. She is going to complain constantly. She is going to backseat drive his innovations.

Do you think Tom would enjoy a posh muggleborn who obviously comes from money going "UM, ACTUALLY" over his shoulder? Do you think he will enjoy her starting squabbles to vent her own frustrations? Do you think he would appreciate her aimless moral crisis of "oh, look at how everyone treats that elf - shouldn't we do something?" Where she doesn't even bother to listen to the elves on their abuse. If she heard about Tom's background, she is likely to find him pitiful! Do you think he'd appreciate a little rich girl who goes home to her muggles expressing simpering pity? Who buys into his self-mythology and thus believes his mask? Who has to personally bear the burden of him accruing social capital by expressing his desire to hatecrime her. Who's true feelings would probably be to cut her off from her muggle family entirely.

Why do people date to you? To stand next to each other attractively? This isn't even a dangerous toxic couple because Hermione's only power in this relationship is being a nag. I want to attend a women's march just thinking about it.

I would say "go Snamione like a normal person at least their incompatibility is grounds for an opposites attract relationship" but you people think he is ugly and try to squeeze thrill like blood from a rock with teacher/student regardless, which makes them less compelling and again puts Hermione in a position of a demeaned and devalued woman...what must be done to save this woman?

Speaking of opposites attract, is it not obvious a homme fatale like Tom might worry at normality like a loose tooth?

First, Ron's not a balding pubcrawler. He is a househusband. His primarily occupation at all times is being somebody's favourite. He spent so long with Lavender despite being in love with Hermione for a reason. He gets mad at Harry for "putting his name in the Goblet" because this is a conspiracy he could have roped Ron in on, and to not rope him in on it implies he is devalued in comparison to fame and popularity, which separated him from his brothers.

Speaking of brothers, Ron has spent his entire life with the brightest wizards of not just their age but their era; the only wizards we hear as prodigious as Bill, successful as Charlie, as academic as Percy, or as creative as Fred&George are famous, James & Sirius, or Tom Riddle. Tom's genius and good looks are very familiar territory to Ron, and this time he's not even a competitor for his mum's love. Being an accomplished homme fatale is going to hit different on someone like Ron, who is only impressed by quidditch. (This is why Ronarry is real btw)

And as a couple: Ron is also a big picture thinker and strategist. One of his unusual skills is in wizard chess, but he applies that way of thinking to relationships. He's the Heart. Ron tends to scale down the obsessive tendencies of both Harry and Hermione, and even acts as a pillow for Hermione to punch with her petty complaints as it helps her decompress her obsessive focus - Harry finds Hermione exhausting without Ron there.

What would Tom see in a man who doesn't see his godhood as natural yet intuitively understands how impressive he is? Who knows what it means to budget and go without? Who has a big family which, in an AU circumstance, could absorb Tom, appreciate him, find him like-minded? (The screaming row when Tom first starts stealing his whole family would be legendary. Regardless.) Who could pull Tom away from his tendency to obsess over things, who could look at Tom's narrow-minded plotting with a broader viewpoint, and most importantly, who could see every layer of who he truly is and find it worthwhile - something Tom spent his entire lifetime chasing - and ask only that Tom treasured him above all else? Who is simple, loyal, and easily pleased enough that he is someone who can be trusted, accommodated, and included on misadventures without any friction whatsoever? Who gives him a little kissy after a bad day and gets mad and doubles down when questioned on his values?

He has seen his heart and it is his! And honestly? Likewise with Ron!

Tom's next ship down from Harry is Bella and the next ship sideways is Ron and you can show me all the dark academia Pinterest boards you want, you are never going to convince me otherwise.

[medusajellyfish69]

Resonance

21 x 29,7cm, ink on paper, Kevin Lucbert, 2023

[medusajellyfish69]

I love saying "cute..." about stuff. because a lot of stuff is cute...

[medusajellyfish69]

Once again thinking about: "He was only fifteen-" "I'm fifteen!"

Imagine being Harry and finding out that one of the worst people you've ever met who does nothing but belittle and degrade you, who has become the antithesis of everything you aspire to be, is the victim of the exact person you believed to be the gold standard.

Because for years, everyone was telling Harry one thing about James while Snape was saying another and, for years, Harry had been comfortable believing Snape was the one who was wrong.

So, imagine being Harry and all you have left of your parents is the memories people choose to share with you, so you take all the scraps and make this Frankenstein idealistic version of your parents because, for a moment, it makes you feel like you actually know them.

And then, just in case you forgot, reality reminds you in maybe the worst way that you don't know these people at all.