#but ultimately we are human and sometimes we just need other people to be kind to us

[deggies]

[[[SPOILERS FOR SLAY THE PRINCESS]]]

Slay the Princess caught my eye after seeing a thumbnail of the game from a vtuber, and ever since I was considering playing it. Even during the steam Christmas sale I was deciding whether or not I should get it. I didn't end up getting it on sale (bought it the day the sale ended) and honestly I don't even feel bad about it. Going into the game I only knew that 1) it has elements of horror and 2) the game gaslights you. So knowing that the game was trying to trick me and emotionally manipulate me, I went in with the mindset of what would I do if I was put into that situation and— I slayed the princess. But not without her taking me out with her.

So began a Lovecraftian timeloop nightmare that ended in me getting horribly killed over and over again until I was met with a being that took the Princess's heart (literal) and claimed it needed other versions of her to become complete. So now learning what the game is about now - getting different 'endings' to feed the being life experiences - I decided, hey what the hell, let's try being nice and even try romance her, if given the option. I was still suspicious of her kind demeanor in this run, still heeding to the narrator's warnings that it was all a manipulation, but she was... pleasant. Still a little deranged, but overall a more pleasant person. And it made me realise how I wanted to get the rest of the princess endings. I didn't wan't to kill her as much as I was able to.

In the rest of my run, I did just that, only killing when I didn't have a choice and learning more about her I began to think to myself that maybe she really is misunderstood. Maybe, in a meta-sense, she was forced into the role of a villain by the creators, since although she does 'end the world' in endings where you are kind to her, it seems that the world simply ceases to exist as opposed to endings where you were a heartless killer she explicitly states she tormented the world.

So then finally, when it was revealed that the player was created to become a god to end death (the princess) and I was given a chance to talk to the now completed entity, whose goal was to bring suffering upon the world, I was given two choices: slay the princess for good and fulfill the role I was given or join her in an endless cycle to create and destroy worlds. I, was not happy with either of these choices.

Fortunately, the game has another option. You are given one last chance to speak with the princess again. Just, the regular ol' princess chained in the basement of a cabin, though she now knows everything you do. And there, you are able to free her and end the cycle of death and destruction and enter a world of uncertainty. A world where a higher being no longer dictates their every action.

I did not do the themes and emotions of this game justice, but this is more as an entry for me to remember how much I love this game. I'm not the type to replay games, so I'm really happy I was able to get an ending that I enjoyed and connected to a lot.

Play this game if you ever get the chance, it's good fun and really touching (at least, the ending I got was).

Also, here's the playlist I got at the end.

[thedreadvampy]

it's been a strange arc so far

when I was 19-21 and having an extremely imbalanced relationship with someone in their mid 30s I was like 'we are both adults so the fact that this is fucking me up is my fault'

when I hit my late 20s and saw how young people in their late teens and early 20s seem now I was like 'oh wait I was so fucking young I didn't know shit about my own limits or about managing relationships and I don't know why someone in their mid to late 30s would be into that except for nefarious purposes'

the weird bit is now I'm into my 30s - not even that far into my 30s - and while I still wholeheartedly believe that last thing about how young (and self destructive) 20 year olds are, I'm also kind of like 'huh, actually nobody I know that age has their shit remotely together and frankly the reason this fucked me up is because NEITHER of us knew what the fuck we were doing it how to cope, for different reasons and at different life stages, and there probably wasn't any malice or intent to control as much as there was Blind Flailing.'

[moe-broey]

A closer look at my young Askr siblings designs! Sharena's kind of constantly fluctuates, but I've always had a really clear vision for an early teen Alfonse.

[sabertoothwalrus]

do you think Falin's chimerism would affect her lifespan and behaviors? or just her body? maybe she can make more animalistic noises or has vague dragon-like instincts?

that’s a really good question! I think we could probably figure this out by taking a look at what we know about Falin, what we know about red dragons, whether these things would apply to Falin, and go from there.

The obvious external changes Falin has are: her eyes, her teeth, and her feathers.

It’s hard to pin down what Falin is like! Throughout the duration of the manga, she wasn’t really a character so much as a plot device. We have almost nothing told from her point of view, and the majority of her unbiased (as in, we’re seeing her through a neutral lens and not another character’s perception of her) characterization is from the post-canon omake.

Even Falin believes that her wanderlust might come from her dragon side, but she's not sure. Personally, I think it’d make a lot of sense if it kind of does, in the sense that she has 20/20 vision now, haha! For most of her life, she could probably only see clearly within a relatively small sphere surrounding her, and now she can see everything. She can look up and around freely in a way she couldn’t before. Fuck man, if I had magic lasik I’d probably go out more too.

Some other quirks that are really unclear whether it’s typical for Falin or chimera-influenced:

she enters rooms through windows, sometimes. And given the leaves in her hair, I think it’s reasonable to assume this is not the first floor 💀 But who knows! Maybe that’s not new for Falin.

She points out that Laios’s scent could deter monsters. Maybe she has enhanced smell. But again, it isn’t unreasonable to think this is something she would have said before. (I think even Chilchuck and Izutsumi, whose senses of smell are enhanced, can’t identify scents well. Kuro, however, can.)

VIOLENCE! But again, we’ve seen her beat shit with her staff before, and she also used to wield a flail. It IS a trait for red dragons to fight any large threat, so if anything, she’s got even better monster fighting instincts than before. I don't think this would carry over to people. Falin has always been better with people, and I'm personally not a fan of seeing her depicted as territorial or possessive. Marcille is already the possessive one, and didn't need dragon blood to be like that.

Ultimately, I don't think her dragon traits extend much farther beyond this. Especially when you consider How Little the dragon is represented as in her conscience.

it's not like it's a 50/50 split. She's like a person with a dragon ratatouille. I don't think she'd be able to make dragon noises. I don't think her body is built for that. I know there's like, a set list of tropey characteristics that are given to almost every non-human character in fiction. and sure that's FINE but they tend not to be especially personalized to the character, and tend to just be an excuse to write them OOC. Like, sure, dragons may have instincts regarding sleep habits, hunting, courting, raising young, etc etc, but so do humans! And we don't compulsively act on every instinctual whim we have. I don't see why it'd be any harder for her new dragon instincts.

If anything, I think she'd feel more affected by the fact that she has part of the demon in her.

I don't think Falin's in any sort of trouble. All the demon was was a way to communicate with people. Here, it's representing Falin's tether to the infinite realm, to mana itself. The winged lion no longer has the desire to consume anymore because, yknow, Laios has that now. This is very likely why she no longer needs to chant to cast magic.

But what else does this mean for her? She already had unusually high reserves of mana + an innate connection with spirits, but is her mana essentially limitless now? How would that affect her lifespan? I'm leaning towards, it wouldn't really?? But is she immune to mana sickness now? Is it more like her magic is just sort of amplified like it would be in a dungeon?

We can infer that having more mana doesn't increase your lifespan, because-- while elves and gnomes have both naturally high levels of mana and longer lifespans-- dwarves live longer but have lowest levels of mana of all.

So to answer your question! Maybe a little bit?? But I don't think she'd change a whole lot.

[eldritchneuro]

Something that I don't often see discussed about Stampede's Vash is that, yes, he's an outsider by proxy of being inhuman, but he's also an outsider from his own kind as well.

Luida compares him to a human right after this, but that doesn't mean that Vash is human. We can even see as such through the mise en scene here - Luida is sitting facing Vash, but there's a degree of separation, both through the back of the chair she's leaning on and the pattern on the floor dividing them.

There's something to the pattern there as well too - between the use of angular hexagons and the ladder-like pattern, it reminds me a bit of DNA. (Actually a lot of visual motifs in Stampede do. I might have to go back and list them all sometime). After all, as entirely different species, DNA is ultimately the difference between humans and Vash.

He's not a human and he's not like the Dependents. He's not even like his brother. There's a lot you can draw comparisons to from that - how Vash is canonically disabled, how he's heavily trans-coded with the yonic imagery surrounding him, but also in what specifically Vash uses to signify his worthlessness.

"All I do is eat, drink and sleep."

Vash sees these things as weaknesses because they mean he takes up space. He sees them as isolating, because these aren't things the rest of Plantkind needs.

But at the same time, these are all things tied to survival. They signify that we're alive.

We don't see the Dependents eat or sleep the same way as people do, but they clearly need similar things. They need energy just like any other living thing, because we see what happens when they burn out into a Last Run. We don't hear them say anything, but they have enough of an inner personality that Vash can act as a therapist to them.

It reminds me of a certain page from Trimax.

"What matters... that you understand the person next to you is breathing and existing."

Despite his differences, Vash will never be alone.

No matter what happens, or who we are, we all breathe. We all feel. It is something so powerful that here, it is directly associated with divinity.

And why shouldn't it be?

After all, there is nothing more glorious than being alive.

[etaleah]

Seems like there are some headcanons about Shadow being tortured or otherwise mistreated/abused by Gerald and the other scientists, so naturally there’s folks saying, “There’s no evidence for it! That never happened!”

But here’s the thing: there’s more than one kind of torture. And I would argue there’s more evidence than you’d think.

When we think about torture, our brains tend to default to the most extreme examples, like water boarding and cracking a whip, but those aren’t the only ways to torture somebody. It’s worth remembering that Gerald literally implanted false memories into Shadow’s brain. He made it so that Shadow could not trust his own memory. His own head was lying to him. He thought an altered memory of Maria was real. How is screwing with someone’s memory and mind like that not a form of torture?

It’s also worth remembering that Gerald Robotnik and presumably his research team were VERY willing to cross or at least bend ethical lines to get what they wanted. They were willing to make a literal deal with the devil, potentially sacrificing all of humanity in the process. They did the same thing that the parents in My Sister’s Keeper did, create a living being with the intention of saving another living being, without any thought to how the created living being would feel about that. Gerald refers to Shadow as “It” in his diary in SA2, revealing that he did not see him as a person. And this is without even getting into the fact that Gerald was crazy enough to blow up the whole world because of what a few military folks did. A plan that would have gotten Shadow killed too and almost did, not that he cared.

You’re telling me that guy wouldn’t have been willing to medically abuse Shadow and insist it was justified because Maria?

To me, the most interesting what-ifs about Shadow being mistreated on the Ark are situations where he doesn’t know he’s being mistreated, because he trusts the people around him to have his best interests at heart, since at this point he has very limited life experience and doesn’t think he has any reason not to.

Do I think Gerald or the scientists ever took off their belts and beat him? No. There wouldn’t have been any reason for that and Shadow wouldn’t have allowed it. But do I think they could have crossed a few more ethical lines during their tests and research on Shadow? Absolutely.

I could see them getting Shadow’s consent to do a blood test and then taking a little more blood than they actually needed to see what else they could do with it, not caring that it would weaken him or make him dizzy. I could see them telling Shadow that a procedure is for Maria’s cure when it’s actually for weapons development, or telling him something won’t hurt when it will, and then acting like they didn’t know. I could see them knowingly pushing Shadow past his limits during the testing/training and then insisting he just wasn’t trying hard enough. I could see them not offering him pain relievers even though he’s in pain because how else will they get an accurate measurement of the ultimate life form’s endurance and healing capabilities? And hey, what he doesn’t know won’t hurt him, right? They don’t have to tell him that pain relievers are an option.

You’d be surprised at how well abusive family members can hide their abuse. Sometimes they hide it so well that not even the victim knows they’re doing it.

And honestly? I think there’s a reason that, out of all the people who would have been on the Ark, Maria is the only person Shadow misses. I think there is definitely a reason he never mentions missing anyone else.

[kanonavi]

Spoilers for Simulanka Day 3

There's a conversation that I've had with friends from time to time about the fact that the world of Teyvat is, at its core, incredibly kind. Shockingly so, even for most fictional stories that aren't directed towards children. Even though the traveler has faced many antagonists on their journey, the people around them have always banded together to overcome those challenges. Even when people are hurt it's very rare for anyone to die, and many of the antagonists in question aren't pure evil and have their own reasons for taking the actions they take. They may not always operate on the same morality as the traveler or the player, and they might not be "good people", but they still believe that what they have to do is right, or at the very least necessary.

To put it more simply, Genshin is filled with characters that are made to be liked. Not every player will like every character, but very few of them are actively trying to work against you, and even when they do there's still something there to like. Except for like, Il Dottore, but he's likable for how unlikable he is (I have to say that or my Dottore enjoying friend will be sad lmao).

I got to thinking about this when playing the last part of Simulanka because it was a reminder of how, despite the kindness that they've been shown by Teyvat for the past three and a half years, the traveler's morality is still shockingly black and white in many situations.

We see this the most in how they interact with the Fatui. The Fatui, particularly the Harbingers, have cause a lot of damage in the past, but a lot of the grunts are just ordinary people following orders. the commission line in Mondstadt with Viktor, Golden Apple Archipelago 2 and The Chasm come to mind for times when we've interacted with Fatui grunts in a way that really humanizes them and shows that a lot of them really are just people doing a job. Some of them have just been surveyors or low-level guards, but the traveler and Paimon treat them like they're cartoon villains until proven otherwise (and sometimes even after proven otherwise).

The way that they acted towards Simulanka Durin before the party gave him their blessings also seemed to reflect this, especially in comparison to the other party members. Wanderer was obviously the most sympathetic to Durin, since his memories were like looking into a mirror for him, but Nilou, Navia, and Kirara all stepped forward to give Durin their support while the traveler was still showing doubts. They were thinking about how the residents of Simulanka might not forgive Durin, or how his form was too big and scary to coexist with everyone, which was an incredibly unsympathetic outlook even though they were ultimately able to change Durin's form.

It honestly reminds me a lot of how the traveler treated Scaramouche/Wanderer in Inversion of Genesis, like he was a person to be kept the company of only out of necessity as a means to keep him under control, even after Nahida said that she trusted him. Even though something did go wrong at the time, it still showed that the traveler's suspicion and distrust of Scaramouche was strong enough to outweigh their trust of Nahida, despite Nahida having proved herself many times to be wise and worthy of trust in the past. That mistrust and even disdain for him even carried over into when he reappeared with no memories, as the traveler was forcefully adamant that he needed to reclaim his memories and atone, to the point that it seemed like they were being a little bit mean about it.

It's arguable that Scaramouche deserved that treatment, since he was kind of a little shithead who caused a lot of harm in the past, but the traveler was also witness to how deeply he was hurt and manipulated in the past, and therefore would have some kind of understanding of why he turned out the way that he did.

Despite the traveler's usual helpfulness in Simulanka, Nilou, Navia, and Kirara all feel like contrasts to them. Nilou's whimsical outlook and positive mindset allowed her to grasp the magic of creation and even gave her the initiative to try and change Durin's form with magic in the first place. Navia is used to taking care of "the little guy", as it were, through the Spina, and was therefore willing to listen and empathize with the toy people who didn't want to undo the power of prophecy. (With those guys also being called "conservatives" or a "conservative radical" in English, that doesn't really have a good connotation depending on your political leaning, but Navia listened to them anyway). And with Kirara, while I haven't played her little sidequest yet, the description of her outfit described how the little cat burglar stole and returned the emotions of the cats that they hadn't been given when they were created, casting her in the role of someone who can understand the balance that anger, sadness, and pain bring to happiness.

The three of them, as well as the Wanderer, all carry Teyvat's fundamental kindness with them, and it was then coaxed out of the traveler only when all of them had already stepped forward.

It made me wonder if this is some kind of lesson that the traveler has to learn before reuniting with their sibling, that they need to be more willing to put their trust in people, or at least be more understanding of others. While the abyss twin hasn't divulged too much of what they've learned yet, they've made it clear that there are lessons that the traveler needs to learn about the world before they reunite. While that likely has a lot to do with various truths about Celestia and the sky being fake and all that, perhaps they're hoping for their sibling to learn that at least in Teyvat, sometimes people who cause harm to others are simply trying (or have tried and failed and lost hope) to find a path towards co-existing with others.

Since the abyss twin is supposedly born of Teyvat as well, perhaps they've already understood that part of this world from the very beginning and are waiting for their sibling to catch up.

[i-heart-hxh]

I just want to say I appreciate you for staying positive about killugon. Admittedly, I’ve given up on them. Maybe it’s too many angsty fanfics or metas I’ve seen that basically make it seem like they’ll never be close again but it’s nice to see some people still going strong with this ship! Hopefully one day I can enjoy this ship again the way I used to. Currently everything I read about them in fandom just depresses me.

Hi anon!

I'm sad to hear the negativity has gotten to you to this degree! It actually surprises me how much the fandom seems to think what happened between them can't be fixed. I've been into HxH for almost 8 years now and as time has gone on and I've revisited the series and analyzed it deeply and discussed it with others, I've only grown more certain that things between them will be okay--assuming Togashi can reach that point in the series. And right now is a great time to be hopeful about the future of HxH, with Togashi working so actively on the series the past few months.

Sooo many of the messages in my inbox amount to "Is there really hope? Are Gon and Killua really going to reunite and reconcile? Or is their relationship hopelessly broken?" so even though I feel like a bit of a broken record addressing this topic so much, it seems like it's a topic people really want addressed, so here's some more of my thoughts. (Trying to make my answers on this topic at least a little different each time even if some repetition is inevitable...!)

Here's this post I made of some of the reasons I anticipate a Gon and Killua reunion and fixing their relationship. And here's this eye-opening analysis post of the separation, yet again, which also offers hope.

So much of HxH is about second chances. It's about how love and human connections transform people and make life worth living, no matter how painful and difficult it may be. At the end of Chimera Ant Arc, Meruem and Komugi (who are, by the way, absolutely parallels for Gon and Killua) find their meaning for living in each other, and decide to stay together even knowing the only way they can be together is in the afterlife. If you trace back this scene to all the factors and character moments that made it possible, it goes all the way back to Gon extending kindness to Killua and changing his life. I believe Gon and Killua are on a path wherein they will ultimately find their meaning in each other and vow to stay together again (albeit without the dying part).

Gon and Killua are the protagonists of the series, and they are emblematic of the themes of HxH. Looking at the themes of HxH and the worldview it presents, it doesn't make sense for Gon and Killua to experience this horrible traumatic incident as the young teens they are, then never ever get to fix and resolve it even though they're both clearly upset to have to leave each other and they definitely have more to say to each other. Why show them feeling dissatisfied and unhappy to separate if they'll never get a chance to fix things and be happy together again? Do you really think that's the direction Togashi wants to go in, with the focus of the series and the repeated emphasis on how the hope we can find in a cruel, painful world rests in the connections we have with the people around us?

It's meaningful that they make each other so happy and transformed each others' lives. It's meaningful that even now in merch and artwork and such, they're portrayed as a pair. It's meaningful that a huge chunk of the audience so desperately wants to see them together again, and I'm certain Togashi is well aware of that. These two are at the heart of what makes HxH so wonderful and moving.

It's okay to take a break from the ship if it's not bringing you joy. Sometimes I get frustrated by takes and interpretations I see about it, too, trust me. Ultimately, it's here for you whenever you want to revisit it, and there are plenty of fanworks with happy endings and reconciliation between them if you need something to tide you over until canon hopefully resolves things between them. But do what feels right for yourself--it's okay to focus on something fluffier and less complex if that's what you need for now. I hope eventually you can come to see it with more hope, as I have lots of hope for their future--and I don't think it's unwarranted at all. 💖

[sonofthesaiyans]

Happy Birthday Hange.....A Scout to the end and a true friend..... ⚔️ 💚 ⚔️

A salute to our birthday girl, the ultimate Scout and a gal who embodies the Wings of Freedom more than any other.....

Our beloved Hange Zoë. ❤️ 🎂 🥂

Sometimes I need a moment to remember just how much I love and appreciate Hange, who has been a unrelenting force in AOT and stands as one of the most noble gals you could ever hope to have by your side. Of all the people to sign on to the Scout Regiment, perhaps nobody believed in the cause as strongly as Hange did. In my book, if Sasha stands as the true heart of Attack on Titan, then Hange has earned her right to share that pedestal with her, for she is truly the heart and soul of the entire Regiment, and even with the entire world stacked against her she has never given up on herself or her people. Even in humanity's darkest hour, Hange was one of the few who refused to break.....For she truly believed there was a future worth fighting for in the unworthy world she was born in to. And there were few more deserving of a brighter future than her.

It's truly a bittersweet occasion. For her birthday should have been entirely hers, untainted by the saga that had come to do such a disservice to her in the final act. Instead, her birthday marks the day that the last good thing in Attack on Titan was stolen from us by Hajime Isayama.

Four years ago today......By this point the story had gone completely astray and nothing seemed to be held sacred anymore by Isayama, and thus we lost the last true guiding light in the story........One that not even the likes of Levi or Armin......And certainly not Mikasa.......could ever hope to compensate for. Indeed, even one chapter or episode without Hange pushing forward with us was a self-inflicted wound from which Attack on Titan never recovered.

And we all know Hange deserves so much more than that. The world and Hajime Isayama himself are completely unworthy of Hange Zoë....But Hange Zoë deserves the world and so much more.

Hange is so many things: Eccentric, unpredictable, extraordinarily energetic.......It seemed like nothing could stop this gal. She may have been a handful to those who knew her best......But she was also insightful, considerate, and uncommonly kind and humble. Hange could care less about fame or glory, her passion was knowledge, of both the Titans and the world beyond the Walls, and if not for her Paradis may have known no other world beyond Wall Maria......And the only thing greater than her pursuit of knowledge was her love and loyalty to those she served with.

We know so little about Hange's past or even her family......The Scout Regiment in effect was her family. And she went through so much to give them some chance to live, often without thanks and so often without the desired outcome. But Hange always valued the lives of her people, and in the end, she DESERVED SO MUCH BETTER....than what she got from those who betrayed her efforts. Who betrayed the meaning of what she thought for. None more so than from Isayama himself.......Hange was a true hero through and through, and the story should have honored that. ISAYAMA SHOULD HAVE HONORED THAT.......

Hange wasn't just the friend Levi Ackerman just could not get away from despite all their headbutting, she wasn't just Erwin's righthand woman and torch-bearer, she wasn't just a soldier.....Hange was a true friend to all of us. I think we all loved her dearly as one of our own.

So give your hearts to Hange, one of AOT's greatest, and the one who still richly deserves the future she fought so hard for. For she dedicated her heart and soul for the future of humanity.

Her courage, her determination, her humor, her love.....those are Hange's gifts. Hange is a gift to us all.....I only hope one day our birthday girl is repaid in full for everything she deserves. ❤️

Happy Birthday, Commander Hange. Your spirit stays with us, and you deserve so much better. Isayama certainly doesn't deserve someone so special as you.

There is no Attack on Titan without Hange Zoë.

[sherwood-scribblings]

HUNGER GAMES (SUNRISE ON THE REAPING) THEORIES: the "sunrise" over the reaping is maysilee

I have been going so absolutely bats off the wall ever since the SOTR announcement that I spent a whole day formulating my theories into in-depth essays and backing them up with canon... here ya go.

So, after some analysis of everything we know about the saga, chapter 14 of Catching Fire, and how Collins writes so far...

I present my theory on the new hunger games book: that the "sunrise" over the reaping is symbolic of Maysilee Donner, the former owner of the mockingjay pin.

I think Maysilee is going to be a symbol of the goodness, kindness, light, etc, of humanity, in the face of the reaping, in the face of violence and war. Aka the theme of the entire series. Aka a symbol of defiance just like Lucy Gray and her kindness. I mean, losing all his metaphorical light is what causes Haymitch to become a drunk... And likely to become so protective over Katniss and Peeta.

I also think the cover is going to have a mockingjay and a sunrise. Cause, Suzanne Collins is VERY intentional about her titles. The themes she uses. The imagery. The covers. It's all part of the story.

HOW COLLINS HAS USED THEME BEFORE

TBOSAS was called "songbird and snakes" which was symbolic of the nature of good vs. evil.

There's essays everywhere about how the songbird represents good (in Lucy Gray) and how the snake represents evil (in Coriolanus Snow), how they are symbolically shown to have both natures by using both snakes and songbirds as weapons, but one nature ultimately prevails. TBOSAS is about the struggle between humanity's two natures, and how we can ultimately prevail in one or the other. The crest of the mockingjay and the snake, is symbolic of said theme. 

Songbirds represent everything Lucy Gray is—free, wild, untamed, kind, colorful, a singer, a performer, honest and moral and true and good.

Snakes represent everything Coriolanus Snow is—deceptive, cunning, ruthless, adaptable, charming, determined to survive, everything sly and wicked and game playing.

And yet, they are shown to have the inverse as well. Lucy Gray is also cunning, and deceptive, and determined to survive. Coryo is also caring (about certain people), honest (he's bad at lying, and in THG he agrees to never lie to Katniss), and enjoys the idea of freedom.

They wield both natures and this struggle is portrayed throughout the story. Hence: A Ballad of Songbirds and Snakes. Hence: a snake and a bird on the cover.

Suzanne Collins is also no stranger to complimentary characters.

Lucy Gray and Snow are inverses of each other, both similar and wildly different. They work well... Until the difference in their nature tears them apart. 

She makes use of complimentary characters to emphasize theme throughout her books, constantly. We see with Katniss and Peeta, how Katniss is war-torn, distrusting, afraid, how easily she could become like Snow, how her motivations for security could become corrupted into a ruthlessness to survive just like Snow was driven by his fear. She is difficult, jaded, and tormented, but underneath that she does have a heart of gold and wants goodness to prevail.

Peeta is her dandelion in the spring, her hope, representative of the goodness left in humanity, he seems soft but he is a lot stronger than his peers would think or give him credit for. She clings to him because in a world of darkness he serves as light, as a reminder that not everyone is selfish, that kindness and morality do exist even if she's inclined to think people just are out for themselves.

He is full of light and her darkness falls for that because she needs light and goodness to heal, to believe, to fight for.

He is her compliment, where she is afraid, a survivor and a fighter, and sometimes rude or selfish seeming, and struggles to show her emotions and how much she cares, more like Haymitch—

Peeta is kind, brave, soft, and charming, has a way with people's hearts, and yet also strong in his own ways and in his morals, determined not to let the capitol force him to lose his humanity. 

This nature of humanity, of goodness, of light, is reflected in other characters.

Prim is that role to Katniss as well. She is a soft girl, innocent, sensitive, tender hearted, kind, a healer, which is part of why Katniss loves her so much.

Prim is a reminder of humanity, which Katniss needs, and it's why Katniss chooses Peeta over Gale. Prim is also contrasted against Katniss. Rue likewise, is similar, she's a symbol of hope and kindness set against Katniss.

We see this utilization of complimentary characters all over— Haymitch and Effie, one being a crude yet intelligent and snarky arrogant tormented and drunken victor from District 12, the other being a prim and proper rich Capitol girl, airheaded, brainwashed, sheltered, yet endearing and caring all the same. They're polar opposites, but they work so well together, both as teammates and as friends. There's a reason the fandom ships them and sees them as the beer uncle and wine aunt of THG, as parental roles to Katniss and Peeta.

Suzanne Collins knows what she's doing. She knows how to write characters that compliment or parallel each other and how to weaponize symbolism and imagery for a powerful theme. (Katniss and Peeta, Lucy Gray and Snow, Haymitch and Effie, Katniss and Prim, Prim and Rue, Katniss and Snow, Rue and the mockingjay, Snow and Coin)

HOW THIS APPLIES TO SUNRISE ON THE REAPING

If she describes young Haymitch as arrogant, snarky, nonchalant, dangerous, smart, capable, etc... Maysilee is likely gonna be his compliment: kind, moral, gentle, soft, willing to call his more selfish means out.

She's the one who saves him and had the idea for the alliance. She's the one who split because she didn't want it to come down to killing each other.

I am convinced the reason Haymitch sets up Peeta and Katniss to work together as teammates from district 12, is because he did that with Maysilee.

He's doing what him and Maysilee failed to do. They agreed to break off the alliance, and look what happened. She died. Why do you think he's so insistent on Katniss and Peeta working together? That Peeta is keeping her alive, that she doesn't deserve him, that she should be more grateful?

Because he sees Maysilee in Peeta, and himself in Katniss. Haysilee (regardless of if they're a ship or platonic) is a gender reversed parallel to Everlark. Perhaps he's harder on Katniss because he sees himself in her, and kinder to Peeta because he sees Maysilee in him. For all we know, Haysilee could have even incited their own rebellion that the capitol snuffed out (suzanne said the main theme of SOTR was essentially propaganda and lies, covering up the truth for the masses).

MAYSILEE IS SOFT LIKE MADGE & PRIM

Further on why I think Maysilee will be a soft sunshine girl—because her niece, MADGE, is exactly that. Golden haired, kind, softened. Selfless. Everything the capitol tries to destroy. Everything the capitol sees as rebellion.

Madge likely got her soft nature from her mom or her aunt (Maysilee), who are twins. They also all have sunshine golden hair.

It's essentially implied Madge is like her aunt.

And guess what? Prim is a blond soft girl and it's implied she's like HER mom, who was close friends with Maysilee.

Katniss' mom was also a soft girl before the trauma shut her down. Clearly Prim gets her own sunshine healer nature from her mother, because Katniss is more is rugged and protective like her father. She fills in for protecting them when he dies, and even notes her mom is too soft and fragile to deal with certain hardships the way Katniss does.

If Katniss' mother is friends with Maysilee, not to mention their daughter and niece are both soft healer kind sunshine girls who seem to take after the rest of their family.... It's likely that Maysilee is like Prim and Madge. Birds of a feather flock together and all. Of course they would bond.

MAYSILEE IS A SYMBOL OF LIGHT

Here's more on why I think the sunrise is Maysilee. 

Madge gave the mockingjay pin to Katniss, from Maysilee. SHE WAS THE FORMER OWNER OF THE MOCKINGJAY PIN. THE WHOLE REASON THE REVOLUTION STARTED.

Maysilee is another form the mockingjay takes. Just like Lucy Gray, just like Rue—a symbol of hope and resistance. A tribute from District 12, so determined not to let the capitol change her true nature, to take her humanity and morals, that it lights the spark to create a fire.

Do you think Haymitch looks at Katniss, and sees Maysilee's pin? Do you think he sees the mockingjay prevail in the face of the reapings, and all he can see is her?

"Sunrise on the reaping" is a symbolic title. This is Suzanne Collins. This is how she writes. 

"A ballad of songbirds and snakes" summarizes the themes of that book, the nature of good vs evil. Lucy Gray is the songbird, Snow the snake.

"Sunrise on the reaping" translates to light, hope, new beginnings, in the middle of war and violence. 

Collins said this book was going to focus on propaganda, how the media LIES to people, puts them in the dark for easy submission, to not see the truth.

You know what you need to illuminate the darkness of a lie? To see anything at all, including the truth?

Light. You need the sun. A sunrise.

Real or not real? How do you see what's real if you don't have the light to see it by?

Sunrise ON the reaping. Not over. ON. 

A sunrise casts light ON the reaping. On the violence of the capitol.

Kindness and hope casts light on the bleak violence and darkness of the capitol. Our humanity is the one true form of resistance. It's the main theme of the series.

This book is going to be about casting light on lies and darkness. On the capitol. The book will be about light prevailing over darkness.

About kindness and hope being the truth that acts as defiance against violent propaganda. Against Snow's beliefs that "there is no hope for humanity, we are all dark and twisted."

This book will be the inverse of Snow and Gaul, of TBOSAS. If Ballad is about how humanity can fall into darkness and evil, Reaping is its compliment, it's about how humanity can be light and good.

All darkness -> light exists -> fire sparks

(Ballad)              (Reaping)        (Catching Fire)

(@ aurynauthor on Instagram summarized that for me<3)

Maysilee is the sun, the warmth to start a FIRE... Her niece gives Katniss, the girl on fire... Her mockingjay pin. 

Maysilee, perhaps, is the true mockingjay.

Katniss compares her death to Rue's, when she watches Haymitch's games. We thought Rue was the mockingjay, but... What if the mockingjay isn't just one person? What if the mockingjay is a symbol, something larger than life, something anyone with the kindness and heart and resistance to stand against evil can be? Like how Katniss and Peeta publicly honor and mourn their fallen tributes when they ought to be entertained alongside the capitol, who is aghast by such displays of emotion.

Maybe that light is some of what the capitol is covering up with propaganda in this book, but it escaped in the form of the pin and Haymitch's survival.

The mockingjay is everyone. Lucy Gray, Rue, Katniss... Maysilee.

Perhaps when Haymitch sees that pin on Katniss, he remembers. When the mockingjay becomes a symbol of resistance, when Maysilee's sunlight sparks the heat for a flame... Perhaps then Haymitch can understand why Maysilee saved him. Why he was the one to survive, and she was the martyr.

How her legacy and her pin lived on even after she faded from history, just like the mockingjay bird itself—small and insignificant, survived against all odds, becoming something stronger.

Maybe, even after her death, even when he forgets the good she taught him and he gets drunk to block out the memories of what happened afterwards, when he has to train up a girl with a mouth of fire and a mockingjay pin, and a boy with a heart of gold and the wits to survive, District 12 tributes, teammates, children he sees someone else in...

Even after the truth of what really happened on the 50th Hunger Games is lost to history and propaganda. Even after all the death and violence.

After all the darkness, the lies Snow preaches, that humanity will always fall into selfishness and survival and cruelty, that nothing and no one can prevail or be different.

Maybe Maysilee and her kindness was the sunrise on his reaping.

[badass-queer-couples-battle]

⭐ Gay wrongs tournament, finals of the major bracket ⭐

Propaganda:

For the Leverage trio:

No murder (except occasionally by Elliot) but the theifsom as they are sometimes called rob from every kind of evil rich asshole they can find. Three of the best criminals in the world. Be poly do crime

A canonical (Word of God) triad who run cons with the ultimate goal of helping people. Hardison is a hacker, Eliot is a hitter, and Parker is a thief

For Hanningram:

Ive previously only heard the term "murder husbands" refer to hannigram so it feels flitting. The whole series culminated with a murder they did together bathing in blood. 

The show and ship that coined murder husbands. It’s in the text in s3 from a journalist side character. They do Many murders either together or as a message to each other. Usually this involves turning the dead body into an art piece. The show ends with them killing a guy together in a slo mo scene backed by porno music.

They're both batshit and manipulative.

ALRIGHT so they're not canonically together but it is HEAVILY implied and they have some sort of fucked up psychosexual obsession with each other. in the later parts of the show they start committing murder and cannibalism together and they're soooo unhinged but it's awesome

kill people for each other. maim each other. kill people together. most batshit insane metaphors. send each other to jail. ruin everyone’s lives. someone can probably say this better than me but these gay people are insane

Literally THE murder husbands. They kill for each other. They've tried to kill each other. They're canon in all but name, like the homoeroticism between these two is the driving force of the show.

one time hannibal folded a guy into an origami human heart

They are in love and they kill and eat people. They are called Murder Husbands in canon.

The original murder husbands (literally, that's not just their ship name, they get called that in canon)

The show begins with Will working for the FBI and trying to catch Hannibal, but because Hannibal is so intrigued by the way Will is able to see the world and the motives behind the killings so easily, it becomes a game of Hannibal isolating Will even more from the people around and seducing him to try and kill. By the time Will starts embracing the side of him that Hannibal sees, he starts oulling back and trying to distance himself so that when the time comes for Will to fully embrace himself and Hannibal, no one really suspects what they have planned. 

hannibal literally does murder as courtship and it works bc will is also a fucked up little guy

I'm actually quite offended they aren't included by default (joke). They are THE murder husbands!!!!!! (mod note: they should have been, but I wanted to see how many submissions they'd get. They got 19, making them a little more than 6% of total submission count).

do i have to say it. they literally get called murder husbands IN THE SHOW

There are 3201 works for Hannibal on ao3 tagged Murder Husbands. They are the ogs, they are the pioneers we owe it all to them.

THEE murder couple. You know it. I know it. They commit crimes at each other as courting and then commit crimes together and then fall off a cliff to wash up somewhere and live on to serve cunt. Get referred to as 'murder husbands' in canon. What more do you need

Hannigram were literally called Murder Husbands in canon, they are the og, they are THE blueprint. They were gay as hell and comitted so much murder so many crimes. THEY RAN OFF TO EUROPE TOGETHER.

[the-west-meadow]

Heartbreaker

Roman Roy x Reader

summary: As your relationship with Roman grows more uncertain, you turn to the person who knows him best for advice.

Midway through the day, you spotted Gerri on her way out of the office and sprang up from your desk, jogging after her. 

“Hey Gerri,” you said, “Could I buy you lunch today?”

“I’m flattered. What’s the occasion?”

“I need your input on something.” 

She eyed you suspiciously.

“Is this business or personal?”

“Personal.”

“Fine. But you’re buying me a drink, too.”

Gerri took you to a high-end lunch spot downtown. You settled at a table near the window, picking up your menus. No prices. You swallowed. You had known this wouldn’t come cheap.

“What’s on your mind, Y/N?”

“It’s Roman.”

Gerri let out a subtle sigh, adjusting her glasses as she scanned the menu.

“I should have known,” she murmured. 

“I’m completely at a loss.”

“Welcome to the club.”

“I mean, what can you tell me? Every time I ask him about his relationship history he starts mumbling and won’t make eye contact.” 

“I don’t know much more than you,” she said. “There were a few girls that I know of. But as far as I know they never went anywhere, if you know what I mean.”

“I don’t.”

“Do I have to say it?”

“Yes, Gerri.”

“Well, then.” She cleared her throat. “As far as I know, they never… you know. Fucked.”

You sat back with a somewhat satisfied smirk on your face.

“Okay then,” you said. 

“Don’t let that hearten you. In fact, it might be a reason for you to pack up and look elsewhere.” 

Gerri sighed and rubbed her nose lightly.

“Roman is extremely complicated,” she went on. “You think you have him figured out, then he surprises you again. He’s chaotic, he’s unpredictable, he’s highly unstable—“

“Gerri,” you said, interrupting. “You’re saying all this like it should deter me.”

“If you were a sane human being, it would.”

“Let’s say I’m not. Let’s say I’m invested in seeing where this Roman trip takes me.”

She finally looked at you with something like mingled sympathy and admiration.

“Then I might be able to give you a few pointers.”

The drinks arrived. Gerri took a long sip before considering what she would say next. 

“First, it might help if you told me what it is about Roman that interests you.”

You took a swig of your own drink before you responded. 

“Let me just say that I didn’t choose to feel this way. I fully intended not to like Roman when I came to work for this company. Everything I heard made me dread meeting him. Even in our first few meetings, I was still determined not to like him. He was weirdly twitchy, he wouldn’t stop climbing on furniture. I thought he was a self-absorbed prick.”

“You weren’t wrong.”

“Right. But we both know there’s something underneath that.”

“Unfortunately, yes.”

“He’s a heartbreaker, Gerri.”

“I know.”

You put your head down on the table. The waiter arrived with your entrees, unsure where to put them until Gerri nudged you beneath the table. You shot up, composing yourself. Gerri leaned towards you. 

“Listen, I know Roman. He’s tough. But I think he’ll open up to you.”

“What makes you say that?”

“Roman’s been looking in all the wrong places for love. I think his relationship with his dad shows that pretty clearly. He has an image in his mind of the kind of partner he should have. But that’s not the partner that he ultimately wants.”

“And what kind of partner does he want?”

“Maybe one who’s as broken as he is.”

You cracked a grin.

“I’m not sure whether to take that as a compliment or not,” you said.

“It’s meant as one. I know you’ve been through some tough times, but look where it’s brought you. Sometimes the most broken people end up being the strongest.”

She looked at you with that same admiring glint in her eye.

“When I first met you, I thought I saw a lot of myself in you.”

“Sorry, but there’s no way Gerri Kellman is a broken person.”

A small smile.

“You’d be surprised.”

You ate for a while in silence, thinking over each other’s words. Gerri finally glanced at her watch.

“We should be getting back soon.”

“Tell me what to do, Gerri. I’m lost when it comes to him.”

“My advice?” She dabbed at her lips with her napkin, took a sip of ice water. “Don’t give up on Roman.”

“Give me one good reason.”

She looked you straight in the eye. “Because,” she said, “Last week, he asked me to lunch to talk about you.”

Your heart leapt in your chest.

“You’re kidding me.”

She shook her head firmly.

“I thought he didn’t like me,” you said.

“Quite the opposite.”

“Holy fuck.”

Gerri shook her head, gathering her bag with a smile on her lips.

“That’s an understatement. You’re in for a wild ride, Y/N.”

You drove back to the office with her, riding in silence up the elevators. As you walked back towards the conference room, Roman strode out of his office, hands in pockets. 

“Oh look,” he said, “It’s my two favorite people.”

He stopped in his tracks. You could see his mind backpedaling in real time. 

“Sorry, did I say that? I meant my two favorite corporate thralls. Get back to the conference room where you belong. Why aren’t you on a call right now? Fuck you. Leave me alone.”

Gerri had a smirk on her lips. Neither of you budged. Finally, Roman hurried past you, running a hand through his hair, throwing obscenities into the air.

“See?” Gerri said. “He does like you.”

[secondhandsorrows]

Keys to Crafting Characters Readers Will Root For (w/ some examples)

As a writer and while making up this blog, I’m quite adamant that characters are just as important (if not more) as plot. In the grand scheme of things, an active, relatable, and engaging main character is crucial for a novel's success. But how exactly do we make a character all these things? There’s many ways, in fact. It is up to us as authors to keep track and manage the developmental arc of our protagonist: primarily, who they are on the inside, and how they grow or change / adapt to the situations or people around them. 

Here are some examples and tips to help you develop a compelling protagonist (or all kinds of characters). Keep in mind these tips are at their most basic, essential level (there’s just so much that can be explored in each one), so I hope to go further into each point sometime in the future. 

~`* They have clear goals and motivations.

First things first: you’d want to clearly define your character's goals and motivations — and the sooner, the better. Proper and well-set goals and motivations provide a sense of direction to the narrative. They should be specific, measurable, and achievable — or perhaps, not achievable, at least to its fullest extent. This would ultimately depend on the type of arc or ending you intend to write for your story, but there should at least be some main goal the character is vying for, and a motivation that dictates how much they want or need it. 

For example: An aspiring actress hoping to make it to the stage and audition for the lead role in her favorite play.  —> Why does she want to be an actress so badly? What does it mean to her to act in her favorite performance? What does she have to prove, to herself or others?

~`* They are flawed, yet relatable:

I’m sure you’ve all heard this before… but I’m still going to reiterate:

Your character should have relatable flaws that readers can sympathize with. It’s no secret that flaws make characters human and relatable. Flawed characters help us remember that nobody’s perfect, and that we’re not alone in our struggles and in our plights (stay back, Mary Sues!). These flaws can be anything, from fears, limitations, biases, misbeliefs, quirks, shortcomings, or behaviors. It’s useful two have at least two: a minor flaw and a major flaw, where the former affects only the only character and nothing else, and the latter hinders the character and affects the plot. 

For example: A highly-knowledgeable yet socially awkward and oblivious professor who can hold a bar of soap better than a conversation.  —> Does this flaw make him out to be charming or weird to others? How can his social-awkwardness affect the plot… does it hinder him from connecting to his students or colleagues? 

~`* They have unique talents or interests.

Sometimes I read a story, and personally I have a hard time connecting with a character if all they care about from beginning to end is what’s happening in the plot. It’s like they exist for the sole purpose of the plot, and are nothing but a shell to see through the events or its challenges. This is understandable, especially when it’s an action-packed story or thriller. 

Personally, I can’t help but wonder what its main character does for fun. What they’re like before the events of the novel. 

I think it can be useful your character skills or interests that set them apart. This not only makes them interesting, but can drive the plot in unexpected ways. *Bonus points if they have a particular skill or hobby that conflicts with the way they present themselves to others, or if they hide it well if they are embarrassed by it or afraid of getting judged. Essentially, this is all to clue-in on the reader to the character’s backstory, their personality. It helps them seem more individualistic, like humans with their own sets of interests or ideas that give them more complexity and uniqueness. This can also be useful in creating parallels or connections to your story’s themes or your character’s arc. 

For example: A brave warrior with an aptitude for gardening and flower arranging.  —> Seems random, right? But what if this warrior had workin in their relative’s flower shop, and has kept the skill alive in their days of battle to see pieces of beauty around them, hope from fear and danger? They might dig graves of their fallen friends and leave behind flowers in remembrance. Just an obscure  example, but see all the possibilities something like this can open up?

~`* They have deep, complex relationships.

Sometimes we can get a better idea of a character when we see them interact with the people around them. It’s like showing vs. telling, where we get a firsthand look at how the main character treats his family members, how he accepts or refuses help from those he’s close with, what he appreciates most about his significant other, how he feels about the annoying neighbor next door. Who’s the one person they most admire and never want to let down? Who’s the one person they despise with all their body and soul? Whether it's friends, family, enemies, or romantic entanglements, complex interactions and relationships add layers to your character and in how they showcase themselves to the world. 

For example: An excellent, compassionate therapist with a strained relationship with his own family member.  —> How does this character feel about this kind of relationship? Does it stem out of shared family troubles, or something deeper? Is there a glimmer of possibility the therapist might reconcile with this relative, or are they dashed because of mutual pride or distrust? 

~`* They often face moral dilemmas.

It’s time to get philosophical. Human nature is full of paradoxes and tough moral questions, and so characters with conflicting qualities can be intriguing and relatable. Introduce moral dilemmas and conflicting values that force your character to make tough choices and confront their conflicting values. Do they have a friend with conflicting beliefs that challenge their own? Are they forced to act a certain way because of external pressures? Are they forced to choose between saving one person while destroying another? 

No matter how serious this dilemma is, you can also add a moment of clarity or self-awareness for your character. This can be a turning point where they acknowledge and confront the conflict within themselves, thus becoming face-to-face with their internal crisis and how they decide to go from there. Do they weigh the pros and cons considerably, do they fumble because they’re hesitant, or do they embrace the new changes? 

Despite conflicting values, make sure your character's behavior is consistent with their established personality. Consistency helps maintain authenticity and keeps the character grounded. 

For example: A scientist torn between protecting humanity and the pressure of making a groundbreaking discovery.  —> How does making this discovery very important to this character? What do they stand to lose… what do they stand to gain? Are they at the risk of becoming something completely opposite of who they were at the beginning of the story, losing their sense of morality or forced to choose a side? 

~`* They show their quirks and habits.

Introduce quirks or habits that make your character memorable. These little details can make the character more relatable and interesting, because just like talents or hobbies, this can also give a clearer sense to the reader of what kind of personality the character has and what they’re like. Not to forget, it also helps them to stand out from other characters on the page, giving them a unique voice with their kind of dialogue, their behaviors, style, and mannerisms.  

For example: A scholar who can focus only if she’s chewing gum or wearing her lucky ring.  —> How might’ve this character started this habit or tradition? Does it actually work? Does it not work, but they still do it anyways because it’s comforting for them? Also, where did they get this quirk from?

~`* They have a backstory.

Most of what we’ve been discussing in this post already leaves some framework for the character’s backstory. It’s important to have a meaningful backstory in mind that influences the character's present actions and explains why they are they way that they are. This adds depth and helps readers understand their fears, desires, and motivations better; not shallow and two-dimensional as cardboard cut-outs. 

Sometimes we don’t get a backstory for our character right away. Backstories takes time to brainstorm and shape — let alone into a complex or compelling one — but its helpful to trust the process. What you can do if you’re still looking for the right one, is to ask yourself questions  on things that matter to you most. This pertains to your story’s themes and other main ideas you may like writing about, such as grief or family matters. It all boils down to who your character is (the present), and where it stemmed from (the past). If we take this a step further: does this backstory guide them or force them to make changes within themselves, thus leading to their changed self at the end of the novel/series (the future)?

For example: A woman with a fear of marriage because she’s seen firsthand its faults, including her own parents’. —> Is her parents’ divorce still something she’s struggling to come to terms with? Is her misbelief equating marriage to constant conflict? Does she have a secret desire to get married, yet it put off by its pressures? Does she make up for this fear by focusing on other matters? Will this fear later be disproven?

~`* They are often vulnerable. 

Every hero needs vulnerabilities. Imperfections. Weaknesses. We’ve talked about strengths and flaws before, but giving them that dent in their armor, any little opening someone or something might get through, leaves a reminder that no one, especially our hero, is invincible. Nobody’s perfect, after all (side-eyeing you, Mary Sues…). Make your characters messy: adding vulnerabilities helps makes them more authentic and genuine, opening up chances for them to learn and evolve as the story moves along. 

It can also add a layer of suspense to the story, especially in conflict and tension. How will the character handle someone breaking their walls down, or a bad experience threatening to make them crumble and fall back to old habits? How do they handle their insecurities? How well do they hide their fears, and will they ever admit them?

For example: An old woman with bad eyesight and lives alone can’t tell that the reluctant robber breaking into her home is not her grandson.  —> This is a fun little example that opens up many possibilities. Her bad eyesight is a physical vulnerability, and so is her soft spot for her supposed grandson. The robber notices this, and he too may have a soft spot for any old woman who treats him kindly. Does he use this to his advantage to rob the house, or does he humor her for a while?

I’d definitely like to expand on these tips sometime. If there’s anything you’d like to share or add, please do so! I’d love to hear y’alls thoughts. Hope this helped!

[bombusbombus]

It is vitally, vitally important that Clark Kent is boring.

I don't mean 'boring' in an inherently bad way. A desk job is boring. Data analysis is boring. Due process is boring. All of these things are imperative for a functioning society but almost nobody will ever be praised for them.

When my car got stolen a year ago, the guy who took it stole a bunch of other stuff too. I was sitting with a cop in a backroom of the campus police station for almost an hour while he was doing paperwork (to make sure everyone would get their stuff back), and at one point he looked up at me and he said, "sorry about this. It's not all shootouts and car chases like on TV."

And I almost said, "well, due process is sexy" (I didn't, for obvious reasons). But he looked surprised when I told him I thought due process was pretty cool. Like nobody is supposed to think due process is cool. Things are only cool if they're glamorous or flashy.

The guy who stole my car was horribly addicted to meth. The sheriff told me, "you should press charges so we can put him away for as long as possible."

The sheriff was lost in a world of heroes and villains. He was the "hero." The addict was the "villain." But the person who helped people was the guy at a desk, who went back over the mile long paper trail and returned every stolen item to its owner. The important stuff is when some guy in an office writes an algorithm to save endangered whales, or when the third double blind test finally shows sufficient evidence for the efficacy of a new cancer treatment. The goose that actually lays the golden egg almost never cackles.

This is why the 'Glasses' comic is so important, to me. We live in a world which glorifies exciting acts of heroism but not "boring" ones. We live in a world that thinks people like Clark Kent aren't important, when they're often doing the most important work, solving the systemic issues, saving people who aren't lost yet. Sometimes we need firefighters, but in a perfect world, we'd only need safety inspectors.

And sure, Superman is necessary within the story. There are disasters and villainy he can prevent. There are lives he can save. But being Superman is ultimately a terrible sacrifice, and if the heroism wasn't necessary he'd be Clark Kent all day. That's what makes him not a cop: he's not enjoying the car chases and shootouts. He avoids letting things get 'interesting' at all costs. He avoids glory.

The comic Strong Female Protagonist (by Brennan Lee Mulligan and Molly Ostertag, BRING IT BACK) has several fascinating pieces of philosophy on superheroes and society, but my favourite is this:

Kal-el, living solar battery, isn't just someone who contributes to society from the outside or the top. He plugs away at boring, everyday kindnesses just like other humans. (This can make for great contrasts with Lex Luthor, who is the epitome of a light bulb person and could never understand why Superman would want to be a battery.)

Clark Kent is boring. Clark Kent plays things by the book. Clark Kent is sexy in the same way that due process is sexy, and any character who thinks the Clark Kent side is 'less than' the Superman side, is textually a goddamn idiot. "No glory save honour" and he will always have both.

[skywalking-through-life]

what ship do you hate most?

LOL, oh my anonymous friend, I wondered if anyone was going to ask me this. I'm going to try to answer without opening a can of worms about my opinions that I don't know if I'm brave enough to crack open, but we'll see where this goes. This answer - even more than usual - is probably going to be long.

Okay.

I don't hate any ships.

I know that some folks may not believe me, but I genuinely, 100%, I do not. And will not!

Are there ships I don't understand, or don't find appealing, or find disturbing? Yes, very much so! I personally am usually squicked out by ships that are incestuous, ships between an adult and a child, ships where there is a clear and dangerous lack of consent, and ships that are shipped because the person doing the shipping wants to 'punish' or bash one of the characters, so they ship them with whoever will give them the worst time. I have very little patience for stories where the people in the ships cheat on or betray one another in some way as a feature of the relationship, and tend to roll my eyes when I see people use them to vent their feelings about other people's ships. I don't like ships that feel one-dimensional, and I don't tend to like ships absent passion.

But while all of that might annoy or baffle me, dislike of certain pairings or tropes isn't hate, and is small potatoes compared to what I see as a MUCH larger issue.

And that - what I DO hate - isn't any particular ship, but the culture of extreme, sometimes violent, often thoughtless and self-centered emotionalism that (unfortunately) has always been a part of shipping. Ship wars, pro vs anti ship discourse, and the idea that our feelings about the fictional characters we love and hate should somehow translate to how we - REAL HUMAN BEINGS - treat each other; all of this worries me deeply because in this I see the REAL evils of the REAL world bleeding into fictional ones. Hate is a powerful emotion, and to see it applied to real people because of fictional interests? I abhor that - and all it has historically led to - in my very soul.

Whenever I hear about people getting death threats in their inbox for liking/not liking/not having the correct opinions about a ship, whether 'problematic' or otherwise, I genuinely feel sick to my stomach. I understand loving something so much you want to defend it against any perceived attack; I understand thinking something is so evil that it needs to be spoken up against. But I do not, and never have, understood how and why so many folks apply that deep seated anger to FICTIONAL RELATIONSHIPS. Our world is a beautiful and terrible place, and is so wide and complex - wider than the margins of any book, or the frames of any film. Surely we can better spend our passions out there, on the thousands of issues that deserve our attention, our care, and our hearts, rather than in here, on each other, over things that do NOT matter at the end of all things?

And so the end - the ultimate, the core - of this issue for me is this: hating a ship, or participating in ship discourse of some kind, would require me to let fictional worlds have access to my anger, no, to my real, roaring RAGE; to the messy parts of myself and my complicated relationship to the real world that I come into fictional worlds to write myself free of. And I just don't believe there is a place for that kind of vitriol in spaces that are, for me, meant to be joyful and liberative.

[lilycolbertsstuff]

I just finished the Addicted/Calloway sisters series and I’m positively weeping.

While reading these books I really felt like I was going through a journey with all those characters and I couldn’t be more grateful for that because they taught me so much.

I will truly never forget the way they made me feel and how I learned to accept, love and care for the core six as if they were my friends. I’ve never experienced characters feeling so raw and real and that’s what makes these novels special. What they went through in terms of personal growth and emotional turmoil feels like something that any of us could live through in our lifetimes.

These are the kind of books that remind me why I love reading. We bottle up so much of our feelings to appease society’s standards that sometimes it feels like we’re becoming robots, so it’s nice to have a reminder that it’s ok to feel all sorts of emotions whenever and wherever we feel them and if someone tells us otherwise we bring out our inner Rose Calloway Cobalt.

Ultimately the most important value that these books want to transmit to the readers is that we should never be afraid to love and be loved because without this blazing force that drives human beings we would just be hollow shells.

Round of thanks:

- Lily, thank you for showing me that anything is possible if we learn to accept the help of the people around us. Thank you for showing me that being shy is not a weakness. It’s ok to struggle, it’s ok to take it slow and it’s ok to fall down on our path to happiness but in the end we will make it and we will be deserving of it. There’s no right definition of strength and I’ll make sure to remind myself of that.

- Lo, thank you for showing me that the people who struggle in their early years are not doomed to a future of failure and despair. I struggle with my insecurities just like Lo did, feeling inferior, stupid, worthless but watching him evolve and become the amazing person he is moves me to strive and work on myself to become someone I will be able to say I am proud of in the future.

- Rose, thank you for reinforcing in me the fact that love is the most powerful force in the world. You are a blazing fire that is not afraid to drop everything and put herself on the line for the people she loves, I aspire to be as courageous as she is one day. She is a feminist and is never afraid to put out her ideas into the world and confront with her head held high all the men who would even try to doubt her. She loves fiercely and without any restraints and I think that’s what we should all live our lives like. I think the greatest lesson she has taught me is that you should always be true to yourself and never try to change your personality just so you might be appreciated more by others, for the people who cherish you accept you for who you are to your core with all your vices and virtues.

- Connor, I’ve loved your character ever since your first appearance, thank you for taking us along your journey of learning to accept love into your life. I know it’s hard, especially if you’ve never felt something as strong as that but in the end, even though there might be heartache along the way, it is all worth it. His open mindedness helped me get more comfortable in my sexuality and I will never be more thankful to him for that.

- Daisy, I want to thank you because watching you go on your journey of finding your own voice and learning to speak your mind without being afraid of other people’s judgement. We can’t always pretend to be ok with what other people tell us to do and that’s completely fine because in the end expressing what we think and want in a respectful way will help define our own path.

- Ryke, I wish I were as selfless as you are. Your compassion and will to do good and help the people in need are qualities that not many people have. I think of Ryke as a lighthouse, always there to show the right way to the people who may have lost their own light. Thank you from the bottom of my heart.

Having said so, I will for sure revisit these books in the future because these characters feel like family now and to me family comes first.

Until next time 🪷🌹🌼

Ps. Poppy Calloway I wish we could’ve seen more of you.