#Patriarch's Hope

[uncanny-tranny]

Amatonormativity has destroyed so many people's understanding and acceptance of themselves, and it's heartbreaking.

Yes, it is normal to be in your 20s, 30s, or older and not have lost your virginity, had a first kiss, or a partner. It is normal to say that you aren't ready for those things, too! It is normal if your life doesn't follow the "college graduate -> engagement -> buying a home -> 2.5 kids and a dog" trajectory that so many people have idealized.

So many people associate maturity with losing your virginity, or having a first kiss, or a serious relationship, and I think that's a dangerous association. Maturity isn't gained through those things, and you don't have to have those experiences to be considered "mature" or "grown." It is not a bad thing to go at your pace. Nobody else can live your life but you. If you end up having those experiences, that's great! But it should be done because you want to experience them, not because you feel "broken" and "immature" without them.

[uncle-fruity]

Guy in the men's room at the library today got Big Mad that I came in to use the stall. He kept saying, "This is the men's bathroom" and "I know I'm a man; I was born with a dick" and various other transphobias. Kept talking shit to the point that I couldn't focus on peeing & getting out of there.

I finally yelled at him to shut the fuck up in my deepest, butchiest voice. He was arguing with me, saying he needed to shit (he had been standing talking to himself in front of the mirror before I came in, so I sorta doubt it). I told him to leave me alone so I could use the restroom. Or that he could use the women's bathroom himself. Thankfully, I'd texted my partner, who came in to help. A librarian also got involved. And this guy kept saying that I was harassing him and that I'd looked like a girl when I walked in. He threatened to call the cops (but didn't). The librarian told him he had to leave, and after some arguing with them, he finally did so. I'm very thankful I had support and allies around me.

So, idk where this fabled male privilege that I supposedly have was in that moment. Maybe it was hiding in my long hair. Maybe I left it home with the binder I barely ever use. Maybe my beard and voice weren't enough to make me pass. Maybe it was too high for me (a whole 5 foot nothing) to reach when I needed it. Or maybe, just maybe... people clock me as trans and therefore my would-be male privilege is extremely conditional based on how much I'm able or willing to conform to the gender binary (which I have no interest in doing).

[stupot]

I feel like, regrettably, this website needs a crash course in recognizing a particular brand of post about female martyrdom and suffering that is really, at its core, based on OP's views on a holistic level, a post about hating """men""" in disguise. Female anger is righteous and does come a from a place of personal and historical suffering, and should be expressed. I truly do think that. But I guess Tumblr's userbase sucks because then you go on these blogs and it's post after post about how men are ontologically evil and sex work should be criminalized and women are these broken shattered creatures unilaterally scorned by MALES with no hope for justice. Just the absolute most childish reductive way of analyzing misogyny in our culture that always boils down to racism, prejudice against sex workers, and transphobia

[l-wandering-etranger]

I am telling you, Yilling Patriarch! / Hair down Wei Wuxian hits different.

[todayisafridaynight]

sometimes i think about daigo interacting with the mundane and thinking about mine and i throw up a little bit ngl

[oceanbluuu]

And my fingers caressed your face with traces of love,

because the memories where you exist are all engraved in the touches we shared.

A small au where Lan Zhan is a clay artist, reminiscing his muse and of course, his love ✨

No hands, just sculpture wei ying under the cut 😔💖

[hephaestuscrew]

Clara's father being an Earl means that her family outranks Baron DeVries' family in terms of the hierarchy of the nobility. DeVries - a mere Baron, the lowest rank of British nobility - is constantly making references to his family's heritage and history and the responsibilities that come with it. Meanwhile, Clara - the daughter of an Earl (which is two ranks above a Baron) - actively avoids mentioning her aristocratic heritage and is making every effort she can to construct an identity and a life that is separate from that heritage. DeVries' adventuring is a continuation of his family's legacy; Clara's is a rejection of her's.

[rathologic]

The thesis of the post I’m following up on was that Pathologic 2’s approach to children is “adults know best”, failing to produce any points about the self-determination and marginalization of children that were vital in p1, because it constantly overrules and opposes the young characters’ desires. The points of this post are (besides greater detail) that this theme is underpinned by A) the lack of a “future” in p2 preventing the children from having an ideology, and B) the game telling instead of showing. not comprehensive by any means but it’s a slightly better elaboration than said confusingly phrased post :-)

The List seem to know each other (outside the handful of individual connections like Capella-Khan and Notkin-Murky) primarily through knowing Isidor; conversely Isidor’s list is the only thing connecting them into a coherent faction, emphasized by the game displaying the “List” as a separate category under People. Isidor, an adult, takes the role of “identifying the children necessary to preserve the Town” from p1 Capella. The point that “these children must survive” is copied from p1, but it’s weakened by their survival not having an impact on any p2 ending – it becomes the “just because Isidor wanted it this way” reasoning which is also used to explain the Haruspex’s presence in the story, which starts to register weirdly with the kids given that p2 Isidor abuses Rubin and potentially abused Artemy (like most things with Isidor, why he did it this way is never seriously questioned). The existence of the List is something imposed on them by an adult instead of chosen.

Because their grouping is no longer based on a shared struggle to preserve the Town according to a single vision, the familial duty that motivated it in p1 is less of a factor in each child’s life. The position of “Mother Superior” not being real, Capella’s insistence on marrying Khan coming from herself rather than pressure from their families, Khan having run away from Victor – the kids are independent in the sense that they do things primarily for themselves, but the same disconnection from the broader context of the Town causes them not to have coherent goals. Therefore, the tension they face is limited to personal events: will Murky and Sticky move in with the Haruspex? will Grace stop the dead from being burned? will the Polyhedron support all kids for a few days?, preventing the List from expressing their relevance to the future of the Town as a whole (*except after the ending has already been decided!). This is in part imposed by p2’s intrinsic requirement that the game can continue with some or all of the List dead.

The only time their relevance comes up is Capella’s belief that she should lead the children, which she frames as her becoming a mother to them (that she should succeed “father” Isidor in this role instead of Artemy), and which is immediately negated in gameplay by the events of day 10 (further, her assertion that the List will all die as the player’s wards creates drive for the player to oppose her statement and actions by trying to disprove it). Due to this framing of motherhood, the other children’s loyalty to Capella becomes an emphasis on faith in the advice of a parent, rather than collective maturity. (In the same vein, Aspity’s character in p2 is explicitly as an advice-giving mother to Artemy, as well as to the Kin at large, who are described as infants and depicted as relying on her guidance to make choices.)

This form of “independence” means the List aren’t well beholden to the past, which means they aren’t concerned about their futures. The children will go along with any role they’re given by the player’s selected ending – the endings happen to them, not because of any part they played in the story. The central choice of Pathologic 2 as framed by Isidor is whether Artemy values the mutually exclusive past or future, so the choice to completely bypass this tension in his seven closest NPCs by making them not particularly care causes it, and them, to fall flat. This is in part imposed by the other fundamental issue, that p2’s Town doesn’t have a future for them to make choices about, forcing all character conflict to be resolved during the 12 days of the game.

(NB: Taya is an exception to the above several paragraphs – she takes 1 action that affects the landscape of the Town in the long run, although the actual choice to move the Kin to Shekhen is given to adult Artemy instead, and she’s motivated entirely by duty to her family. This is essentially in line with her being the Nocturnalest kid which is a separate post!)

Meanwhile, the older heirs Artemy, Maria, Vlad Jr., and Rubin are committed to becoming what their predecessors wanted, which when contrasted with the younger children associates their commitment with maturity. The few times Maria and Vlad Jr. do something conflicting with their parents (house-marking and going to the Kin respectively), the player is always given the opportunity to report it to said parents, who overrule and stop them. The implication that Simon asked Rubin to kill and dissect him makes Rubin’s actions completely dependent on the desires of Isidor and Simon until his medical duty runs out. Throughout the game, the decisions of older characters are prioritized in story and in gameplay effects, specifically decisions that control and direct the lives of the younger ones.

These decisions are roundly accepted by both the List and the heirs; any discontent is a side note in dialogue with no gameplay effect. Grace’s line “I don’t want to leave […], but Katerina [later referred to as Mother] says I can’t stay” applies doubly, as her arc involves being taken from her home and placed in the care of foster parents either once or twice depending on ending choice. The most obtrusive lack of challenge is that the player is unable to express dissatisfaction with Isidor’s choice to unleash the Plague beyond “killing thousands of innocents was cruel”, nor to talk about the implications of that act and Artemy’s position as its inheritor with either the Kin or Isidor’s List. Furthermore, the description of the Plague as a vaccination frames the Town as Isidor’s child, while he simultaneously justifies the misery inflicted on the Town with his love for it. Refusing the brutal choice that Isidor then imposes on the player results in a special ending where the game’s meta-narrator mocks and criticizes you for your “failure”.

In short, the lack of motivation and goals among the children of Pathologic 2 makes them passive to the choices adult characters make for them, which is every important choice. This could have been made a device about disempowerment if their resistance to it had an impact on gameplay at any point, but game design in fact opposes this. The player’s natural priority of “see as much dialogue as possible” leads the player towards dialogue and quest choices that align with the authority of parenthood; agreeing or leaving the children alone tends to end conversation undesirably, which the dialogue-end markers ensure the player is aware of. The endings incentivize endorsement of harsh parenting choices by skipping the finale if you oppose them. Neither the story nor gameplay contest the idea that an adult, in most cases a man, has the authority to make decisions controlling the lives of children.

[thegirlmirage]

I didn't have an understanding of the deep value of masculinity before I saw it presented to me through the eyes of the transmascs who showed me chivalry, gentlemanliness, love and protection, that in doing so, shone it out to me in all places it existed on the earth, and I understood the true face of man accepts all that he is and rejoices in it

[eleancrvances]

Thinking about how nikolai and andrei’s only interaction up until now (they didn’t even meet during the year andrei was engaged to natasha) was back before austerlitz when they fought and nikolai “felt with surprise that of all the men he knew there was none he would so much like to have for a friend as that very adjutant whom he so hated”. and in today’s entry in particular, with the capture of that frenchman, nikolai’s growing disillusionment and complex feelings regarding the army and glory continue to bring him closer and closer to andrei’s own way of thinking... 

[stomach-rental]

anonymous submitter said:

i was. um. a bit of a big fan of your birds and bugs au haha ^^ anyways now i want to draw more of your stuff hehehe

THANK YOU SO MUCH...this is so freaking cool, I love this! The birds and bugs au is So Wonderful, you are right. I need to draw more of it desperately. I hope you enjoyed drawing the absomasum and Louis getting all of his cool markings from sleeping in there, and if you do decide to make more, I will be more than happy to see it :D

[menlove]

another thing I've noticed about it all is like 99% of the people losing their minds over that post say smth along the lines of

"yes these things are misogynistic but you should just let women be women and not worry about it. they're sexist but these women are coping with gender trauma"

and I'm not even gonna unpack how absolutely reductive that is

but it IS funny bc like. yall think I'M being misogynistic but where you excuse feminine women being sexist, I am, in your eyes, as bad as a man? I couldn't possibly have any gender trauma to unpack, I'm just being a raging misogynist

like..... I'm absolutely Not being sexist but it is wild how these people will fight tooth and nail for the right of feminine women to be blatantly sexist but masculine woman are not given an inch of sympathy when they're seen as misogynistic. and it just goes to show exactly who is allowed into Womanhood and who isn't.

[yexuans]

Sometimes i get sooo annoyed with the translation in lbc i remember when i played for a bit and i was nitpicking on so many things already 😭😭😭😭

[ultfreakme]

I hope the Zuko movie opens with Mai and Zuko getting married, but you can just tell something is wrong. They’re smiling and greeting guests but there’s this distance between them. Cut to Mai, and she’s thinking about right before the wedding and Ty Lee is helping her get into her wedding clothes.

And Ty Lee’s like “I bet married life’s going to look great on you.” Mai just gives her a look, initially it seems cold, impassive, but then she frowns and Ty Lee giggles and says “You make a beautiful bride.” Mai’s brows furrow and all that, “You don’t have to lie.” Ty Lee; “I’m not lying, you’re beautiful, always were”. And then they lean closer and closer, eyes hooded and right when you think their lips are about to brush the door of the dressing room opens and Mai’s mom comes in and she fixes up Mai’s clothes and checks on everything. She’s like “Don’t mess this up.” Mai says “I won’t, obviously, what’s there to mess up?” AND SHE’S LOOKING RIGHT AT TY LEE.

The wedding’s done, but the Fire Lady is in love with a Kyoshi Warrior who is her personal guard and the entire thing is about them realizing no fuck this we’re done(Zuko knows okay he knows, or he eventually finds out but his ain’t about him).

(eventual divorce, mailee elope, Zuko’s like ‘I should’ve seen this coming’. Gaang, everyone in the FN court and Azula who saw this coming miles away: ‘I’m not gonna say anything’)

[todayisafridaynight]

comic scribbly

[hattafan2593]

Helluva Boss: The Circus - Alternate Ending

So I noticed that a lot of people really don't like the way Stella is characterized in Season 2. I personally have no problem with her characterization - sometimes people are just assholes. No tragic backstory. No motive. And honestly, she's just so cartoonishly evil that I can't help but love to hate her. That said, I do see where people are coming from, and it does kind of downplay some of Stolas' flaws and portrays him more sympathetically than he actually is. While I do believe Stolas is sympathetic, and I want him to improve and grow as a person, it doesn't change the fact that his relationship with Blitzo is still mega toxic, that Stolas is a member of a privileged class with little knowledge or empathy for those below him, or that he spent the entire first season doing as he pleased with little to no regard for how his actions affected those around him, including his own family.

So, without further ado, here's my attempt at a more nuanced look at Stella and Stolas' relationship, via an alternate ending to Season 2, Episode 1 - The Circus. Enjoy.

------------------------------------------------------------------------------

STELLA: The fuck are you doing?

STOLAS: Reflecting.

STELLA: Well, keep it down. Via's in her room, and I suspect she's trying to sleep. (Turns to walk back inside)

STOLAS: ...Why are you still here?

STELLA: (Stops, irritated) What?

STOLAS: Why are you still here? You leave with Via on weekends but then stay around the house despite everything.

STELLA: I live here, too, Stolas, last I checked. And unlike some people, I don't run away from my responsibilities.

STOLAS: Oh yes, I can see just how busy you've been. Between the shopping trips and gossiping with your girlfriends. Truly, how do you find the time to even breathe?

(Stella stomps over to Stolas, shoving a finger in his face)

STELLA: You have some fucking gall, speaking to me like that! After what you did-

STOLAS: I KNOW WHAT I DID!

(Stella steps back, stunned. Stolas runs a hand over his face.)

STOLAS: I would feel bad if I had hurt you, but we both know I didn't do that!

STELLA: You dare-

STOLAS: Oh, come on, Stella! There was never any love between us! You and I were arranged for one reason - to birth a precautionary heir to the Goetia family, nothing more!

STELLA: Yes, Stolas. I am perfectly aware of my status as a brood mare, thank you for reminding me.

STOLAS: (sighs) I tried, Stella. I know I was and am far from perfect but I did try, for so many years. To make things comfortable for us, to have this family, but it was never enough.

(Stella rolls her eyes and shakes her head. Stolas continues.)

STOLAS: The only reason I have endured your constant insults and cruelty is so that girl can have a normal life!

(Stella starts cackling)

STOLAS: What is so funny?

STELLA: Cruelty? You think what I've done is cruelty?

(Stolas puffs up in indignation, but starts backing away as Stella stomps up to him, getting in his face.)

STELLA: You spoiled, overgrown child! You don't know what cruelty is! And what's this tripe about "a normal life?" Normal? By Satan, have you always been this delusional?!

(Stella steps back, throws out her arms for emphasis.)

STELLA: Newsflash, husband! Octavia is a Goetia! She is never going to have a normal life! No matter how she acts or how she dresses, she will always have royal blood in her veins! Nothing you or I do will ever change that, and the denizens of Hell are certainly not going to let her forget it! Especially not after this latest spectacle of yours!

(Stolas' face becomes horrified - his eyes turn to pinpricks)

STOLAS: ...what?

STELLA: (exasperated) You were seen publicly, Stolas! In a goddamned sex club, with an imp! Did you really think word wouldn't spread?! (puts her hands on her hips) And who do you think has had to deal with the fallout of your little dalliances? Who do you think has to deal with the gossip, the rumors, the contempt? Here's a hint - it's not you!

(Stolas flinches back slightly.)

STELLA: (shaking her head, bitterly) Men like you and my brother are all the same. You do as you please with no thought or care to how your actions affect others. And meanwhile, women like me have to deal with fake sympathy and speculation from the masses over how we are such failures as wives that our husband find the company of peasants more appealing.

(Stolas is stunned silent. Stella turns away from him, her arms folded.)

STELLA: I don't expect you to love me, Stolas. Or even like me. But whether you like it or not, we are married. And at the bare minimum, I expect some modicum of respect as your wife.

(Stolas turns aways, gripping his arm. His face is full of guilt. But then he turns back, his face becoming blank.)

STOLAS: Respect goes both ways, Stella. And you'll have to forgive me if I can't respect someone who publically shames my performance in bed, or tries to have me assassinated, right in front of our child.

STELLA: Oh please, she had her headphones on. And it's not like it even worked. You're still here aren't you?

STOLAS: (bitterly) Sorry to disappoint you.

(Bitter silence.)

STOLAS: (sigh) ...Look, this...this isn't working. I cannot do this anymore.

STELLA: Meaning what?

STOLAS: I want a divorce. I do not want to be married to you anymore. I want out.

STELLA: (laughs bitterly) Of course. You realize that the Goetia family will not take this lying down? Andrealphus especially-

STOLAS: I don't care what your arrogant brother thinks.

STELLA: That much is obvious.

STOLAS: And as far as the Goetia are concerned, the only thing they care about is already 17.

STELLA: ...So that's it. We're done.

STOLAS: Yes. We're done.

STELLA: (deep breath) Fine. It's late. I will sleep in the guest room, and then we will both explain things to Octavia in the morning.

STOLAS: (nodding) That's fair.

(Stella turns to leave)

STOLAS: Stella...for what it's worth-

STELLA: Save it. The words of a traitorous embarrassment are worth nothing. You've fallen from what little grace you had. And I know you'll pay for it. You and that little plaything of yours.

STOLAS: Leave him out of this!

(Stella keeps walking.)

STOLAS: Stella! I mean it! Hate me if you must, but I will not let you threaten-

STELLA: It's not a threat, it's a fact. (turns around) You have made him part of this little game of yours. You have dragged him into the spotlight, Stolas. And sooner or later, he will be eaten alive.

(Stolas staggers back, his face a mask of rage and shock.)

STELLA: (suddenly very tired) I don't pretend to understand your feelings for that imp, but if you truly care for him at all...you will let him go.

(As Stella goes inside, Stolas' fist shake with rage and become sheathed in his magic. He turns, roaring, and slams his magic covered fist down on the balcony railing, causing it to crack and crumble slightly. Stolas then collapses on the ground, weeping.)

(Cut to Stella walking down a hallway. Her eyes are in shadow as her mouth contorts, a single tear forming and threatening to fall. Stella furiously scrubs it away, then straightens, her face a mask of cold regality. She continues down the hall.)

(End.)