#I AM LEGITIMATELY DISTRESSED

[lunaris1013]

It appears that McFarlane Toys has acquired the license to produce Pacific Rim merch. They're putting out a collection of 4" figures packaged with one of the PR comics. There are jagers and kaiju both.

But. Y'all.

LOOK WHAT THEY DID TO MY BABY GIRL

WHY IS SHE THAT COLOR?? IS SHE DISEASED?? I DON'T UNDERSTAND

[lynne-monstr]

seimei: it's not like we'll ever see each other again bye seimei: lmao can't believe you showed up after what you said

[femmefaggot]

ok hi haha lol I dont rly feel like going in circles in my head forever trying to figure out whether, among other "smaller" things, being left alone in a room w only media as a child and not feeling like I had even a semblance of a personality for most of my life counts as "trauma"

a lot of these parts of me are new, I'm just recently putting names to them and it feels as though I'm developing facets of personalities in my mid 20s after a lifetime of either feeling like I'm basically just ADHD in a person, an amalgamation of kins shoved into a body, or something made of guilt Also shoved into a body.

I don't like, claim to know what this means. but I don't think a lot of my current mutuals would feel comfortable interacting w me bc I don't necessarily believe in the black and white of what plurality is. I'm not able or planning on getting any formal diagnosis and while I'm discussing this w my therapist they're very much not one to pathologize

I definitely don't feel like one person but I dont think id count for most of you as a "system" as the different parts of me feel as though theyre still developing. take all of this as you will, I'm not going to stress my body out more by trying to figure out "what" I am as I've been doing that my whole life and I'm kinda tired of it.

I know that I'm not entirely one thing and feel Enough like multiple things for myself, but blurred in a lot of ways. like some sort of gem with many different facets.

not sure where to go w this tbh take this how you will. im not comfortable saying I'm leaning one way or the other regarding system discourse, (<- not a phrase i want to use but the best shorthand i have) as I genuinely don't believe the human brain is nearly that black and white.

I'm both "me" and very much not "me" at times. idk what this means but ik I'm not comfortable saying im just pandora and im not sure im "allowed" to say im a system and im not sure if it matters, or should matter, regarding friends. im going to be like this regardless, id unfollow me if this grey area im likely to stay in bothers you

if you don't want me refollowing I'd probably block, too, as my memory is bad

[rarlkove]

It's good to see everyone in this fandom having fun with the polls now that it seems like most people have them, but I'm going to be completely honest. I'm having trouble enjoying it for the sole fact that someone hosted a poll for all of the Ninjago serpentine, Acidicus was on it, and I MISSED it. I mean, I have no idea if attempting to sic my followers on a poll for a certain outcome would actually have any sway, but come on! I would have at least liked to TRY making Acidicus sweep happen!

[shortnotsweet]

I got a kind of upsetting ask the other day about my Rhaenicent art. It wasn’t malicious, but it was phrased (non-verbatim) like: “you draw Rhaenyra much prettier than she is in the show. I enjoy your art, though!” and although I knew they meant well and I was glad they could appreciate what I made, my first instinctive reaction was to feel indignant, followed by rage and then sadness, and eventually a more contemplative state.

I started sketching Rhaenyra because I thought she was beautiful. She has sort of bone structure that is both strong and delicate, aristocratic, and has a very fine nose, the kind that makes for a sharp profile. I started drawing Rhaenicent admittedly because I wanted an excuse to sketch her in all kinds of armor—full suits, armored dresses, etc. and the scenario I imagined at first was one in which she donned armor and presented Alicent with a crown of flowers in a tourney.

I think the term “pretty” is subjective, obviously, and incredibly personal, but often very telling nonetheless. It irked me slightly first because oftentimes there’s a lot of focus both by editorial photoshoots and official promotional content to emphasize Olivia Cooke’s beauty in comparison to and sometimes to undermine Emma D’Arcy’s, and we know why: it’s not about objective attractiveness but rather conventional feminine presentation. This is also reflective, I think, in fan consumption. That’s not to say that Olivia Cooke is not gorgeous—she definitely is, and I think she has one of the strongest performances in the show. BUT it pisses me off instinctively when comments about Emma being less attractive crop up, because they genuinely ARE attractive, they just are not as feminine presenting. Fans or anti’s or whoever often bring this up in a competitive sort of way, either in an IRL context or in the actual show. So it feels more like a projection of “they are less feminine and therefore less beautiful”, which is ridiculous, and extends to Rhaenyra the character, who is female. The showrunner’s themselves made a lot of…questionable decisions, I think, given hair and wardrobe and characterization, to align the idea of a less feminine character automatically being less comfortable in their own clothes and therefore being given less-than-flattering and uncharacteristically non-ornate clothing as a result, as if their idea of non gender-confirming suggests frumpiness, or lack of confidence. That’s the thing about pretty, I think, that set me off. People suffer for pretty. People are happy because of pretty, or apathetic. People die and kill themselves for pretty. Pretty means things, like not ugly, not-not good enough, my standards, your standards, acceptable bodies, things like that.

The text has a lot to say about female beauty and presentation and identity and what the public projects onto young women on the basis of femininity and vulnerability, and the narrative even includes smear campaigns alleging Alicent’s supposed beauty and thinness over Rhaenyra’s waning youth, due to having children in rapid succession. The text largely grapples with the bloody transition from girlhood to womanhood and the question how women should or shouldn’t behave, and the consequences for doing either. Our own society and the society of the text align physical beauty with moral righteousness, and of course the ideal of physical beauty is heavily based on our own patriarchal, in this case Western standard of femininity. All’s that to say, I remember rereading the ask and thinking: “Less pretty? What does that mean?”

I’m not insinuating that they were trying to necessarily compliment or insult the actors, or that they were trying to belittle my own ability. It just felt strange to me, and disheartening: incredible effect, for only being about two sentences. Perhaps they meant “less accurate” in which case there could be an argument made, but still, it was a rude and backhanded way to phrase it, perhaps. I could just be overthinking it. Maybe it was just my ego that was bruised, that could be it.

The universe that I usually draw Alicent and Rhaenyra in, as stated in the tags, is a show-to-book hybrid, with a substantive age gap and different plot points. Both women are considered conventionally beautiful by their society’s standards. The Rhaenyra usually being drawn is usually a teen, sometimes a young adult, somewhere between Millie and Emma’s portrayal, and while I use references for both, the in-between is not a fixed face, and there is no definitive reference for her older and younger self. Perhaps that makes her “less accurate” which I wouldn’t argue with, but to me, accuracy is not the point when I draw from that universe and it discourages me that it has to be stated. I don’t want to draw Rhaenicent if the reaction is that I am not drawing them to an acceptable or comparable standard of pretty.

Similarly, while Alicent is loosely based off of Olivia Cooke largely bc she’s got great expressions and because the show’s visuals still play a part, half the time she is simply drawn as a woman with a round face and large eyes. Occasionally I draw and picture her with black or dark brown hair instead of red. There is no fixed face for her; she is an amalgamation. Maybe she is as ‘pretty’ as her onscreen counterpart, maybe not. It’s subjective, again.

I enjoy asks immensely. It makes me happy when people ask me questions, when they let me know what they’re thinking, when they make me think. I don’t want people to stop, and the vast majority have been wonderful to receive. This one made me think, definitely. It made me reflect. It also made my stomach twist and my drawing hand (that’s my left) twitch. I like drawing pretty things. I curate my Instagram and Tumblr based on pretty things. I like to look at pretty people. If I’m not pretty, I want to die. God, I should be sick of it.

[vampirebeverage]

psychology hack:

if everyone starts vocally saying things like "ugh I can't stand people-pleasers" or "I don't have any respect for someone who's just a people pleaser 🙄" then when people-pleasers hear that they will go "oh the way to earn everyone's love and respect is to stop being a people-pleaser" and they will be cured 😊

source: trust me I'm totally an expert

[poppyseed799]

I have this problem that’s like the opposite of nostalgia or something where some things I remember liking a lot as a child I look back and only remember the bad times.

This is specifically about Animal Crossing, loved that game as a kid, but I have literally no idea why, cuz it was just pure hell for me from what I can remember.

[iwritenarrativesandstuff]

The Agency's Older Brother: or, Ranpo's Character Development

I want to talk about Ranpo and the development he goes through in the series, because for as much as Ranpo is an important member of the Agency, his story is focused on in small chunks that may not always, at first read, seem to be overly significant. In fact, Ranpo’s arc is very consistent and I’m fascinated to know where it’s building to, because he’s done a lot of growing in the series. A lot of the themes of his story are to do with responsibility and faith in others.

The Ranpo we meet at the beginning of the story is not the Ranpo we see now. The biggest change is that he’s a lot more personally involved with the struggles of the Agency members, taking it on himself to be proactive and protective, while previously he had to be pushed and bribed into helping much of the time. When did this change?

Well...

[ID: Two screenshots from a scene in Poe's introductory episode of the Bungou Stray Dogs anime. In the first screenshot, Yosano lies on the carpeted ground, an axe embedded in her chest, blood pooling around her. Ranpo is crouched beside her, supporting her shoulders with one hand and clasping her hand with the other. The second screenshot is a close up of Ranpo's distressed face. End ID.]

The thing is, it's almost easy to overlook the effect this scene had on Ranpo, because Poe’s introductory chapter/episode is such a brief one. Moreover, afterwards, Poe becomes an ally and is a bit of a silly character, so it’s easy to forget sometimes that he was a legitimate threat here - and Yosano nearly died for it. This scene was incredibly significant to Ranpo for a few notable reasons.

It’s the first time someone in the Agency was in serious trouble/died without a backup plan.

It is, unfortunately, kind of on him. (Let me be real clear here: I am not blaming Ranpo. But he probably was blaming himself and that's something to keep in mind.)

To recap: Poe pulls Ranpo into his novel out of revenge, also trapping Yosano, who went with him. Ranpo realizes that they are in a world with no abilities, and importantly, he doesn't have the glasses Fukuzawa gave him.

We know those glasses mean a lot to him. When Ranpo was at his lowest, when he was convinced the world hated him, Fukuzawa gave him those glasses and told him he had a special ability. That he had a gift that no one else did that allowed him to see the truth that no one else could. Untold Origins makes it very clear that if Fukuzawa hadn't reached out to Ranpo when he did, Ranpo may have forever been outcasted. He was a kid kept in a bubble then suddenly and rudely shoved into a world he was unprepared to cope with, where he continued to get rejected and thrown out over and over - and all this on top of the grief he felt from his parents' passing. Ranpo was bitter and terrified of people, and thought everyone was pretending to be oblivious just to hurt him. Fukuzawa saved him the only way he could, in the only way Ranpo would hear him. It's not an exaggeration to say Fukuzawa saved Ranpo's life. And, while cute, it's also telling how quickly those glasses became an intrinsic part of his identity. Only maybe twenty minutes after he first received them, he was already making little doodles of himself wearing them.

Suddenly, the glasses are gone, and Ranpo goes into a funk because he "can't activate his ability without them". Obviously, we know that isn't true, and so does Yosano. Ranpo probably, deep down, knows this too, but to admit that would be to admit the president lied to him, and to uproot the very thing that gave him the means to perceive the world in a brighter light. The reason Fukuzawa had to lie in the first place was because the truth would be to tell Ranpo that his parents lied to him, something he angrily denies could ever be the case. And now, Fukuzawa is very plainly stated to be Ranpo's adoptive father. Ranpo's parents do not lie to him. He does not want to see it - and so he doesn't. This is a recurring thing with Ranpo. For as much as he sees the truth clearly, he also chooses not to see it at times when it would be uncomfortable/go against the intuition of someone he deeply trusts and respects.

And I think it's very easy to just leave it there, and say, "Oh, Ranpo realized at the end of this chapter/episode that he didn't need the glasses, that he doesn't have an ability, and that's a key turning point" but I don't feel that's the full picture or even the focus here, especially since Ranpo still hasn't reached the point where he can properly admit it aloud, even to Yosano.

The thing is, those glasses aren't just of use to Ranpo - they have sentimental value. A heck of a lot of it, for a character who is not very sentimental. The real turning point here is that Ranpo put on Yosano's glasses in order to save her.

[ID: A screenshot of a panel from the Bungou Stray Dogs manga. Ranpo puts on a pair of glasses. His hair is blown out of his face and he wears an intense expression. End ID.]

Shortly before this, we are informed by Yosano that not only was the Agency specifically formed for Ranpo to make use of his talents, but also that it was Ranpo who invited her to join - which we later learn was a pivotal moment for her to start over after she was completely broken by her experiences in the war. And now, he is watching her bleed out because she had to take over. Because he couldn't solve it. And that, to Ranpo, is unacceptable.

But again, there's more to it. Ranpo is fundamentally a self-centered character - this is not a judgement; I actually love that about him. He's the center of the Agency, the (ostensibly) good guys of the series; a narcissistic guy with little in the way of sensitivity who wants to use his skills to help others. Not for some higher ideal, or because it's "right" necessarily, but because he's good at it, and because he's supposed to protect all the "babies" who can't solve things for themselves. I love it because it highlights a major theme of BSD, which is good as something you do rather than something you are, and also because it explains something about Ranpo himself.

See, if everyone in the world is a "baby" who needs Ranpo's assistance, then the people in the Agency are a little different. They're people hand-picked by Fukuzawa to support him, both through praise and through backup. Remember that Ranpo trusts Fukuzawa's judgement more than anything - this means that he expects the Agency members can handle themselves. So, in chapter 10, when Ranpo doesn't really care that Atsushi has been taken, citing that it's a "personal problem" and he should handle it, I really think this was some odd form of "Atsushi will be fine" and "why should I worry or do anything when I know he'll be fine". And in the past, this has been true - the Agency members always pull through. None of them, up until that point, have been in a situation that they couldn't eventually fix. Ranpo has a bubble of safety in the Agency, that basically amounts to a "villain of the week" type beat from his perspective, where troubles gets fixed up pretty quickly. All in a day's work.

But then Yosano dies in Poe's book, someone he actually had some level of responsibility for when he invited her to join his safe little circle in a world that had no place for people like them. And it's a direct result of Ranpo's refusal/inability to act.

In order to fix this, Ranpo uses Yosano's glasses. The lens he's seeing through has changed. The people in the Agency were initially "his" in that they were meant to support Ranpo, the special one "chosen" by Fukuzawa's glasses, the reason for the Agency's existence in the first place. But now the people in the Agency are "his" in that they are his to protect. He's their big brother they all look up to in a way, and as the big brother, he's got to take responsibility for their safety.

Why did this not stand out in the moment? Well, we learn something about Ranpo from Untold Origins: he's very good at pretending he's doing okay and things aren't bothering him as much as they are. He's able to hold it together up until it all comes spilling out of him during the play. Also, I do think Ranpo cares about people a good deal more than he'd have you believe. A common fanon thing about Ranpo (from what I've seen) is that he tends to forget people, which, I can see how one would come to that conclusion, but I actually think it's completely wrong. I don't think Ranpo's forgotten a single person he's accused. I don't think he's forgotten a single person he's helped.

He lied about not remembering Poe, in fact, he remembered him pretty fondly as a real challenge. He remembers the information on a person from the Special Division he was asked to look into and gave the info to Mushitarou to allow him an in. He recognizes an officer he'd helped, and it's implied he recognizes every single officer who had been present while he was working on cases in the past. Does this mean he cares about all of them? ...eh. Probably not. But it does mean that Ranpo keeps a lot of his cards close to his chest. He's disarming with his intentional childishness. And so it can be difficult for the characters and readers both to notice that events like Yosano's almost-death... actually bothered him a lot more than he let on.

Because it was his fault. Because she was his responsibility. Because he's supposed to be invincible.

And unfortunately, the story from here on out does not get any kinder to Ranpo as his safe bubble that is the Agency is repeatedly targeted in ways that are increasingly hard to repair.

Fukuzawa falls ill and nearly dies in Cannibalism arc.

A girl gets blown up and Kunikida ends up in jail because Fyodor managed to manipulate Ranpo's intel.

Mushitarou is believed to have been shot and killed trying to warn Ranpo about the Decay of Angels plan.

Taneda bleeds out from a stab wound and falls into a coma. Ranpo can do nothing but listen and cannot get him help.

The amount of times Ranpo has seen people nearly die in front of him... bro it's almost as bad as Kunikida.

Much like Kunikida having extreme faith in his lofty ideals which make him fall just that much harder when he fails to uphold them, Ranpo has practically zero self-doubt and complete and utter confidence in his abilities... so when problems arise, Ranpo is very harsh on himself. He takes the blame because he's supposed to be better than that. Because he is the one with the powerful "ability" that should never fail.

In this sense, Ranpo's position in the Agency reminds me a lot of a certain person in the Port Mafia, someone who also has a powerful skill he puts towards protecting his own, someone who also received life changing words from the boss which earned him his loyalty, and someone who would do anything to defend the only place in the world he feels secure.

I think there's definitely a reason Cannibalism arc had Ranpo and Chuuya face off, I'm just saying. Both of them ostracized and thrown out as young teens by people who should've been looking out for them. Both the instigators of that arc, proactive and desperate to protect the person they are most loyal to who changed their perspectives. They've even got the same power stance, look. :P

[ID: Two panels from the Bungou Stray Dogs manga. The first is a panel of Ranpo with the silhouette of Fyodor behind him. He is standing with his hands in his pockets, facing front with his head tilted back and to the left a little, a fierce expression on his face and his cloak billowing outwards. The second is a panel of Chuuya standing in a similar manner, arms crossed, facing front with a fierce expression as his coat billows out around him. End ID.]

Of course, there's more interesting comparisons and contrasts to be drawn between them, but I'm focusing on Ranpo in this analysis, so I think I've made my point. Chuuya is the Port Mafia's best martial artist. Ranpo is the Agency's strongest man. And that places a burden of responsibility on them that they both believe they must uphold. They're both ready and willing to do whatever it takes.

The thing is though, is that Ranpo doesn't actually have an ability. When up against someone like Chuuya, he is at a distinct disadvantage, and he knows it. "Regular people can't defeat ability users". But he's still going to come up with a way to do it anyways, and why?

[ID: A screencap from the Bungou Stray Dogs anime. The members of the Agency all stand around Ranpo, who is seated at his desk with a smile, one hand holding his cap, the other held up in a casual gesture. The image is filtered in a soft light. End ID.]

Because his friends think he's invincible.

If Ranpo wants to maintain his safe place in a world of fear, then he has to step up to defend it, and he has to get creative about it. And that's exactly what he does. Ranpo becomes steadily more active throughout the story, which is a huge change from the start, where he had to be practically bribed to help at all. I see a lot of people point out his channeling of Fyodor's tactics to secure Kunikida's release, which is definitely a dark turn for his character, but it's not the only change.

Ranpo is now choosing to place his faith in others, the first obvious instance of this being his use of Poe's novels - which was how he defeated Chuuya. Ranpo knows that he is not going to succeed against people who drastically overpower him all alone, even if he does still take things on as personal burdens. He's also far more obvious about his protectiveness, going on the rescue himself to save the Agency members, driving a car (whereas before he needed someone to take transit with him - another indication of his increased proactivity since he's now literally driving instead of being driven), and bodily shoving Atsushi out of harm's way.

It all culminates in one of my favourite Ranpo scenes where he speaks at the conference to the police, who've worked with him before, where he asks if they will think for themselves - and tells everyone gathered there that anyone can be a detective if they think for themselves and look with their own eyes (!!!). He manages to get half the police force on his side, just through his words and his logic alone! Minoura assumes he somehow knew it would all work out, because, well, it's Ranpo. Ranpo knows everything.

But...

[ID: An image from the Bungou Stray Dogs manga. Ranpo sits in the passenger seat of a car with an honest, helpless smile. End ID.]

He reveals he didn't know if his ploy would work at all. He had to trust that it would with no solid proof. He had to trust these people would use their heads and look beyond the obvious. He respects these people enough that he thinks at least some of them will make the right call.

Fourteen year old Ranpo, bitter and estranged from other people, would never. For him to have come such a long way is testament to the security that the Agency provided him with. In a way, Fukuzawa forming the Agency allowed Ranpo to "complete" his childhood in relative safety, so that when the world became hostile once again and his family destabilized, Ranpo had matured enough to meet it and defend himself and those he has a responsibility towards head on. The Agency is his family, and Ranpo cares for them enough that he puts his faith, not just in them, but in the people they put their faith in too.

[ID: A panel from the Bungou Stray Dogs manga. Ranpo is kneeling in front of Fukuchi, who is sitting backwards on his chair to face him. End ID.]

...aaaaand then Fukuchi went and ruined it. Thanks, Fukuchi.

Ranpo again chooses to put his trust in someone without proof because Fukuzawa trusts him, only for that to have gotten thrown back into his face in the worst way possible. And it's in this regard, the trust aspect, that I think we'll see Ranpo develop as the story goes on.

Will he continue to show this tentative faith in people? Or will he begin to hyper-analyze, unwilling to trust again without proof?

If this arc gets resolved decently well, I think Ranpo will have no issue brushing this off as a one-time thing. However, if what I fear might happen does and Fukuzawa doesn't make it out of this arc... Ranpo will be destabilized.

I don't know that Ranpo would go "bad" per se. He likes the other Agency members. He cares about them - that's genuine. But if Fukuzawa dies, then Ranpo may begin to take darker actions in order to keep them safe, almost overprotective and harshly logical, with little room for blind trust or risks in the name of justice or honour. It may put him at odds with Kunikida, in that Ranpo may start to develop a strong "do what's necessary" mentality, even if that may be immoral. He may regress a little into his old trust issues.

However, I really don't think Ranpo will go too far down the path of darkness, even if the worst should happen. He's a lot tougher than he seems, and he has a good support system in the Agency. I guess it remains to be seen where Ranpo's story takes him next.

Until then...

[ID: A screencap from the Bungo Stray Dogs anime. Ranpo sits in his chair in a cuter art style, having taken a bite from the pastry he has in his left hand. End ID.]

I love one good boy. :)

[stormofdefiance]

True knowledge exists in knowing you know nothing || Dr. Ratio & Socrates

Okay, I legitimately laughed out loud writing that title, but listen. LISTEN.

Ratio's inspirations derive from many sources; from referencing Archimedes's brain-blast in the tub, to being doomed to have his head bonked by Newton's apple ad infinitum in his idle animation, to his ultimate line ('esse est percipi' / 'to be is to be perceived') a direct quote from Berkeley on Idealism - it's apparent that his design nods towards scholars across time periods rather than being a direct parallel to a singular academic.

Nevertheless, just for fun, I've been rotating Ratio and ancient greek philosophers around in my head and have had a great time chewing over how parallels Socrates in particular. I am in no way saying that Hoyo even thought about Socrates while they were designing Ratio, but I thought I'd share my thoughts. I think there are some worthwhile parallels to be drawn that touch on all aspects of Ratio's own philosophy regarding ignorance, the value of knowledge, and his deep appreciation of life. So, let's get into it.

Ratio is interested in humanity and curing 'ill minds with knowledge', that 'to turn a blind eye to the folly of others is not an etiquette, but a wicked worldly practice.' Ignorance is a disease - this is a concept that can be viewed through a Socratic lens. Socrates believed that that virtue and knowledge were impossible to separate from one another, and that virtue could be developed through acquiring knowledge and insight. If knowledge is virtue, then ignorance is vice. In Socrates's mind, no one would rationally choose to do something bad. People might choose to do bad things, but this is rooted in their own perception of the world - as in, someone would only choose to do something bad (for the world, or for themselves) because they believed (erroneously) that it was the right or good thing to do. To Socrates, the cure to this was knowledge: 'There are two kinds of disease of the soul, vice and ignorance.' & 'What does most harm in the world is not sinfulness but ignorance'.

To Ratio, 'If ignorance is an ailment, it is the duty of the scholars to weed it out and heal the universe'. He views his own ignorance as 'filth' that must be cleansed through methods such as reading. He also views knowledge as a method for humans to overcome their problems - 'Another day has passed. If your problem still hasn't been solved, is it possible the problem is you?' & 'You look distressed. Is something troubling you? if so, you can figure it out for yourself.' These statements sound harsh, but they also clue us into Ratio's philosophy - that through self-examination and improvement, one can overcome one's ailments.

Socrates was also known for being a trouble-maker, he was abrupt and tactless and did not care for someone's social standing nor decorum. He was also known for using what is now called the Socratic method, asking a series of questions that ultimately seek to show contradictions in the beliefs of those who posed them, and to move systematically towards a hypothesis free from contradiction. Socrates rarely made assertions himself - after all, he had no wisdom of his own. But he could interrogate others in order to expose their own foibles, much to the embarrassment and annoyance of those around him. He was once described as a 'gnat' chewing on the 'lazy horse of Athens', causing it to wake up and spring to life due to his persistent gnawing and prodding. Ratio also employs the Socratic method - 'I'm asking questions' - and also adopts sophist tactics such as playing devil's advocate and taking opposing sides (with both himself as seen a story quest, and with others as we see with his texts urging us to take up a side so he might debate us). Through questioning and interrogation, upsetting what we consider social convention and norms, we can dispel contradictions and thereby come closer to some form of truth.

To add to this - as highlighted in the replies below - Ratio’s skill ‘intellectual midwifery’ is a reference to the Socratic method. The idea being that Socrates helped those around him give birth to the knowledge that was already within them, rather than treating his students minds as empty vessels for him to fill with his own answers. Again this is beautifully echoed in Ratio - he doesn’t want to tell you how to live your life, he wants you to work out for yourself what it is you need, thus empowering oneself through self-examination and questioning.

Socrates did not believe in writing anything down. He believed that face-to-face communication was a far more effective way of communicating knowledge - which means, unfortunately, what we know of Socrates is primarily derived from secondary sources. Much of what we know about him today comes from Plato's dialogues, and Plato was known for liberally exercising artistic license.

Although Ratio is not dead, I find it interesting that his character story is told exclusively through secondary sources. To quote - '…There are no less than eight documentaries detailing his legendary exploits, and over a dozen memoirs about him. However, despite the plethora of commentaries, none of them seems to provide a compelling perspective.' It's as though there are no surviving fragments penned by Ratio's hand and all we have to go on is through the lenses of other people. This challenges us, perhaps, to try to think about our own interpretation of Ratio since secondary sources cannot be taken as a wholly unbiased account - and once again employing the Socratic method and empowering the reader to come to their own interpretation.

While Socrates left no writing behind, he was interested in spreading knowledge. Socrates spent most of his life in Athens, a city that was, during his lifetime (~470-399 BC), a hotpot of scholars, wisemen and philosophers. Athena, the Greek god of wisdom, was named after the city - her symbol the owl that is also appropriately perched on Ratio’s shoulder. Also in Athens at this time where the sophists. The sophists were a class of intellectuals who were known to teach courses in various subjects - but often for a high fee, and generally centred around the idea that persuasion and the use of knowledge as a tool was more important than wisdom or truth itself. There's some debate about whether Socrates could be characterised as a sophist himself, but, crucially, he is characterised as refusing to take payment for his teachings. He was born a plebeian (perhaps you might describe it as a mundane background.) He was known to dress in rags and go barefoot, speaking to and (often antagonising) people from all walks of life, preferring the marketplace as a center of debate than palaces or courtrooms. I can't help but think of the sophists as similar to the genius society (or at least Ratio's depiction of them in contrast to himself), cooped up in ivory towers and gatekeeping knowledge to the most privileged. He doubts if Herta's talent is always helpful to others, he compares Screwllum to a 'monarch'. Then again, the sophists may in fact be a bit of a parallel to the Intelligentsia Guild - from Ratio, 'when someone is willing to listen to knowledge that is being disseminated and circulated, a price is created'.

Socrates (or at least the Platonic depiction of Socrates) was at one time declared the wisest man in Athens by the Oracle of Delphi. Socrates balks at this assertion - how can he possibly be the wisest man in Athens when he in fact knows nothing at all? This was not a claim made of modesty - he truly believed that he had no wisdom, that he was unsure what 'wisdom' itself even was. Ultimately, Socrates concludes that the only way that the Oracle could be correct is that by actually acknowledging that he knows nothing he paradoxically is the wisest man in Athens. All wisdom, therefore, is rooted in wondering, with wondering only possible if one is open to admitting one's own ignorance.

What I love about all of this in relation to Ratio is that Ratio styles himself as a mundanite. The Intelligensia Guild advocates that 'all knowledge must be circulated like currency' and accepts 'all beings… who seek to learn'. Ratio has no time for the satisfied self-styling of intellectualism, he himself states that 'to speak knowledge, we must first make people realise their own folly.' No one is above criticism in this regard, even himself - again, to quote 'Whenever someone agrees with me, I feel like I must be wrong.' Again, I feel as though he would resonate with Socrates here: 'Smart people learn from everything and everyone, average people from their experiences, and stupid people already have all the answers'. With Aventurine, he is quick to mock his appearance as over-the-top and vapid - once again making it clear his distate for vanity and hollow displays of showiness (albeit he may have been acting for Sunday's sake here. Also, no comment about this coming from a man who runs around in a toga, lmao) Equally, with Aventurine, it is clear that Ratio is willing to learn from him - he apologises when he offends, he abhors his methodology and yet he still relies upon it and trusts in Aventurine's plan, he is drawn to him in some ways precisely because he is so different to himself. Aventurine (at least styles himself) as impulsive to Ratio's slow and steady methodology, Aventurine whose learning has been entirely self-made vs Ratio who has spent his life in classrooms, Ratio who scoffs at Aventurine's favourite games of chance yet adds slot machines to his simulated universe. And to Socrates, the experience of aporia – in all of its discomfort and disruption – is the very catalyst of wonder, and that wonder was not just the root of wisdom but also the way to live a good and happy life. There is something beautiful in this to me, and this extends to Ratio. Ratio fundamentally cares about life. For all his brashness, his lashing out against 'idiots', his harsh demeanour - he wants people to live good lives, he wants to contribute to the good of humanity - all people, even those he is annoyed by, he cares so profoundly and absolutely about life. The entire reason why he is obsessed with wisdom and learning is not to exalt or elevate himself, not as some kind of ritualistic expression of piety towards a deity, but it is instead an expression of devotion towards life itself. Ratio has a strict work out routine not so that he can show off his body, but because living healthily is living well and working out is a component of that. Even the way he fusses and worries about Aventurine, someone he is pointedly irritated by, reveals how deeply his care runs. So so much of his character is centered on caring for life, even if it is not immediately obvious.

Finally, I'd like to highlight some ways in which Ratio is not like Socrates. First of all, Socrates was repeatedly described as 'ugly' by fellow philosophers Plato and Xenophon - this is contrast to Ratio being repeatedly described as 'handsome'. This is an interesting subversion to me (albeit likely an indulgent one) as in both cases both men attempt to distance their physical appearance from the weight of their words. Ratio wears the bust for many reasons, but way to view it is that he is attempting to stop his appearance from bearing any influence in the subject of debate.

Socrates was also said to be blessed by a divine touch, and as we know, this is something that agonises Ratio as Nous has not yet turned THEIR gaze towards him.

Lastly, Ratio has - thankfully - not yet been ordered by the state to drink hemlock for all his trouble-making and blustering. Though perhaps he may someday be put on trial by the IPC if the theories that he is working alongside Aventurine to undermine the corporation are true - we will just have to wait and see.

Thanks for reading my little ramble. I'd be super interested in anyone's thoughts if they'd like to share, but regardless, I'll leave off on some of my favourite wee quotes from the Rat man:

'Even a life marked by failure is a life worth living - it is only in moments of solitude and despair, when help is absent, that fools grasp how to pick themselves up.'

'Do stay alive. I wish you the best of luck.'

[strayheartless]

It’s only just occurred to me that Cloud doesn’t know his age.

Like, when Barret says “what are you 20 something?” And cloud replies with his “rank” it’s not Cloud being dense, it’s his brain covering up the fact that CLOUD. DOESN’T. KNOW. This kids brain is so fired that he legitimately doesn’t know how old he is because the last time he checked he was 16, but 5 years have passed -years that he’s only subconsciously aware of - and so Cloud doesn’t know he’s 21.

My guess is that Cloud has been working on the assumption that he is 19, the same age Zack was in Nibelhiem. But even then, he questions how old Zack was in the end. Which it unendingly sad because Clouds sense of self is so lost that actual key facts about his physical condition are lost. We know he is aware it’s been 5 years since he last saw Tifa, but if he thinks he’s this cool SOLDIER first class, does he remember that he’s not older than her?

It kind of gives me this idea for a moment between VII and Advent Children where Cloud gets really distressed on his first birthday outside of captivity. Just him, looking at Tifa, terrified, and whispering, “how old am I?”

[thebibliosphere]

Legitimately if you message me about Goncharov again, stating that the people “complaining” about needing an unreality tag just need to “learn how to take a joke,” I am blocking you.

I don’t care if we’ve been mutuals for a decade. I don’t care if you’ve been a huge supporter of my work. You are being reprehensibly unkind in this moment and I will not tolerate it.

I’ve only ever experienced psychosis and delusions from medication interactions, and while they were short lived, it was some of the most terrifying shit I’ve ever experienced.

The people expressing distress over Goncharov memes being portrayed as real are not the assholes here. You are.

[rallamajoop]

On Mia Winters, misogyny, and abuse

As should be pretty obvious by now, I love Mia Winters. I honestly think she’s one of the most compelling characters in this whole damn franchise.

But let me make clear: you don’t have to love her. Mia’s canonically done a lot of shady shit in her time, and her relationship with Ethan has real problems. There are perfectly viable interpretations where the only thing really holding it together is his own denial. Only I never seem to get to read any of those takes, because the most common characterisations Mia gets in fic are an irredeemable monster, or a cardboard cutout who exists only to be written out as quickly as possible. And to write Mia out to that degree doesn’t just do her character a disservice, it does Ethan a disservice, and a big one.

The amount of Mia-bashing I see out there in this fandom turns my stomach. It’s not just the slash fans who’d rather ship Ethan with another dude. I have seen Mia loudly bashed in tags on het or gen fic in which she does not even appear. I have seen male fans reviewing these games on youtube who treat her the exact same way. But it’s never more frustrating than when that hate comes from the same fans who’ll turn around and talk about characters like Chris or even Lady Dimitrescu (she who canonically abuses her and murders her servants, and, y’know, eats people without a shred of remorse) like they’re perfectly forgivable and have done no real wrong. And don’t get me wrong: I love Lady D, but I love her because she’s magnificently evil. Mia? Mia’s a whole lot more complicated.

But to really explain why this hate makes me so uncomfortable, I’m going to have to start with the start of Resident Evil 7, and Mia’s very first scenes in this whole franchise.

Let me quickly summarise the opening of that game. A man whose wife disappeared without explanation suddenly gets a message about her whereabouts. He travels to an isolated location, breaks in, and finds her. She denies ever sending him that message, and seems incredibly distressed that he’s there at all. They fight. It ends with him sinking an axe into her neck and shooting her several times with a handgun. But see, he didn’t do anything wrong! It was all self-defence! She started it! She was acting crazy!

If you didn’t spot it, the whole opening of RE7 reads uncomfortably like a story about a woman escaping an abusive relationship, then being tracked down and murdered by her ex.

Obviously, I am not here to tell you Ethan’s abusive. He’s not, we’ve got no reason to imagine he is. He was legitimately acting in self-defence.

But the fact the first thing Ethan has to do in this game is find the balls to kill his own wife ‒ that a whole new era of Resi games has opened with a sequence so easily read as a sympathetic justification for how a man might perfectly innocently track down his missing spouse and "have" to kill her – that made those opening minutes into by far the most uncomfortable part of this whole franchise for me. Shit like this really happens. I mean it, I will track down the fucking statistics on women who are murdered after trying to leave an abusive partner if I have to.

What happens to ‘Mia’ in the opening to RE8 isn’t much better: it's as textbook a fridging as any I’ve ever seen. Yes, it’s a fridging that gets retconned away later when she turns up alive, but the fact that’s even possible speaks to just how awful and confusing her death is. The game opens with Mia’s violent murder at the hands of this series’ longest running ‘hero’, and the event is framed entirely in terms of how awful it is for her husband. That's as frigid as a fridging gets.

The eventual reveal that the real Mia was just trapped alone in a cell being experimented on by a madwoman for god knows how long doesn’t actually make it better. The horror Mia goes through in both these games is a footnote, barely explored.

I bring these events up not to condemn the RE franchise, not to say that including these sequences was unconscionable, or that violence against women can never be shown in a horror title. A quick glance at my tumblr should demonstrate how much I adore these games. Tropes like fridging become problems only because they’re so ubiquitous they can come to define almost the only roles women get to play, not because any individual example is necessarily grounds for outrage. If anything, there’s just as much to analyse in all the hate thrown at characters like Ethan Winters (or his predecessor, Jonathan Harker) as a archtypical examples of sexism against men – backlash against the very idea of a male character in the disempowered role of horror victim, usually reserved for women.

But with this context in mind, my god is it uncomfortable to see people talk about Mia as irredeemable monster who deserves to suffer more. People who will valorise the likes of Chris Redfield, who didn’t even bother to stop to tell Ethan that’s not Mia, yet talk about Mia like being shot to death in her own living room was only what she deserved. That is just a whole load of yikes.

And given that both games open with Mia being violently killed by a male protagonist (twice in RE7, with the player in control), it sure is convenient how so many people have managed to ‘find’ the evidence that proves she’s the real villain. You don’t have to think too hard about Chris Redfield as a violent maniac or Ethan Winters being forced to kill his own wife if it’s okay to inflict violence on this woman. “Yes, but she shouldn’t have done [X]…” or even “But what if she’s the real abuser” is a narrative that gets thrown at real women in abusive relationships all the time – especially when the man is a friend of whoever’s casting judgement, or even a celebrity. Real world examples of this shit in the wild run the gamut from wild fan-takes on The Shining ‘proving’ that actually the abused wife was the ‘real’ abuser all along, right up to the ongoing hate campaign against Amber Heard. People don’t want to have to think badly of someone they admire, and will take any excuse to shift the blame. The stakes are infinitely lower when we’re talking about fictional characters, but the same pattern plays out.

And look, I do get it. It’s easy to go into these games and come out with a negative opinion of Mia. She’s the one who lures you into danger in RE7, acts all innocent, and then comes at Ethan with a chainsaw – and when you finally find out her big secret at the end, it turns out she was working for the people who created Eveline from the start! You’re really not given a lot of reasons to invest in Ethan and Mia’s relationship before she’s suddenly coming at him with a knife, and the fact she never does get to come clean to him in canon leaves a bad taste in the mouth.

It’s really easy to go into RE8, note all the glaring signs that Ethan’s relationship with Mia isn’t healthy, and draw your own conclusions about a woman we don’t hardly even see again for most of the runtime of the game. Half this goddamn fandom still seems to think Heisenberg is actually a lycan, ffs – most of what people think they know about Mia is more meme than fact, and the rest is pretty surface level. Basic media literacy is not exactly high out there in the tumblrweeds (let alone the rest of the internet).

But as for the idea that Mia’s responsible for all the horrors Ethan went through, people seem to forget that Mia herself went through so much worse. Ethan spent a day in the Bakers’ property, and a day in the village. Mia spent years trapped in the Bakers’ property, and days at least imprisoned in Miranda’s lab, knowing exactly how much danger her family were in, helpless to save them. She’s no innocent herself, but ye gods has she already suffered for her crimes.

So with all that out of the way, well, what’s the actual ‘evidence’ that Mia herself was abusive? No-one's coming into this one without some bias, but let’s at least give it a fair shake.

Right upfront, I want to recognise that in both fiction and reality, women can be abusers, and men can be victims. Abuse in heterosexual relationships is far more likely to occur with the man as the abuser, but the reverse does happen, and the fact culture at large can be so eager to cast the woman as the villain doesn’t make it any easier for the real male victims of abuse to get recognition and help. Society as a whole is still just really shitty about enabling or excusing real abuse.

But the idea that Mia was abusive has very little to back it up. Whatever you make of “her” interactions with Ethan at the start of the game, the fact remains: that’s not Mia, and the fact she’s acting so strangely is meant to be our clue that something much bigger than a little marital strife is going on here. Knowing all this doesn’t really make the scene where she’s violently executed less disturbing, but you can’t miss the hints we don’t yet know the full story.

So the question becomes, is there any evidence that the real Mia was abusive? I’ve dug into this one a bit before in my post about trying to figure out the timeline of exactly when Mia was replaced, but there are no definitive answers as to how long Miranda's been living in their house. To summarise a long post (and a surprisingly lively timeline of events from the days before the game begins): the most likely intent seems to be that Miranda’s been posing as Mia for less than a week, though a lot of the vibes of the scene give me the impression it’s been several weeks at least. Ultimately, that’s going to come down to your own interpretation.

The Mia mentioned in Ethan’s diary who blew up at him at the hospital could be the real Mia, but more likely isn’t: you can’t really use her to argue anything definitive, one way or another. The Mia from the flashback where Ethan gets the call from Rose’s doctor is the real Mia, but if you think getting upset when your husband brushes off your obvious distress over your daughter’s health makes you abusive, then nothing I say here is going to convince you otherwise.

The only ‘real’ evidence that Mia might be a problem is one line you might hear from Ethan while taking Rose to bed, and it is admittedly a red flag: your mother’s scary when she’s angry.

And to anyone whose whole hatred of Mia has been built backwards from this one line – especially anyone who’s grown up in a dysfunctional household themselves – hell, I get it. It is one really yikes thing for Ethan to say about his wife.

But in Mia’s defence, I can only point out that, well, yes, canonically, she is scary when she’s angry.

Oh, did I say angry? I meant fucking possessed.

And if Ethan’s bringing up the spectre of that time, even subconsciously, maybe that should be an even bigger clue that the Mia in this house right now isn’t Mia.

But what really shows this line for what it is is that we’ve seen the real Mia angry. We’ve seen her cold fury at Eveline, daring to go right back to asking ‘can we be a family now?’ within hours forcing Mia to assault her own husband with a chainsaw. We’ve seen her frustration at Ethan’s own denial, and we’ve seen her stalk out of the room when he blows off an important conversation for a call from work. We’ve seen her advance on Chris after he shut her down, demanding, Where is my husband? Where is my daughter?!

We have never seen her angry without real justification. Her anger is neither violent nor disproportionate. It’s consistently purposeful, focused, and contained. There is nothing scary about the real Mia’s anger, unless you’re threatened by the very idea she might have something valid to be angry about.

There is evidence of tension in the Winters’ marriage from before Miranda’s arrival, but it takes a very different form – most evident in the flashback scene where Ethan receives the call from Rose’s doctor. Far from Miranda’s brusque, dismissive copy of her, the real Mia is anxious and depressed, scared of what Rose’s results might reveal. Here, Ethan’s the one brushing her concerns aside (“We talked about this […] Rose is fine!”) He recognises there seems to be something Mia’s not telling him, says they should talk about it, but then immediately brushes the conversation off when he gets a call from work, while Mia storms out of the room.

You can certainly read Mia as a hypocrite here, getting angry at Ethan for not knowing things she’s deliberately kept from him. But it’s Ethan who decides a call from work is more important than a conversation with his wife – someone who is obviously distressed, canonically still on a regime of drugs after the traumatic events of RE7, very likely suffering PTSD along with Ethan, and maybe even some form of postpartum depression. We don’t know anything about Ethan’s work, so there’s no point in speculating about how much he ‘needs’ to take that call. Mia’s no clear villain here – quite the opposite.

Personally, I tend towards taking this scene as evidence that Mia has tried to talk to Ethan about what really happened to him, but hasn’t managed to get him to face the truth. For all that Ethan supposedly wants to talk about the past, it’s a defining plot point that he’s badly in denial himself.

Or they could both be at some fault here: Ethan unwilling to face the truth, while Mia is reluctant to force him to face something she knows will hurt him and bring him distress. Even when Mia says outright that she ‘tried to keep this a secret, but…’ to Chris at the end of the game, the implication is as much that she’s tried to keep it a secret from people like Chris, who might decide Ethan is dangerous. She’s lied to protect him before, and if she’s still lying to him about her past with the Connections, then the fact that knowing the truth will hurt Ethan is obviously among her reasons. Protecting Ethan has always been among Mia’s top priorities ‒ even at her own expense.

The only other real hints we get about Mia’s inner life come from the glimpses of her we get in Donna’s domain. But I’m hesitant to read too much into these, given how unclear it is how much is just a manifestation of Ethan’s own anxieties. If anything, the ‘Mia’ in these scenes almost seems to have some far worse secret than simply having not told Ethan something he really ought to have put together on his own, and I’d kind of love to see that explored too – at least as long as that goes somewhere more interesting than round umpteen of ‘and that’s why Mia sucks’.

But my point here isn’t that you have to read any of these scenes the same way I do. I do think it’s important to recognise that nothing written for a game like RE is truly character-driven; scenes exist to serve the plot far more than to reflect consistent character motivations or hold up to fridge logic (which, let’s face it, is the real reason for most of Chris’ horrific behaviour in this game, let alone anyone else’s). The result is rarely super consistent, and leaves ample space for multiple interpretations of anyone’s motivations. Regardless, the idea there’s any hard evidence that Ethan and Mia’s relationship is dysfunctional, or that whatever’s wrong is Mia’s fault alone, is going to be incredibly hard to justify.

Any assertion that Ethan and Mia are somehow on the verge of divorce also needs to be weighed against the masses of evidence of how much they love each other – the number of times Mia has said she loves Ethan, up to and including (yes, I’m bringing this up again) how ready she is to die for him in RE7. Her speech to Chris at the end of RE8 states explicitly that being together with Ethan and Rose is the only thing that matters to her. “Mia, I’m sorry, I love you,” are some of the last words Ethan ever speaks – and I can’t help but read into how the moment he finally pushes Rose into Chris’ arms so they can get away with him weighing them down is right after he learns that Mia is alive, and thus implicitly that Rose won’t be alone if Ethan doesn’t make it. And good god does that scene break my heart every time.

It’s worth recognising that the fact Ethan and Mia love each other doesn’t inherently mean their relationship is healthy, or that you have to love them together as much as I do. Like I said up top, you don’t have to like Mia, and you don’t have to justify not liking her if you don’t. I would genuinely like to see fics where Mia and Ethan’s supposedly-necessary break up feels in character. Where Ethan loves her but just can’t deal with the resentment and the fallout over all the lies she told him, where he's been clinging to his 'happy ending' with Mia after surviving the Bakers so hard he can't face the fact things just aren't working, or where he’s having to face that their relationship only ever really worked because she was away so much. It will break my heart, but fiction is allowed to do that.

But god, it would be nice if people could just take the bashing below an eleven around this place. The number of times I’ve had to sigh and back-button out of reading something, because yet another author has decided to project their own hatred for Mia onto the husband who’s still reeling from watching her being violently murdered in front of him… it gets fucking old, y’know?

I would really like to think that in the year of our lord 2024, fandom would be a bit past this thing where they bash the canonical female love interest in the name of shipping the hero with another dude. People will bend over backwards to try and cast Heisenberg and Chris as guys who really care about consent and worry about Ethan getting hurt, because heaven forbid anyone be caught shipping something slightly problematic. And yet misogyny still somehow gets a pass.

You do not have to love Mia. You don’t even have to like her. But ye gods, the hate she gets is baseless and absurd.

Hasn't this poor woman suffered enough?

(And on that note, I promise I am finally done soapboxing in defence of Mia Winters, thank you for bearing with me for this long.)

[joshusten]

kiss and make up

In which Honey wants a makeover and Guy gladly helps. (lots of kisses, fluff, makeover time!!!)

2.7k+ words [ao3 will be added when im not lazy lmao] [masterlist]

[CW and notes: typical guy innuendoes, honey doesn't know how to do makeup and they get a lil insecure about that fact, that being said i'm not really a makeup expert too LMAO, theres also lots of grammar mistakes probably ;--; and since like, makeup styles and visuals vary between people i tried to make it as vague and gender neutral as possible but idk if i really achieved that so keep that in mind and please let me know if i should change some wordings etc. ! oh and lmk about typos too hehe tysm!]

thank you so so much to my dearest friend @slushiepizza !! this wip is literally a year long and they've been a HUGE HUGE (x1000) help to me finishing (and convincing to post) this fic!! this fic's also inspired by fanart they made before and this yt short from that one anthony padilla interview. also yes theres a lil 2024 hbs guy AAAND jin (his gamer friend in that second hoodie video i think) reference too lmao HAHAHAH hope you enjoy!! :D "Ugh! Why can't I fucking–" 

“Piece of—!”

“Fuck!”

Another frustrated groan cuts Honey off. For the past few minutes, Guy had been hearing his partner's muffled frustrations from their room all the way to their humble kitchenette and he was seriously starting to get worried about what could possibly be troubling their usually well-composed lover.

He quickly turned off the stove, wiping his hands on the piercingly hot pink apron with the words "Please Do More than Kiss the Chef" embroidered on its body (a joke gift, courtesy of Rosa being his Secret Santa last year, that Guy legitimately used in his every day, much to his friend’s amusement). Fortunately, the lunch he was making was done by the time he decided to check up on them (and, really, it was just a simple one-pot pasta recipe he stumbled on Tiktok at 3 AM.)

Guy haphazardly hung the apron by a chair nearby—future Guy can worry about all of the mess later—and made his way to the hallway that led to their small shared bedroom.

He gently knocked a little melody on the door,  announcing his presence through the painted wood. "Honey?”

A thump was heard, as if something suddenly dropped out of surprise, followed by a faint “Shit!”

The man knocked again, this time with a furrowed brow.

“Honey dearest? Lover of mine? Is someone botherin’ you? Need to kick someone’s ass?” He joked, clearing his throat afterward for a more sincere tone. “But for real, do you need any help there, baby?”

The silence that followed almost tempted Guy to ask again before a loud sigh came from the other side.

"Yeah…It's unlocked. You can come in..." 

They almost sounded embarrassed. A little shy even. The man couldn’t help but grin at how comfortable Honey had become showing him their more vulnerable sides throughout their time together. 

Guy opened the door slowly to reveal their usual semi-tidy bedroom save for the mess that seemed only to be contained around Honey, whose head was currently hanging low in shame. Alarms went off in his mind once he processed the potential severity of the situation with how distressed his partner looked.

He rushed to where Honey sat, in front of the vanity where a variety of make-up products were strewn across the dark oak wood. Upon closer inspection, he could see that—

Oh. Uhm. This was interesting.

His partner’s frustrated face seemed to be an amalgamation of different cosmetics that looked like they were hastily smeared on and rubbed off multiple times. 

Patchy foundation, unblended blush, shaky eyeliner. 

Guy can practically feel the heat coming off their tinted face, furrowing their brows and averting their glare to the side.

“Look, I know what this looks like but—" Honey was never able to finish their sentence as a very, very poor attempt of stifled giggles reached their burning ears. Oh my god, he's never gonna let them live this down, is he? 

“Guy.”

“Wh-whaaaat? N-no, you look f-fine Honey! Pfft–” A snort interrupted the man's words of reassurance. 

“Guy, stop laughing, you asshole!” They groaned, sending a flurry of light slaps to Guy's shoulders, snickering along to indicate that they weren’t actually mad at him because, yeah, they did look a little silly (and his laugh was too damn cute to distract them from their predicament) but that still didn't make them any less self-conscious about it.

“I-I–OW! I don’t know what you mean, baby!”

Honey crossed their arms and made a face, looking away in a pretend-but-not-really sulk. 

“Fine, so I’m horrible at makeup ha-ha! Pack it up, jackass!”

To that, their boyfriend's laughter slowly died down, leaving him with a soft, sympathetic smile. 

“Okay, okay! I’m sorry! C’mere,” He apologized, beckoning them to come closer to which Honey begrudgingly complied. His smile brightened, pressing numerous quick kisses against his partner’s grumpy face, pulling away with a string of giddy giggles.

“Ew, I got your foundation on my lips.”

“Serves you right,” Honey huffed, unable to hold in a chuckle as they saw the faint splotches of the coating in their skin color on their boyfriend’s stubbled chin and pouted lips.

“So, uh, mind telling me what actually happened over here? ‘Cuz, Honey, you’re as pretty as a painting…given that it’s a painting my baby cousin can do, which I’m assuming isn’t what you were going for?” Guy asked, his full attention to his partner's make-up Frankenstein of a face.

The embarrassment rushed back to Honey tenfold but they masked it up with a shrug that looked timid regardless. “I dunno…there’s this event in the evening with my company and I just…wanted to try something new with my look. I-it's stupid. I started a lot earlier because I knew I’d need some time to learn but…I just can't get the hang of it!”

Sure, they know make-up isn’t all that easy to do but managing to tremendously fuck up something as seemingly simple as putting color on their face despite the amount of tutorials they’ve watched was just embarrassing to admit (especially to someone they’ve grown to care about what he thinks of them). They braced themself for more mocking laughter yet the teasing never came. Instead, they heard an excited gasp.

"Oh, I can do your makeup for you!"

…What?

"Uhm– I– You–?"

Guy picked up the wiped near Honey and started pulling a few from the already-opened plastic pack. The subtle clean scent of aloe vera wafted into their nostrils.

"I can do your make-up!" The man repeated happily, oblivious to Honey's quizzical stare. He gently grabbed their chin with one hand while the other one held the cleanser-soaked napkin inches closer to their cheek before he stopped and gazed into their eyes, "Can I?"

"Uh…Y-yeah. Sure." They felt their breath hitch at the sudden intimacy of the distance between them.

Guy beamed at that and started removing the product on their face but the confused expression never leaves it. He discarded the used wipes in the trash can under the vanity table and started sifting through their shopping spree's worth of cosmetics.

“I suggest you buy micellar water or cleansers instead of those wipes. They do a better job!”

“Uh, Guy?”

"Oh, you got this one! Yeah, I really like their formula, it doesn't feel too heavy on the skin. Well at least on my skin. Let me know if it doesn't feel comfy and–"

"Guy…"

"Woah, you got your shade just right with this one! Ah, but I think this brand oxidizes so the color might change–"

"Guy."

"Ooh, I haven’t seen this product before! Is this newly released or—”

"Guy!” Honey exclaimed, finally capturing their boyfriend’s ever-so-dwindling attention. “Babe. How…I mean, not that I'm doubting your skills or anything but–" 

By this time, Guy had already cleaned all of the makeup off from his partner and was now left with the face he was more used to seeing (and admiring).

"It's just…I've never seen you wear makeup. At all. Besides Halloween, I guess?”

The man simply grinned at that and continued rummaging through the cases of eyeshadows and face creams. “If you must know, a performer was moi!” 

“Oh, trust me, I'm familiar with your theatrics.”

“I’m just gonna pretend you meant that as a compliment,” He huffed, averting his gaze to the products that lay between them both. “Anyway, I did a lot of shows back then and, well, with constantly getting your face painted on, you pick up a few techniques, y'know? I even get to do my own makeup!”

The click and clatter of glass and plastic fills the room as Guy carefully examines each container with the same look he gets when he proofreads a revision of a script he made. It was almost weird to see how his eyes scanned the text of the labels and his habit of biting the inside of his cheek while focusing on the context other than the familiar blue light of his laptop.

“Got interested, asked my friends, then watched a few vids. I got to…’secretly borrow’ some of my mom's makeup to test out some looks.” The image of a teenage Guy experimenting with makeup much like what Honey was doing a while ago tickled their mind.

“But eh, college got in the way and I never really got the time to play around with some flashier makeup styles between delivering greasy ass pizzas and delivering exquisite screenplays that excite the mind and bewitch the heart.”

He held up a circular blush pot near a dumbfounded Honey. His eyes squinted with focus until he finally determined the blush matched their skin tone just fine. 

“Anyway, let's get some moisturizer to prep that cute face of yours!”

After Honey described what they wanted for their look, scrolled through Pinterest to get some inspiration, and watched a few more tutorials, the pair eventually got started with the process.

Guy put on an even layer of foundation, and concealer that he tried his best to match their skin, added contour, eyeshadow and blush according to the style they had requested, and painstakingly drew on some eyeliner (“Because everybody looks hotter with eyeliner!”). He had even let them try a few brush strokes of their own to get the feel of it.

Honey, on the other hand, felt like they were going to explode from the attention they’d been getting from him. Granted, they were no stranger to his affections yet something about the way he was so close—to the point where they could feel the warmth emanating from him, where the way his breath ghosts their neck made them tremble—it was a whole different experience.

The man added some finishing details to Honey’s face before announcing the final step: lipstick.

“Hm, let’s try these colors. Maybe it’s more your style.” He brought up a few plastic tubes with one hand closer to them, awaiting their input on his selection.

“Have you tried these brands before?”

“Uh, not really…I don’t think I’ve actually tried the liquid ones or the twisty ones. What’s the difference anyway? They both color your lips, right?”

Guy laughed at the sheer creativity of the nickname his partner had appointed to the lipsticks in his hand.  “Ah well, I’m glad you asked, Honey!”

He twisted up the matte tube and swiped the creamy formula on his lips, smacking them to spread it evenly. The color on his lips only emphasizes the smirk it formed, amused by the hitched breath Honey lets out as he gently cradled their face and brought it closer to his.

“Solid lipstick doesn't last long. See?” 

He demonstrated this by pressing his mouth on the back of his hand a few times to reveal pigmented marks against his skin. The man even gestured toward his face to show that the tint of the lipstick had significantly faded.

“Huh.” 

Honey was definitely studying his lips, alright. It formed into the same old smile they never got tired of, this time with its edges slightly smeared from what he had done moments ago. They were so entranced that they didn't even notice Guy reaching for a clear tube, this time twisting it to reveal an application wand with a different hue of the lipstick before, quickly applying it on his lightened lips.

“While liquid lipstick—” His quip breaks Honey’s lip-centered daydream and with a sudden movement, Guy pressed his colored lips gently against Honey's bare ones,  the latter letting out a quiet squeak that made the man eagerly press down harder. He slowly pulled away, close enough to have just an inch of space between their mouths.

“...Is kissproof!” 

He was right. Honey could see that Guy’s lips still looked the same with no sign of smudging or transferring of the product. Not that the efficiency of the lipstick is what’s on the forefront of their mind at the moment.

“O-oh,” their voice cracked rather pathetically but Guy only let out a laugh, holding up the twisted-up tube of the lipstick he first used near the other’s visibly quivering lips.

“Hm…now that I see it, I think the shade on the ‘twisty one’ fits your look better. Let’s use that!” 

A wide-eyed Honey simply nodded in response.

—

“...And then here’s your make-up bag, just in case you need to retouch! So, what do ya think? Stunning? Iconic? Gorgeous? Oh, oh! Pulchritudinous? Ehh?”

Honey turned to the vanity mirror for the first time in a while and gaped in the reflection. 

“It's…” They raised their hand, opting to feel their face before deciding otherwise as they realized it might waste all of their boyfriend’s hard work. Honey racked in every corner of their brain for a word to encompass the awe they’re in right now, wishing they had even just a fraction of Guy’s mind to express it in words. 

But for now, they’re just Honey—who isn’t particularly known for their expertise in saying what they mean and they settle for the answer they weren’t satisfied with at all.

“It’s pretty.” 

The person staring back at them looked so different yet still the same. It felt like looking at themselves from a different perspective. Pretty was hardly an adequate descriptor for what they were looking at but it’s all they could think about in their dazed state (the way their partner beamed at their compliment told them he didn’t mind).

“You’re the pretty one, hon! With or without make-up! I mean, c’mon! Look at that smile!”

That earned a wider smile from Honey with Guy giddily matching it.

“I’d have to thank my handsome make-up artist for that. He did such a wonderful job after all.” 

“How do you suppose you’ll do that then, Honey?”

This time, Honey was the one to surprise their lover with a kiss.

BONUS SCENE:

“Do you really have to go?” Guy whined though he already knew the answer. That didn’t stop him from snaking a hand around Honey’s waist, who was just leaving through the door of their shared apartment.

“Yes, Guy. I really have to, especially with how long you’ve been painting on my face, there’s a possibility I might get late,” they explained, giving him an apologetic look despite the scolding tone of their voice. 

“Well, who can blame me when my Honey’s looking absolutely ravishing,” He pulls Honey closer with his usual goofy smile, though this time they notice a mischievous glint in his eyes, “Besides, just a while ago it seems like you wanted your face to be painted with something else, ehh—mmph!”

Honey had cut him off by pressing their lips tenderly against his once more, eliciting a relaxed sigh from him. They pulled back to see a pouty expression plastered on Guy’s face.

“Fuck. Y-you’re enjoying that stunt way too much, it’s not fair!”

“I wasn’t the one that started it!”

“Fine, whatever!” Guy lamented loudly, complete with his hand clutching overdramatically on his chest. “Be like that, go to your party, then! See if I care!”

Honey just rolled their eyes with a smile. “One last goodbye kiss?” 

And how could he ever say no to that?

So after a quick peck on Guy’s cheek (maybe two or three more), Honey finally made their way out the door, leaving him a bit lightheaded than before. 

Despite his lovesick state, he was quick to make his way over to the couch and started setting up his game console connected to their T.V. Since his Honey would be out for most of the night, he decided to invite a friend over to play video games and kill some time.

Knock, knock. Ah, speak of the devil. “Jin! Come in, man!”

Guy swung the door open to reveal a man his age, carrying a paper bag full of chips on one arm and a game controller on the other. He set down the snacks on the second-hand coffee table before settling himself on the couch his friend was sitting on. 

“Sorry for being a little late, just had to do a few things. So, what game are we…Oh.”

“Why? What’s wrong?” “Dude. I think you should look at a mirror.” --

yes jin like one of guys friends that he plays with in that one hoodie video. with no voice line or anything at all. that jin. LMAO

anyway i rlly hope u enjoy this :")) i honestly dont think its my best work LMAO but eh! im here 2 have fun man,,, and this probably would be my last fic (atleast in a while but aughh idk if i'll be active again here HAHAJHAD) so yeah!! hope u liked it tysm have a good night/day!!

[meowzahzzz]

bowser headcanons ft. gn reader  ( ♡ )

bowser fans. monster fuckers. how are we feeling are we feeling fed. i am

to say bowser doesn’t quite understand healthy ways of expressing his feelings... is an extreme understatement.

bowser has this romanticized yet very callous conception of love. you do anything for love and it’s justified, so on and so forth.

this is why his kidnapping peach thing persists.

i want to say his “love” for peach isn’t... really love. he believes it to be love, but his feelings towards her aren’t the sort. this isn’t to say he’s abusive to her (the most he’s done is kidnap her and the whole situation lost it’s “distressing” impact Long ago). rather that bowser confuses his emotions a lot, and rather than think about it too hard, he just goes with whatever’s easiest.

~ pre-relationship

when you come in, bowser’s infatuation with peach is thrown out the window.

peach is grateful she’s not the apple of bowser’s eye anymore, but she does worry about you being his now.

i don’t imagine his attempts at “kidnapping” end well. either you kick his ass and tell him to go to therapy or peach comes to the rescue with mario (and they also tell him to go to therapy).

bowser, surprisingly (or maybe not-so surprisingly), takes it to heart. and he starts to realize his thing for peach wasn’t... what he thought it was.

he used to just kidnap her over and over again, try to win her over and over again; her rejection didn’t faze him, but he was almost expecting the triumphant feeling of Love (whatever that could possibly be) to just... show up during these attempts.

of course he’s a rough and crude turtle kaiju king, but there is a softness under that shell.

bowser, at first, tries not to think too hard about it. rejection didn’t really sting the way this did before.

he’s embarrassed to hell and back, refusing to speak on it and when it’s brought up by kamek (”quit moping about the rejection, your highness”) he gets red in the face and his body stiffens like he’s turned to a statue, his voice loud and cracked (”I’M NOT MOPING, SHUT UP *tearing up*”)

when he is eventually forced to face his embarrassment and the stinging pain of rejection, he tries to think of ways to legitimately apologize. and if that works out, he definitely plans on winning you over.

and speaking of that apology, he definitely tries to chicken out at first. he’s so embarrassed. he’s the koopa king, for pete’s sake! he’s the leader of his army, he’s a ruler to be feared! yet he cowers at the thought that you’ll send him back with his tail between his legs.

he apologizes in person, despite how many times he begged to just send a note or something and kamek would have to hit him on the head with his staff (”i didn’t raise you to apologize over a note, your highness.”).

you can tell he’s genuinely sorry. there’s shame in his expression; he can’t quite look you in the hand, he fiddles with his hands, and he coughs when the words don’t quite want to come out. but when he apologizes, he does mean it.

it probably takes a bit for you to forgive him because he did come on rather strong. but he’s overjoyed when you do forgive him (he’ll probably jump in the air with excitement before going back to his “tough cool guy” act where he’s like ‘yeah i knew you’d forgive me’ *goes back home to cry tears of joy*)

you two start off as friends. and something bowser finds odd is that, despite his own feelings (as strong as they’ve started to grow), he’s... okay with that. just that.

there’s no urgency. he can just enjoy your company, flustered as it may make him.

there’s a side to bowser you, nor have the others (peach, mario, etc.), have seen before. nobody ever quite believed he was as one-dimensionally villainous as he tried to come off as, but bowser would’ve been damned to have exposed it.

he still wears his spiked shell, but it’s as though he’s coming out of hiding around you.

his voice, while still gruff, isn’t so performative; there’s no outrageous evil plans or self-conceptions of grandeur, just mundane (maybe even domestic) conversation.

of course he still wants to look cool in front of you, but he doesn’t have to cover up who he is inside either.

he doesn’t care what you want to do or what you talk about, you have this attention either way. and you can’t help but feel that... you like his attention.

there’s a gentleness he shows you that nobody else gets to see, and it’s so evident in the reactions you get from the others just by talking about your... “hang-outs” together.

he’s an absolute gentleman, of course. kamek can excuse kidnapping, but he draws the line at being ungentlemanly.

opening doors for you, holding out a chair for you, being a subtle protector when he thinks things are gonna go south, etc.

you’re a person bowser values and he’s so new to these feelings he has, and he wants to protect them as much as he wants to protect you.

to say you have certain feelings about him as well is very much an understatement.

even when you can’t specifically name it, you feel that he sees you like you hang all the stars in the sky. you’re one of the only people who have gotten a genuine laugh out of him, let alone a smile. and it’s his gentle nature specifically towards you that just makes you melt.

at first, the thought seems ridiculous, liking bowser, the koopa king of all evil, like... like that! but you think of it again, of how you’ve been friends and all the times you’ve spent together, and you feel as though you’ve been wrapped with warm ribbons, heat rising to your cheeks. it’s undeniable.

he definitely confesses to you first. a hopeless romantic at heart, he shows up at your doorstep, all fancily dressed with a mushroom and flower bouquet in hand, asking if you’d want to go on a date---with him.

his cheeks are flushed, and he stares at the floor, unable to look at you in fear he’ll find disgust on your face.

but wide-eyed and flustered yourself, you accept.

and when he looks up, there’s this... almost this shock on his face at first, mouth slightly agape, like something he never, ever could’ve expected to happen---just happened.

it doesn’t take long for him to widely grin and laugh as he picks you up into the air and holds you close to him, the bouquet sadly getting a bit crushed while he holds you in this embrace.

~ relationship

bowser is the happiest and luckiest koopa in the land. undoubtedly.

even with your relationship’s ups and downs, it’s like he’s always in the honeymoon phase.

most of his “evil schemes” are reduced to mischivieous pranks which you, and his koopalings, often participate in.

speaking of the koopalings, you have to get along with them. bowser jr, wendy, roy---all of them.

those children are his heart, and to see you not only get along with them, but be nurturing to them... his heart grows twice its size.

part of why he was so obsessed with peach was because he felt as though they needed a “mother” in their lives. he may be the king of evil and all, but he never wanted to be a failure of a father to his kids.

whether you’re aware of it or not, you helped him realize that... he wasn’t failing his kids, they didn’t “need” someone else to fix his mess. he was a good enough father on his own. and it’s only a plus to have you around, too.

bowser loves domestic stuff, he craves it. baking pies, hanging around with the koopalings---any of the most normal, mundane activities become a dream when he’s doing them with you.

he would also really like for you to join him when he and the others go kart racing, golfing, etc. if you aren’t already.

he loves the competition, loves rallying up his new family together (you included) so they can go kick that red hat wearing plumber’s ass! ...and his green brother too, i guess.

he’s just become a happier guy in general.

mario certainly appreciates it, actually being able to befriend the king koopa.

and peach likes being able to not be someone’s strange obsession, and she also considers you to be a good friend.

daisy LOVES it at first because she thinks there’s drama, but then you reveal everyone’s happy and there’s no conflict, she’s like oh... okay i guess. 😐

luigi is frightened by bowser, no surprise there, but he’s happy for you! luigi’s a bit of a hopeless romantic himself so he finds the things you and bowser do endearing, even if it is hard thinking of bowser being sweet.

you two are the cutest motherfuckers ever. in the mushroom kingdom. in the galaxy. im so jealous

[the-haven-of-fiction]

I realize that I am one of those outliers who thinks that it is possible to be a fan in an enjoyable and healthy way, and perhaps I am missing the entire point of fandom-based social media content while I do understand the whole psychological phenomenon of trying to exert control on fiction when you are unable to exert control on reality, etc, BUT....

Friends, you do not have to let opinions and arguments about fictional characters and situations cause you actual mental/emotional distress. What someone else thinks, if it is in opposition to your views about such things, literally has zero impact on what you think. Zero. If you think a certain way, then think a certain way; you do not need the entire world to agree in order for your thought to be legitimized. Contrasting and respectful discourse about fictional things can be stimulating for sure; it should not be combative or insulting.

Don't worry - our beloved fictional characters can survive varying interpretations of their actions, their relationships, and their motives. They won't be eternally erased from the page or the screen if someone's opinion about them differs from mine.

If you are in agreement with what the official writers choose for a fictional character, then accept it and enjoy it. If you are opposed to what the official writers choose for a fictional character, then write your own story in your imagination. Isn't that the point of fan fiction? Whichever your decision, you can carry it out without attacking proponents of the other. And guess what? You do not have to defend your opinion if you are attacked. Ignore. Do not engage. Block. Delete.

Thanks for coming to my TED talk. (Are we still saying that?)