#but. disability metaphor i love you

[miseria-fortes-viros]

best trope is the one where the character’s godlike power is also killing them btw. they don’t even lift a hand to kill the monster but now they’re delirious with fever. they save a friend’s life and said friend immediately finds them emergency medical care. they raze the enemy to nothing and it takes far too long to find their pulse with all the bruising. their friends just constantly having to patch them up and worrying over which feat will be their last. et cetera

[chuthulhu-reads]

[ID: three pnaels from Fruits Basket. In the first only speech bubbles are visible as Satsuki says, "Here, Hiro-chan. Why don't you hold her?" Hiro, in more jagged speech bubbles to show that he's raised his voice, says, "Wha?! I-I can't do that! Hinata's a girl! That's not gonna..." In the second panel, Satsuki is smiling warmly and holding baby Hinata as she says, "Okay, then. Mama will just hold you both." The last panel, inset, is Hiro in profile, his eyes wide. End ID.]

Mother of the Century award to Satsuki Sohma, the only Sohma mother we see anything of who is completely normal and chill about her child being possessed by an animal spirit. She's definitely the reason that Hiro is much more resistant to falling in love with Tohru than other Sohmas, since he already has an emotionally fulfilling relationship with his mother, who strikes me as being more prone to hugging her son than the other mothers of possessed spirits. The Sohmas have a lot of issues and with the whole hugging thing I wouldn't be surprised if touch-starvation was one of them. But not for Hiro, whose mother just goes "Oh! If I hug my son he gets EXTRA SNUGGLY!" and that's that on that <3

[istherewifiinhell]

anyway more es. ARE U GETTING. THAT ALTMODE MIGHT BE.... allegoric. of things......

[ID: Transformers Earthspark clip of Jawbreaker interviewing Elita-one on a camcorder. There's scanline and recording ui affects. Jawbreaker is a young terran transformer with squat preportions in his protoform (white, grey, and blue, non discript body). Elita is a large cybertronian transformer with a pink SUV alt mode, clear car parts like wheels, headlights, and grill visible on her robot mode body.

full transcribe below

Camera over JB's shoulder, looking at a city skyline with the sun behind it.

JB: It's so... pretty.

Camera whips to Elita as she speaks: This whole planet is. I... like to end my work outs by reminding myself what I'm trying to protect.

JB graps the camera and turns it around, setting it up: I want to keep it safe too. [Sad, comtemplates the camera] But how can I do that without an alt mode.

He sets down the camera and we exit the camcorder view. The camera is very small in his hands

Elita sitting behind, twisting to look at him: Kid, you don't need an alt mode to do that.

JB: But, I'm a transformer. I'm suppose to transform!

Elita gives a breathed laugh/huff: Jawbreaker, lemme let you in on a little secret, hmm?

She tap the space next to where shes sitting on a shipping container. We see in camcorder mode the profile shot JB set up, he walks over and sits. We exit camcorder mode, and see JB and Elita from head on.

Elita: Scanning your alt mode isn't some kind of magic. There's a special compotent inside of you, [hand to her chest] Inside every bot, called the T-cog. It's what lets us change shape.

JB points to his chest with his one large finger. Speaking deliberately: The T-cog. Wow... [normal speech] Oh! But I'm not cybertronian. How do you know I... have one?

Elita, prompting: Some of your terran siblings have changed form, right?

JB: But what if I'm... [voice break] different?

Elita, looks toward the city: You know it took me forever to find an earth alt mode too? Nothing I saw ever felt right. So I waited. I waited, and waited, and waited.

JB: And then?!

Elita, turns to JB, points to her chest again: My spark, told me what was right.

JB: BUT- [somber] what if I'm broken or something? When I look at- cars. I feel nothing.

Elita puts a hand on JB's shoulder: Then maybe... you weren't meant to be a vehicle.

JB, suprised/awed: You can scan other things?

Elita: Almost anything you want. It's up to you.

JB: Thanks, Elita.

[cream-and-tea]

how do werewolves work in lmd (plus anything else like that)

OK SO.

(this got very very long)

(just as a warning)

(also i’m going to tag @transmasc-wizard bc i remember you asked about this a while ago and a lot of this response comes from what i had typed up to respond to YOU lol)

(okay here we go)

there are (putting it very very basically) two main kinds of magic in the Ghost Story Universe: mortem (Death Juice) and vita (Life Juice). they draw from the same source (God Juice) (which is also the source of the apocalypse but that’s another post entirely) and are kind of different aspects of one thing, but still act as opposing forces. equals and opposites, can’t have one without the other, etc etc. the point is that even though they’re two different types of magic they share the same set of rules and operate under the same basic facts. one of the most basic being that magic is physically taxing to use. no magic comes without a cost

so this is pretty straightforward. and generally it isn’t anything too debilitating, but the more powerful the magic and the more magic used, the more damaging the physical effects become (for example: early on agnes’s chitchats with the ghosts she sees don’t really wear on her because it’s a very passive form of her power, but as the plot progresses and she actively draws on it more and more she starts to develop chronic headaches). the more active magic bullshit you do in succession —> the worse you’ll be feeling the next morning. people would usually need to rest for upwards of a few days after performing a major act of magic and the reason The Library focuses so much on endurance and repetition is to prevent that from happening. it’s to the point that some majorly powerful stuff is possible but the benefit of it is almost completely outweighed by the potential damage it would cause.

rambly worbuilding aside, this is really just a preface so it makes sense when i say: vampires and werewolves are what happen when people push their magic to far.

they’re basically the most extreme end of the spectrum for either kind of magic. vamps are a result of overusing vita (blood life stuff), and wolfs are a result of overusing mortem (spooky death stuff). this happens to people when they’re drawing on so much magic that their body literally cannot support it anymore and starts canabilizing itself in order to support the magic and prevent the person from just. coming apart at the seams. a Regular Person body is just incapable of handling that amount of power, so in turn they have to draw their sustenance from a different non-human source. the comparatively small piece-of-magic-apocalypse-juice in them mutates and co-opts the functions of their body in order to save that body from collapse. both vamps and wolves have to feed CONSTANTLY or they risk their bodies giving in and all their organs straight-up failing. it’s a slow transformation process and sort of representative of how much Whatever Caused The Apocalypse has become so deeply ingrained in every part of the new world. again: it presents differently but it’s all the same stuff in the end.

the world is full of monsters and weirdness and general spooky bullshit but vampires and werewolves especially have an ENORMOUS amount of stigma surrounding them because of the fact that most people still see regular magic users as recognizably human, and view the transformation as a transition from Human Person With Emotions Who I Should View As Such Despite This One Weird Thing to Inhuman Monster. most magical creatures aren’t seen as sentient in nature and many of them are actively dangerous to humans, so if someone pushes their abilities to far and ends up undergoing the transformation then it’s seen as a shift from being one of Us (normal people just trying to survive this crazy broken down to world) to being one of Them (unnatural monsters that came about as a result of the evil forest and apocalypse and want to destroy humanity), except that obviously the people who are turned are the same people they were before, just with an extra set of challenges and probably more bloodlust (which i can see being a bit of concern but c’mon. are u really going to let a little killer instinct get in the way of a lasting and meaningful relationship. weak).

They’re also used as an excuse when it comes to hatred of people born with magic at all. bc sure it SEEMS harmless when you kid is learning from their dead grandma or healing a little bit faster than normal, but with ONE WRONG MOVE they could become A VISCOUS BEAST or a BLOODSUCKING MONSTER and do you really want to take that risk?? wouldn’t it be better to stamp that out now before someone gets hurt??? even in places like The Library, which usually serves as a safe-haven for people born w magic, vamps and wolfs are seen as somehow Lesser. The Library toutes them as cautionary tales and failures of magic, basically a warning of what not to do to their students.

to get into the more specific abilities and effects and What Being A Vampire Or Werewolf Means i’ve made some handy little lists (ft. calliope and luca macnamara, a book 2-3 character that nobody knows about lol) (please click tumblr absolutely wrecked the quality):

so. yeah.

[andthebeanstalk]

Avatar 2 is so funny to me cause they are pulling some absolute Rip Van Winkle shit

Everything that the first movie had to offer 15 years ago is no longer valuable now, so the entire thing feels stunted and forced and out of time, no matter how much they claim this is a cultural event. No one cares. No one remembers.

They overslept and woke up irrelevant.

[drchucktingle]

THE TEXAS LIBRARY ASSOCIATION HAVE ISSUED AN APOLOGY AND A RE-INVITATION. HERE IS MY STATEMENT

hello buckaroos. the TEXAS LIBRARY ASSOCIATION have issued a formal statement and apology which you can read at the attached link.

while i find the language used to discuss what was done a little unsatisfying, i would like to start by saying i appreciate anyone taking steps to prove love is real and make things right. the genuine feeling of ‘realizing you have made a mistake and hurt someone else’ is a terrible one, and i have so much empathy for this group as they reckon with their choices causing harm. i appreciate their apology.

i also think more good than bad has come from this situation. i am so thankful this happened to me (someone with a large social media presence) and not a smaller buckaroo author without the means to stand up for themselves. i think the next time someone comes to the TXLA with an accommodation need, they will hopefully be taken more seriously

lets trot down to business about specifics now. the TXLA has re-invited chuck to the original panel and even offered to take a moment at the top of the panel to talk about what happened. this is very kind of them and i will say THANK YOU. 

unfortunately i will also have to decline.

the fact that it took this much effort, social media backlash, and discussion to let me simply EXIST PHYSICALLY in a way that is authentic to myself is not a good sign. if this organization immediately questions an authors chosen presentation in this manner, i cannot imagine what my other accommodations would be met with.

sometimes i am at an event and i very quickly need extra space to breathe. sometimes i am at an event and i need special guides to help me along from place to place. these are not ‘big asks’ and every other conference has gladly provided them, but if the TXLA had this kind of initial reaction to my physical appearance, i cannot imagine them readily helping with my other needs without ‘proof’.

this is clearly not a safe place to trot for those who require additional accommodations. regardless of any apology, their ACTIONS have shown that people who appear unusual or unique are not welcome at this event on a subconscious level. i believe the TXLA have some serious inner work to do beyond this apology, and i believe this inner work will involve actions more than words.

but even more importantly i would like to make this very important point: IT DOES NOT MATTER IF MY MASK IS A DISABILITY AID OR NOT. i appreciate the way this discussion has allowed us to trot out some deep talks on autism and proved love in this way, but i think there is a much more important point at hand.

regardless of WHAT someone looks like, it is not the job of an event or conference to pick apart WHY. physical presentation can be a part of someones neurodivergence, or gender, or sexuality, but i can also just exist as a nebulous undefined part of their inner self. it can be a piece they are not ready to openly discuss yet. the guests at TXLA are authors (aka ARTISTS) and the idea that a conference dedicated to an ART is going to deny people with unique and unusual presentations for ANY reason is absurd. since when are we applying a ‘dress code’ to our artists?

without knowing it, i personally believe there is an element of the ‘good queer, bad queer’ phenomenon going on here. there is a push to say ‘LOOK we accept these marginalized groups and cultures’ but behind the scenes that means ‘we accept these marginalized groups and cultures who are quiet and speak in turn and wear the metaphorical suit and tie’. it is easy to show diversity when you only take on the voices that arent too ‘strange’.

to prove my point i ask you this: do you think orville peck would have FOR ONE SECOND been asked to perform at the texas library association event without his mask?

so with that i say ‘very sincerely, thank you, but i will have to decline the re-invitation. maybe next year’

[gudaho]

i love dungeon meshi i love that a character hated disabled people, became disabled, and continued to hate himself for being disabled. i love that experiencing disability wasnt the 'cure' to his loathing. i love that the first step a disabled person took towards addressing their internal ableism was through a soup metaphor

breaking down the soup metaphor bc i love it

mithrun's hatred for himself and disability in general is because he feels like it is useless. this is remedied when he learns that veggie scraps (as he perceives himself as literally the unwanted/leftover bits of a meal) are used to make soup stock. the soup is representative of society as a whole, mithrun believed that no one would want veggie scraps like peels and stems in their soup. but it turns out that making soup is more steps than just the stuff you chew on

for mithrun, the most abled bodied people were what he saw- they were professional adventurers and leaders. he thought that society was made up of meat and potatoes. senshi points out that broth (and seasoning) are important aspects of making a flavorful and enjoyable soup. disabled people, although not the forefront of mithrun's world, were important parts of society.

i like the soup metaphor because it doesnt try to correct mithrun's interpretation of his disability (being scraps). because thats how he feels!He feels like the discarded parts of a complete person, the narrative doesnt challenge that. The argument is that scraps are a valuable resource that bring a lot to the table. people who refuse to use scraps are missing out on tasty and nutritious food. disabled people have use, they have purpose, they have contributions to make, they are wanted.

[heliza24]

I want to talk a little bit about Daniel in the Interview with the Vampire show, because the new trailer material has me stuck thinking about him, and also I’ve never written about how meaningful he is as disabled character to me before.

I don’t see many people thinking about show!Daniel in these terms, but he’s a canon disabled character. And I think the way he is written is just SO good. The acerbic wit, his relationship to doctors and his medication, his rueful acceptance of the way his disability has changed him. It is all so correct!! It’s really incredibly rare to have not only a disabled character written this well but specifically a chronically ill character written this well. His illness is always present; it doesn’t get forgotten about by the story. It gives Daniel insight into the vampires (more on this in a min), but it also gives Louis and Armand leverage over him. When Louis triggers his Parkinson’s symptoms? Deeply not ok. But that’s what made it such a great scene, and really made Louis feel dangerous and threateningin that moment. Armand and Louis arranging Daniel’s meds is a sign of great care and also great power over Daniel. It’s the perfect way to communicate the complicated power dynamic in their relationship.

I also just fucking love that this show takes place in 2022 and doesn’t erase the pandemic. Covid is a very present concern for Daniel and I cannot describe how validating that is for me as someone who is clinically vulnerable to Covid and who has had to really limit my life and take a lot of precautions because everyone else has decided to stop caring whether they pass on Covid or not. The fact that Daniel gets on a plane to Dubai is a BIG DEAL. He’s risking his life to talk to Louis and Armand before he’s even in the room with them. He really wants to be there. I have to make a similar calculation every time I travel, and trust me, getting on that plane knowing getting sick could spiral you into even worse health or kill you is really hard.

I think making Daniel disabled and including the pandemic is kind of a genius level decision on a thematic level. Of course Daniel is now facing down his mortality, which gives him a whole new lens on the vampires and the fact that he once asked them to turn him. And the pandemic further highlights his fragility, and is also possibly being used as a cover for drama that’s happening in the vampire world. But I think it also really sets Daniel up as a foil to Louis.

There’s a lot of analysis of the vampire chronicles that reads vampirism as a metaphor for queerness. But I would actually propose that it’s a much neater parallel for disability and illness in a lot of ways. So many of Louis’s initial experiences after being turned resonated with me, as someone who became chronically ill in my 20s. My appetite and relationship to food completely changed, much like Louis. My relationship with the outdoors and the sun changed, because of dysautonomia and allergy reasons. I was very mad, and very depressed, and I too have missed out on birthday parties and big life events like Louis did because I was too sick to go. Hell, you can even say that the way that Louis is treated as evil by his family, that the way vampires literally can’t be a part of society during the day, is reminiscent of ableist exclusion and ugly laws. (Ugly laws were laws that forbid disabled people, especially those with visible differences, from being out in public, and they were on the books in many American municipalities until the 1970s.) You can look at Lestat being an out and proud vampire in the first few episodes on the season and imploring Louis to leave his shame behind as a queer thing, but you can also view it as a disabled thing. Disabled people are portrayed as monstrous so often (and in a way that has gone relatively unexamined compared to say, the queer coded villain trope) that sometimes it’s just easier to embrace that label: I’m the monstrous Crip, but at least I’m not ashamed of or disgusted by who I am anymore.

I do think the real strength of this adaptation is that while you can find parallels between queerness or disability or other forms of marginalization with vampirism, ultimately it’s not a one-to-one parallel. It speaks to the real world but ultimately it is a gothic horror story about supernatural monsters. So I don’t mean to say that vampirism directly equals disability, because it does not. But I do think that making Daniel disabled was an intentional choice to help draw out some of those parallels, and I think the text is richer for it.

So Louis and Daniel have had these kind of parallel experiences of uncontrollable and difficult things happening to their bodies. It sets them up perfectly as foils, and even, I would argue, as the A plot and B Plot protagonists. This is one of my favorite ways of kind of examining the structure of a TV show (or maybe it’s that most of my favorite shows seem to be structured this way?). When TV was all episodic, it would be common to refer to the A plot (mystery of the week), B plot (interpersonal drama happening as the mystery gets solved) and C plot (any overarching plot tying the season together) in an episode. Now that stuff is serialized, there’s often a main protagonist, who has the main dramatic question and the most agency, and then there is often a secondary B plot that explores similar themes and mirrors the A plot, or presents a second main character who is the ldifferent side of the same coin” to the main protagonist. (My favorite example of this is Flint and Max in Black Sails, and I’ve also made the argument that Wilhelm and Sara fit this pattern in Young Royals.) In IwtV, Louis is obviously the main protagonist of the show, especially in the A Plot, which is the stuff taking place in New Orleans/Paris. But I would argue that Daniel is the protagonist of the B Plot set in Dubai. At the very least they’re intentionally set up as mirrors of each other:

They are both unreliable narrators, who are struggling with the way memory contorts (through memory erasure, illness, deliberate obfuscations, and just the passage of time). The most recent teaser trailer, where we hear Louis saying “I don’t remember that”, with panic in his voice, further underlined this similarity between Louis and Daniel to me. I don’t know if it means that Louis has also had his memory tampered with, as I’m assuming Daniel has, but I do think it means that Louis is going to be struggling with feeling out of control of his own narrative more in season 2, a thing that was already starting for Daniel in season 1.

They are also both locked into power struggles with people more powerful than they are. The fact that Louis is under Lestat in the flashbacks and above Daniel in the Dubai scenes in terms of power/status makes it all the more interesting. And, if we want to go ahead and assume that the Devils Minion’s years have happened in the past by the time we get to Dubai— it’s possible that both Daniel and Louis are united in being the less powerful partner in their own respective fucked up gothic romances.

They’re also both the audience’s entry point into their respective stories. Louis’s narration guides us into the world of vampires. Daniel’s questioning satisfies our human curiosity in Dubai.

I think one of the things that makes the show so special is the way that these two protagonists interact. In a lot of shows the a plot and the b plot stay pretty separate. I love talking about Black Sails for this because I think it’s such a good example; Flint and Max never exchange dialogue the entire show, even though they’re so clearly affecting each other the whole time. But the way that Louis and Daniel clash in Dubai is so exciting. We see them both wrestling for control of the narrative. It’s thrilling to watch and it just hammers home the theme of how complicated and changeable stories can be.

I am SO excited to see how the Dubai scenes play out in season 2 because of it. I really can’t wait. I’m really hoping we’ll see Daniel and Louis’s relationship evolve in surprising ways, and I’m holding my breath that we’ll get a lot of Armandaniel material to work with. (I have a whole other post drafted that’s much less smart than this one and is just me waxing poetic about Devil Minion’s theories which I may post at some point. You have been warned.)

I do have two wishes for Daniel in the new season, and they’re 1: that he gets to have romance/sex, because disabled (and older!) characters are so often seen as unworthy of being desired, and I would like to see that challenged and 2: that he continues to refuse to be turned/is not offered a vampiric cure for Parkinson’s. The magic cure for a disability or chronic illness is probably my least favorite disability trope, because it serves to erase disabled characters and representation from the narrative, and I want to see my experiences continue to be reflected in Daniel’s. That means that whatever ending Daniel’s story has will probably have at least a bit of tragedy baked into it, but I’m ok with that.

[unheavenlycreatures]

Another thing that The Murderbot Diaries makes me think about is the concept of someone's birth being unethical in and of itself, and how to reconcile that with loving and supporting them. Wells touches on it briefly in Rogue Protocol in regards to GoodNightLander and their laws surrounding SecUnits, but while I wouldn't call it one of the main themes, it just kind of weighs uncomfortably in the air-

A SecUnit is made to cause pain, to feel pain, and to be disposed of when it is no longer more valuable than the sum of its parts. It is made sapient so it can feel every ounce of boredom and pain that it is put through. There is an extent to which the creation of a SecUnit is, in and of itself, an act of cruelty by its creator.

Where we're at right now, Murderbot seems to have a rather low view of other SecUnits. It knows what it wants, and it knows who it is, to an extent, but what does it think about a SecUnit's place in society in general? What does it think of in regards to a long term solution? Does it think one exists?

Then, also: Murderbot is an invaluable asset to anyone that it offers its allegiance to. But that then begs the question for Preservation, for PUoMaNT: How do you support, love, and care for a person who has been traumatized by having been brought into the world in the first place? How do you heal the wound that is the crime of your birth?

Then, taking it to its logical conclusion: How do you draft up laws and policies so as to support a person while not condoning the act of their creation? How do you make it clear to the person in question that they are worth of love and care, while also wrestling with whether they should ever have been brought into existence in the first place?

Preservation can make laws establishing constructs as autonomous individuals, but what next, and what will those laws do in regards to the rhetoric surrounding them?

How do you reconcile making space for someone's existence in a utopian society, without saying the thing that you are thinking, which is: In a perfect world, you would never have been created?

And maybe this is just me being deep in the paint in regards to allegory for disability here. As someone who has been in leftist spaces where the existence of disabled individuals in post-capitalist society is a problem that needs to be fixed, as someone who grew up autistic in an anti-vax household, as someone whose existence is often rather inconvenient for the folks planning their jobs in the metaphorical post-capitalist communal homesteads.

I mean, to be certain, I don't have literal guns in my arms, but I am genuinely interested as to how the post-capitalist societies in TMBD intend to handle people whose very existence is, through no fault of their own, antithetical to their values.

[stressfulsloth]

Thinking about Harry and all the animal parallels that follow him through the narrative. It's true that these animal parallels reflect the way that the brutality of individualist moralism strips him of humanity as someone who has fallen through the safety nets, and his agonised shout of 'I don't want to be this kind of animal anymore' can be interpreted as a direct admission of the RCM's dehumanisation of him as a disabled addict who is no longer as 'useful' as he once was. Gottlieb even directly tells him '[he] lost [his] human visage a while back.' Jean calls him 'the most dangerous animal of them all'. The rabid dog that needs to be put down, the black dog (also a common metaphor for chronic mental illness!) that Mollins shoots as it licks its wounds; the scared, hurt, frightened animal lashing out, chewing off it's own leg to escape the trap that it's caught in. The wild dog is all they can see.

But then there is a flipside to these parallels too; a kindness, a gentleness, almost a freedom in Harry’s animal parallels. He's strong like a 'goddamn ox,' like a bear ('I had to kill the bear to become the bear'). He's a harrier hawk, a name given to ensure his safety, raised up to the level of the aerostatics looking down over Revachol, 'soar[ing] on the wings of [his] spirit hawk.' He's a leopard ('its impossible to know where you end and the leopard begins'), discovering or rediscovering a love of softness and sensuality that he'd not known before via the leopard print leotard that 'speaks to the animal inside [him]' and touches on his relationship with his gender ('Yes, this is the type of animal I want to be.').

He's a 'seagull', a bird that will do 'whatever it takes to survive,' a 'bird of paradise' that tells a story of 'endurance- and adaptation' ('You! You and the seagull are just alike!'). He survives, despite everything, despite the grimness of the world around him. He endures. Even the sea monster comparison is oddly kind ('You've become a sea monster -- giant, hidden and... strangely tender at heart'). Even as a monster, he's still gentle; he still has so much love for this world that has wrung every last bit out of him. As if his tenderness is such an inherent part of him that no matter what monstrous face he wears, no matter what creature is there in his shadow, he cannot help but have some trace of it at his core. His tender soul 'quivering like jello.' The pain he feels is raw and animal but so is the love he feels. So is the hope and the fear and the wonder.

[thethiefandtheairbender]

once again i am asking everyone who was disappointed with natla and wants more good original animated storytelling to watch The Dragon Prince on netflix, particularly if you want complex, flawed, and fleshed out female characters and worldbuilding! Also for consistent motifs/symbols, foreshadowing, and a truly stunning amount of lore.

Unreliable narrators! Tragic siblings! Characters who are allowed to be hypocritical and sympathetic! Neutral and malevolent magic systems! Exploring not only how to break cycles of harm, abuse, and violence, but also why they're perpetuated! Dragons with personalities! Varied queer (lesbian, gay, transgender) and disabled rep (deaf, blind, amputees)! Majority of cast and key players are also all characters of colour, particularly in s4 onwards

It's been 5 out of 7 seasons and we're still unravelling things from the first 4 episodes alone, never mind the foreshadowing.

Tropes:

If you didn't want to be assimilated into my found family, you should've killed me when you had the chance

Someone who believes they are hard to love and someone who loves them like it's breathing

The needs of the many (interrogated) x Deal with the devil

Just... constant recontextualization, god bless

Child kings and queens

A metaphorically cannibalistic magic system that might not be so metaphorical after all

and so much more! I think about "You let him live, but you killed us all" every damn day, and that's just from ep1. Some of the ATLA voice actors (Sokka and Koh the Face Stealer) feature here as well as some of the creative team (most notably Aaron Ehasz, ATLA's head writer)

[fizzie-frog]

Look I've never been much of a shipper but Fizzarolli with Asmodeus really demolishes me I swear to God. Just the way they know each other inside and out (which, obviously, they've known each other for possibly a decade). The way Fizzarolli sleeps without his cute little jester hat on, the way he, in general, trusts Ozzie with his body and his being and just-- Agh.

And the little things too like how he finds comfort in things from Ozzie and helps him calm down (as showed above). The way Fizz can just be bare, scars out front and broken horns and know that Ozzie will continue to think he's the best fucking thing ever. How Ozzie is always so supporting and finds just the right words and brings him up when he is down.

Also I know it tends to be shadowed cause it's not discussed much, but let's remember that Fizzarolli is disabled. And I'd assume he has more issues than just being an amputee (I love fics that approach that subject but I understand why there's not many as you can go wrong with this so easily).

He was in the god damn middle of an explosion as it happened and he survived something that by all means would've killed him, by some miracle (side note: omg just the thought of him being conscious even long enough to see Blitz while burning alive, I don't doubt he'd have preferred to just black out right away). I highly doubt such a thing wouldn't give him some other sorts of physical damage too. The whole speaking and hearing thing (why he probably knows sign language), the pain stuff, so many things.

Not to even go over the mental trauma and probably years of help and sleepless nights he'd have had on a psychological level. So when I say Ozzie has been through thick and thin with him, it's probably an understatement. But he loves him and aaaaghhhh I'm just so happy for Fizz that he has someone who will be by his side no matter what, to bring him up and help him out. Not many people get that, so many turn and run the moment their partner hits even the slightest hard time.

But hey, I guess this is why it's a fictional couple.

Btw, maybe I missed it but I haven't seen anyone mention this: I don't know if I'm overthinking it - I've already seen the whole pointing out of Mammon's mirror being shaped like him, specifically his mouth, but I'd like to also go into the metaphorical senses of the mirrors. With Mammon's mirror, he's looking into Mammon's mouth, like he's eating Fizz alive. But then he turns his attention to Oz's mirror, the heart shaped mirror, and looks in it to calm down. He opens the heart shaped mirror that reads "Oz". He's looking into Ozzie's heart, and Fizzarolli is reflected in his heart.

Could totally be accidental lmao but I think it's such fkin good symbolism I-- Don't even get me started.

[mortifyingordealof]

I love you sentient AI character grappling with their existence. I love you Data Soong I love you Murderbot I love you Mosscap I love you Hera W359 I love you Sidra/Lovelace. I love you metaphor for disability/neurodivergence/otheredness. I love you philosophical exploration of what it means to be human through a non-human lens

[sapphicsigh]

I don't want a 3rd szn without Izzy. I just don't. Call me dramatic or whatever, but I'm so genuinely heartbroken by his death. I feel so betrayed. Izzy was the heart of the show, and now he's gone.

The aftermath of his death felt rushed, he wasn't buried at sea (like what the fuck, a lifelong pirate like Izzy would've wanted to be buried at sea) and the crew was just happy to get back on the revenge and set sail without their unicorn? Everyone just gets a happily ever without Izzy? Izzy died a painful death shot by a pompous asshole and for what? Some metaphor about the end of the golden age of piracy? Piss off. Closure for Ed? That could've been achieved a number of other ways. Izzy couldn't get any assurances that HE was loved? Even on his fucking deathbed? The man who protected the crew with life and limb? It doesn't feel right, and it never will. Izzy deserved so much better, and so did Con.

And worst of all, perhaps, is that Djenkins was planning on killing him all along. The whole time, while we were falling in love with the little angry man, rooting for him and rejoicing when he wore makeup in front of the crew and was vulnerable with them...he was a dead man walking.*

*I've seen ppl make rlly good points about how death was treated throughout the show and I wanted to add that context here. If I can find whose post I'm thinking of, I'll tag them

**Edit: Izzy's death was an incredible shock. EVERYONE ELSE IN THE SHOW survived their near death experiences!!! Stede got choked near to death, stabbed (twice!), and survived all of that unscathed. Ed got his head smashed in by a FUCKING CANNONBALL, pumbled by the crew and made it out with barely a scrape. Even Calico Jack could've (apparently) escaped death after being shot with a goddamn cannonball. The Swede was poisoned but was already immune to it. Wow! We (at least I felt this way), as an audience, believed that there wouldn't be any character deaths due to the overwhelming evidence we'd been given thus far. So after alllll the in show evidence that the laws of medicine or physics don't apply to ANY of the pirates, why suddenly apply it when it comes to Izzy? Hmmm??? It makes no fucking sense. It's cruel and unusual punishment. They really killed off the queer disabled elder??? Jesus christ. Did not a single person in the writer's room have a qualm about it? The optics alone are bad. But more importantly, killing off the queer disabled elder is inherently political, whether djenkins thought of it that way or not (& i dont think he did). The mere existence of queer people is inherently political in a society (the US), which wishes for our eradication. So killing off a beloved queer disabled elder, on a show which seemed to promise us queer joy and a happy ending, IS POLITICAL. it's a slap in the face and a punch through the fucking gut.

It feels doubly awful because we, as an audience, were given something we've never had before, an unapologetically queer show. One that didn't soften or censor itself for straight viewers. It was created with such love, at least it felt like, for us. So to be given that gift, and to feel recognized and seen and appreciated, only to have it snatched away...

I can only speak for myself, of course, but it's genuinely heartbreaking. I'm so utterly disappointed. I wish so badly that Con got more time with Izzy. I think Izzy means a lot to him, and he means a lot to us, too.

❤️‍🩹🦄❤️‍🩹I love you, Izzy, and I always will. Rest in peace, my little meow meow, you were and are so loved.❤️‍🩹🦄❤️‍🩹

[piratefishmama]

Winged Eddie has me DYING I tell you, DYING. Like, it's so so so good.

In a sort of analysis way (which I understand was probably not how you wrote it but yk death of the author and all that) the wings are a GREAT metaphor for visible queerness and disability. Just scrumptious. I am eating this concept.

But also just like on a pure enjoyment level - THIS IS SO GOOD. IM SCREAMING. Steve finding out that petting the wings is a thing for Eddie - and then having like a 3 pronged conflict because he did that, but he wasn't trying to arouse Eddie, just take care of him, and now Eddie has run away ashamed and embarrassed and Steve needs him to know that he is so so so into him but also he needs him to know that he could tell Steve to stop and that he doesn't have to be ashamed or embarrassed

Just absolutely screaming I tell you. I'm eating this whole thing. Scrumdiddlyumptious

Ehe u caught me a lil bit, I was kind of aiming for it being an "othering" sort of thing with how it's not UNCOMMON, that there's way more of them in big cities and such but they're rarer in small towns in the middle of nowhere, like queerness and disabilities in general.

Steve has always been a caretaker type too, he mothers his friends, he big brothers the kids, he's a babysitter, a caregiver, he CARES, it's his love language to provide care for someone, and what better way can he care for someone than to groom their wings for them, something they're clearly struggling to keep ontop of themselves. Eddie may seem like he's doing it on purpose but Steve's caught him struggling to itch a spot multiple times and he's SEEN him stress out over pin feathers still stuck in keratin sheaths when he thinks no-one is looking.

And Steve knows he can do that. He can help with that, an when Eddie LETS him he doesn't think anything of it because why would he? He's just helping out, he's absolutely positive that it means way more to him than it does to Eddie, but he's very wrong abt that.

Eddie is so sure Steve will be weirded out by him enjoying it like that. And Steve is so sure that he's done something wrong, and Eddie is VERY good at running and hiding, despite the wings he's pretty good at disappearing, so it's basically up to the party to figure out what the hell happened cause they're not talking and lemme tell u.

Dustin is sufficiently mortified to learn that if they were BIRDS, Steve would have been basically one step away from mounting his DM lmao. just whining cause "Steeeeeeevvee it's a boyfriend/girlfriend thing, Steve!!"

Now the question Steve is pondering is why Eddie allowed it to happen if it was a boyfriend girlfriend thing. Many thoughts. Many, many thoughts!!

[iridescentscarecrow]

Weapons and War: The Chainsaw Man as a Produced Image

i've been building this theme analysis up for a while with a variety of posts but csm 146 actually entirely validated what i Think the narrative of csm part 2 is trying to do, so i'm attempting to collate the main thread of my thoughts in one post.

iconography in part 2:

the symbol of chainsaw man appears throughout part 2 in various instances. it's so ubiquitous. a lot of the story has denji attempting to claim this identity for himself:

this identity which found its origins in part one but really comes into its own in part 2.

the commercial use and the production of this image is what is poignant here. from the symbolic use of CSM related products, to the church's more actively malicious utilisation of this image to aid their own activity, to barem's confession in this chapter which underlines

how and why this icon is being produced as a separate entity. devils strengthen themselves off fear, off their perception and a molding of that perception Means things.

the role of the protagonist: asa and denji

what's more interesting here is how the story's narrative hinges on dispossessing denji from his identity as chainsaw man. you see him grapple with this identity at various points. you see yoshida actively attempt to turn him away from it.

it's a little meta, in how the role of the protagonist transfers from denji to asa simultaneously as denji's presence in the story dissolves into what chainsaw man is. his disenfranchisement collides with asa's occupying of the protagonist role.

the weapon hybrids being brought back is relevant here. asa / yoru's power is quite literally turning people into weapons. denji's image represented form is as a weapon. the infamous promotional art has asa wielding a chainsaw.

both denji and asa parallel each other in wonderful ways but war situates itself on How it uses its tools, its people in systems to propogate this violent reality. one which pushes what seems to be an Ideal outcome. that sounds familiar, doesn't it? (psst. it's fami's plan)

fami and yoshida

war thus functions as a mechanism which weaponises the chainsaw, or the icon of the chainsaw. war is the stage upon which weapons are utilised, and weapons further emphasise a state of war.

that's fami's plan as of csm 146. that's its literal quality (and fjmt loves literal metaphors in his stories. think the darkness devil and its arc's theme of ignorance).

meanwhile yoshida's actions here are ones opposing asa's (his personal ideologies are interesting too but in this chapter he functions as an agent, as the actor of Another force). his targeting of asa's limbs is purposeful on both an in-world level (functionally disabling her from making weapons) and a narrative level (arms = weapons. he's disarming her.)

yeagh. excellent chapter and i feel very very validated.

links to a few of my older thoughts:

iconography re: denji and asa

denji's struggle with this image of himself / more of the same thing but in context with part one

more asa and denji parallels, this time re: their desires and the metaphor of the screen

some thoughts on the first hints of this as in yoshida's suggestions to denji

EDIT (25/10): long meta on part one's metanarrative which seems relevant here

i am so, so ill actually.