#despite all my criticisms i still do really like her as a character

[genericpuff]

What do you think about Reachel's new redraw?

I feel like the characters look good but the background is too gray compared to the original one 😕

It's pretty rough, ngl. Not even necessarily because of the art itself, but because it's not a panel she should have ever redrawn to begin with.

The whole point of that scene was to showcase Persephone bringing life into the Underworld, a place where only death existed, but in this redraw it completely lacks that messaging, resulting in a scene of Persephone and Hades simply hugging each other in the dark with very dead-looking foliage surrounding them.

On a structural level, the composition has gone from vertical to horizontal, giving us way too much empty space around them which, again, is failed by the background being so dull and lifeless; Persephone's somehow become even smaller; and worst of all (though I'm sure some people will think I'm overreacting) her hair isn't tucked up in Hades' arms anymore, it's just sort of falling perfectly over his shoulder as one solid goop of pink, strangely changing shape as if it's resting on something but there's clearly nothing there.

That said, my opinions should be taken with grains of salt because I also have a lot of personal beef with a redraw like this - that original panel was my phone background for like, 2 years, and the episode it came from is still one of my favorites of all time in spite of all the criticisms I now have of the series, with art that originally inspired me to want to learn how to draw like Rachel.

There's been a lot of evidence over the past year or so to suggest that Rachel has "fallen out of touch" with her own work and these redraws that she's been making lately feel like tangible proof of that. The context in which she created those original panels no longer exists so to try and redraw them fundamentally misses the point of why they were so iconic to begin with.

I can understand that feeling of falling out of touch with your own work, to the point of not even seeing the appeal of it yourself anymore, but that's all the more reason to keep moving forward, not back. The fact that she's still just muddling around with LO stuff despite announcing two more projects and seemingly not making any progress with either the TV show or Rachel Smythe Presents... it really does seem like she's stuck in limbo. The deadlines and contractual obligations aren't there to motivate her anymore, and while that may now have freed her from the burden of creating LO in such a cramped and unhealthy space - now being able to create it simply for herself - I think the years of working on it have definitely taken its toll on her ability to create the way she used to and so we're seeing those growing pains now.

The real bummer about it is that it's being celebrated as "growth" but it's about as much growth as the illustrated environment above - dead and bleak.

[kittyit]

One thing I don't like about trans critical spaces is how they are focused on trans women being unattractive and 'cringe.' this is just my personal experience, but I have been sexually victimized by multiple trans women, most of whom passed, many of whom were skinny and beautiful and most of which had high brow tastes and no interest in anime or other cringe topics. one of these TIMs was a serial sexual assailant and I think probably attracted to underage boys, and she was also beautiful and charismatic. Meanwhile, I also know multiple trans women who are good people and don't infringe on female spaces but who are conventionally "ugly", broad-shouldered, and have masculine interests. It also seems like the only thing TIMs criticize about each other publically is being "ugly", large, or fat.

my position has consistently been for about 15 years that mocking someone's appearance is not a feminist act. it simply isn't.

mocking appearance is essentially a cruel hobby, it's primate social aggression we're using our huge brains for. it's really fun, and that's why almost everyone does it. i sometimes do it too, in private, in intimate company, and it's enjoyable. i say this to clarify that despite my position, i don't set myself apart or above from women who do it. i do it too. and it's constant in basically every subculture online. julie bindel actually posted on her facebook recently troubled about this same thing. as you said, it's so common in queer/trans circles too, the long-forgotten 2013 values of tenderqueerism fallen to the wayside. stan culture, politics, just basically everything...i really can't stress enough that in my opinion, it is a hobby

mocking appearances is not feminist or activism. it quite often is anti-feminist. it's kindergarten stuff to not judge a book by its cover. it doesn't matter what a male person looks like - he is still male and all considerations that apply to male people apply to him. i don't need to think a male person has a hideous appearance to criticize him for any of the oppressive acts he's doing. focus on appearance (or other unrelated personal attacks) often takes the sting out of a criticism of someone's character, morals or actions and makes your argument easier to dismiss. and of course the now mocked & dismissed concept that when you rip into someone's appearance, you do friendly fire to anyone around who shares those features. but of course this doesn't matter to anyone because it's 1. so fun 2. we're so used to it 3. everyone is doing it 4. so who cares? (I do. However)

i also just can't really scrape up that much finger wagging anymore at women who do spend a huge amount of time blowing off steam mocking the insane parodies that trans women present as. it's basically evil imaginative play. it's just not activism and acting like it is, as you said, is really detrimental to radical feminism being understood as a feminist way of thought that deeply affects women's lives.

as for the rest of this, have you read pronouns are rohypnol? you do not have to call a serial rapist pedophile you knew she. there is no one here but us, he cannot hear you. i encourage you to free up processing power in your mind, especially if you've survived trans male violence. calling the men who harmed you he can be a turning point in reclaiming your own sense of reality, it was for me

[apocalypse-boogie]

I gotta be honest, I don’t engage with the Criminal Minds fandom (despite having watched all of the original show + Evolution and read up on as much of the spin-offs as I could) because I don’t like how prevalent the racism and sexism and infantilization is in the fandom. There’s just enough of all that shit upfront that I don’t want to dig any deeper than I already have. I’m good, I get enough of that shit in fandoms that I’ve been apart of for years I’m not gonna let this shit sully my love for this show anymore than it already has (especially considering the show’s writing itself is not devoid of these faults).

I’d rather just love the show and dissect it and write analysis and fanfic for it and shit on my own.

My fav characters (just cause & kind of in best to least order): Penelope Garcia (she’s literally me, I love her), Derek Morgan, Emily Prentiss, Jordan Todd, Matt Simmons, David Rossi.

[pickingupmymercedes]

It had to be enough - Lewis Hamilton

We have all watched Lewis's interviews after Monza 24' quali. (1 & 2)

pairing: Lewis Hamilton x Reader!

warnings: angst.

wordcount: +2K

a/n: It's possibly going to hurt to read this, and there's no real ending, just poking at an open wound. Got a few things out of my system with the bonus character.

As always, I'm open for feedback, come say hi!

______________________________________________________________

"Talk to me, Lewis" she said, her voice softer than she her heart clenching. "You can’t keep doing this to yourself."

The hum of the AC in Lewis's driver's room was a faint backdrop to the tension that clung to the air.

It was heavy, almost suffocating, but Y/n pushed through it because that’s what she did—she fought for him, even when he was too stubborn to accept it.

He sat on the edge of the sofa, his posture rigid, eyes trained on the floor. She could see the exhaustion in the slope of his shoulders, the way his fingers gripped the material of his phone like he was holding on for dear life.

She hated seeing him like this, wrapped up in his own head, drowning in self-doubt. But what she hated more was the way he’d shut her out, like she was just another barrier he needed to protect himself from.

He didn’t look up, didn’t even acknowledge her words.

It was like she wasn’t even in the room, like he was retreating into that fortress he’d built around himself all year long. She took a step closer, desperate to bridge the distance between them, but it felt like there was an abyss between them, that only grew wider.

"I know you’re upset about that quali" she continued, trying to keep the frustration out of her voice, "but this... it isn’t just about today, is it? It’s about the past years, the pressure, the team, Ferrari, Kimi... all of it."

When he finally looked up the expression in his eyes made her stomach drop. There was no anger there, no fight, just a cold, hollow emptiness that chilled her.

"There’s nothing to talk about," he said, his tone flat. "I’m just not good enough anymore. And that’s it."

"Don’t do that," she said, her voice rising despite her best efforts. "Don’t push me away, not now. I’m not going anywhere."

Y/n's heart pounded in her chest as she watched Lewis's expression. She knew he was hurting, that he was struggling to cope with the weight of his own expectations.

He laughed, but there was no humor in it. It was bitter, almost mocking, and it broke something inside her.

"Well, maybe you should" he said, his gaze flicking away from her, like he couldn’t deal with what he was about to say "Leaving is exactly what you should do, before I disappoint you too."

The air left her lungs in a painful rush. She felt like the ground had been ripped out from under her, like she was falling with no end in sight.

Y/n had always known that Lewis was his own worst critic, that he was harder on himself than anyone else could ever be. But now... this was different.

This was him giving up, and that scared her more than anything.

"You could never disappoint me," she whispered, but the look in his eyes told her he didn’t believe her.

He looked convinced to have failed. That he’d somehow become less of a man, less of Lewis Hamilton.

"That’s not true," she said, more forcefully this time. "You’re not a disappointment, Lewis. You’re one of the greatest drivers this sport has ever seen, and no one can take that away from you."

He shook his head, that bitter smile still playing on his lips. "Maybe it’s time to accept that I’m not that driver anymore."

"You don’t get to give up on yourself like this.” she said, crossing the room in three quick strides. She knelt in front of him, forcing him to meet her gaze. "Not when you’ve still got things to do here."

He looked at her then, really looked at her, and for a brief moment, she saw the man she fell in love with—the fighter, the champion.

But it was fleeting, gone in the blink of an eye, replaced by that same crushing self-doubt.

"I’m tired," he admitted, and it was the first honest thing he’d said since this conversation started. "I’m so fucking tired of fighting, of trying to prove that I still belong here."

Y/n reached out, cupping his face in her hands, and he leaned into her touch like he’d been starving for it, but wouldn’t dare ask her for it.

"I know you are," she said, her voice breaking. "But you don’t have to do this alone. I’m right here with you."

He closed his eyes, and she could see the struggle playing out on his face, the battle between his desire to open up and the instinct to shut her out.

It had been this way all year, ever since the problems with qualifying really started to affect him. Every time he’d had a bad session, he’d withdrawn a little more, closed himself off a little tighter.

And every time, it had taken more and more to pull him back out.

She thought about how he’d opened up in the media pen "It’s something I’ve been working on," he had said earlier, his voice almost defeated. "But I should have been on the front row for sure... It’s been this way for a minute now and... I used to be so comfortable in qualifying, and it’s gone."

The words had stung, a rare admission of vulnerability in front of the cameras. But she knew it went deeper than that.

That last part haunted her, the way he’d spoken about it like it was something he’d lost forever. How he felt like he was failing, and who was terrified that the magic was gone for good.

"I can’t keep watching you tear yourself apart like this. It’s killing me, Lewis." Y/n said, the words spilling out before she could stop them.

He flinched, like her words had struck a nerve, and for the first time, she saw a crack in that armor he was building around himself.

"I’m sorry" he whispered; his voice thick with emotion.

She shook her head, tears finally spilling over as she pulled him into her arms "Don’t apologize. Just... please, just let me in."

He buried his face in her shoulder, and she could feel the stiffness slowly leaving his body, replaced by a bone-deep exhaustion.

She held him tighter, hoping that she could somehow take away even a fraction of the pain he was carrying.

"I’m scared," he admitted, his voice muffled against her skin. "I’m scared that I’m losing everything, that I’m not the driver I used to be. And I don’t really know how to deal with that."

She had to bite down hard on her lip to keep from crying. This was the man who’d always been her rock, the one who’d faced down every challenge with a quiet confidence that had always left her in awe.

Even the worst one.

"You’re not losing anything," she said, her voice trembling. "You’re still the same man, the same driver, the same person. And nothing—nothing—is ever going to change that."

He pulled back slightly, just enough to look her in the eyes, and she could see the doubt still lingering there, the fear that he wasn’t enough, that he was somehow failing his team, failing himself.

"Only I’m not" he said, shaking his head. "I’m not the same, not anymore."

Y/n reached up, brushing a tear from his cheek, and she saw a flicker of surprise in his eyes, like he didn’t even realize he had let that tear escape.

He blinked, his gaze searching hers like he was looking for something to hold onto, something to believe in.

"I don’t know how to do this," he said, his voice cracking. "I don’t know how to keep going when I feel like everything’s about to come crashing down"

"You don’t have to know," she said taking one of his hands in hers. "You just have to trust that you’ll find your way. And I’ll be right here with you."

For a long moment, he just looked at her hand, his eyes unreadable. Then, slowly, he nodded, a tiny, almost imperceptible movement, but it was enough.

It was a start.

This time he was the one who pulled her into his arms, holding her as if she were the only thing keeping him afloat.

She could feel his heartbeat against her chest, rapid and unsteady, a stark contrast to the calm, composed Lewis that the world usually saw.

He was carrying all this weight, all this pain, and worst of all, he felt like he had to do it alone.

Y/n didn’t move, didn’t dare to break the fragile peace they’d found in each other’s arms.

But even in that moment of closeness, she couldn’t shake the lingering worry in the back of her mind. She knew that it would take more than just words to pull him back from that brink.

"I need you to promise me something," she said softly, her fingers brushing over the skin of his arm. "Promise me that you won’t shut me out. No matter how hard things get, no matter how lost you feel. I can’t help you if you won’t let me."

He hesitated, and for a moment, she thought he might pull away again, retreat back into that shell he’d built around himself.

But then he nodded, the movement slow and deliberate, like he was making a decision he wasn’t entirely sure of.

"Okay" he said, his voice barely above a whisper. "I’ll try."

It wasn’t the firm commitment she’d hoped for, but it was something. And right now, she’d take whatever she could get.

"That’s all I ask," she said, her voice soft. "Just... don’t give up on yourself. Please"

He didn’t respond, but the way he held her, the way his arms tightened around her, was answer enough. He wasn’t okay—far from it—but he was still here, still trying, and that was what mattered.

Y/n rested her head against his chest, listening to the steady rhythm of his heartbeat. She closed her eyes, trying to hold onto this moment, this fragile connection they’d managed to find in the midst of all the chaos.

All that was ahead—the races, the pressure, the inevitable changes— a part of her wondered if they were ready for it. If he was ready for it. If she was.

She had to remind herself that they didn’t have to be ready, they just had to be brave to face the changes.

And that, she told herself, would be enough. It had to be enough.

The outside world thought kept waiting, with its demands and expectations. Lewis had meetings and delaying it any longer wouldn’t do him any favors.

She reluctantly loosened her hold on him, feeling the shift in the air as reality crept back in.

“Lew,” she whispered, tracing with the tip of her finger his tattoos. “You need to go. They’re waiting for you.”

He nodded, though he looked like he would rather stay there forever, hiding away from everything.

“Yeah,” he muttered, his voice still hoarse from their earlier conversation. “I know.”

She could tell he was still trying to pull himself together, to put on the mask he wore so well in front of others. But she also knew that mask was cracked, and it wouldn’t take much to shatter it completely.

As they headed towards the door, Lewis hesitated, his hand on the doorknob. He glanced back at her.

“Thank you,” he said quietly, his voice barely audible. “For being here.”

Y/n managed a small smile, though it didn’t reach her eyes. “You don’t have to thank me. Just... remember what you promised, okay?”

“I will” he replied, his voice stronger this time. He leaned down and pressed a soft kiss to her forehead, lingering there for a moment before finally opening the door.

The noise of the motorhome hit them immediately—a hum that never really stopped.

Lewis squared his shoulders, his face hardening into the familiar expression of focus. He gave her one last look before stepping out into the corridor, heading towards the meeting that was already overdue.

Y/n watched him go. She knew he was far from okay, but at least now, he wasn’t completely alone in it.

Just as she was about to turn back and find a moment to herself, she heard a familiar voice behind her.

“Y/n.”

She turned to see Toto approaching, his expression as serious as ever, though there was a hint of concern in his eyes that she hadn’t seen before.

He stopped a few feet away from her, his gaze flicking towards the direction Lewis had gone before settling back on her.

Y/n met Toto’s gaze, feeling the weight of everything unsaid. She could see the slight furrow of his brow, the way his eyes searched hers for answers he couldn’t find on his own.

But there was more to this than concern—there was responsibility, and whether Toto acknowledged it or not, she knew he bore some of it.

“He’ll be okay” she said, her voice calm but tinged with a subtle edge. “But it’s going to take time.”

Toto nodded, the lines on his face deepening with whatever thoughts he was wrestling with. Y/n could see the questions forming behind his eyes, the unspoken doubts he held.

But she also knew that while he might care for Lewis, his role as team principal came with its own burdens, its own priorities that didn’t always align with what was best for Lewis.

“I know it’s been tough” Toto began, his tone careful, as if he were picking his words from a delicate web. “We’ve all felt the pressure this year.”

Y/n swallowed back the frustration rising in her throat. Of course, they’d all felt the pressure—this was Formula 1. But Lewis had carried more than his share, and somewhere along the line it was bound to take a toll on him.

“He’s been carrying a lot, Toto. And I don’t think anyone really saw how much until it started to break him.” she said, her words measured.

She paused, searching his face for any sign that he understood what she was trying to say. That this wasn’t just about a rough season or the weight of expectations. It was a cumulative effect of years, of being the one to shoulder hopes and criticism of an entire sport.

Toto’s expression softened, something—regret, maybe—crossing his features. But she knew better than to expect a full admission.

This was the world they lived in, where accountability was a slippery concept, buried beneath layers of strategy and performance metrics.

“Formula 1... it’s unforgiving,” she continued, her voice quieter now, more reflective. “And I know you’ve always done what you thought was best. But this time Lewis paid a higher price.”

He didn’t reply immediately, his gaze shifting momentarily to the engineering’s room before returning to hers.

“I never wanted it to come to this.” his voice was low, almost resigned.

Y/n nodded, understanding the truth behind his words. She believed him—Toto cared about Lewis.

But the reality was that intentions didn’t always align with outcomes, and somewhere along the way, the balance had tipped.

“I know” she said softly, offering him a small, weary smile. “But it did.”

The air between them was thick with everything unspoken, the understanding that while Lewis would be okay, it would come at a cost. And that cost was one that had been paid, in part, by the very person that had built the platform the team now stood in, a team that had once been his greatest strength.

“I should go” Y/n added after a moment, glancing in the direction Lewis was.

Toto nodded again, this time more firmly. “Thank you, Y/n. For being there for him.”

She didn’t respond, only gave a brief nod before turning to leave. A reminder of just how delicate the balance was between personal and professional in this world.

And how, no matter how much she wished otherwise, there were some battles Lewis would have to fight on his own.

______________________________________________________________

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[zukosdualdao]

so, this post was originally born from a post i saw a couple of months ago that was deriding people for criticizing katara’s main role in lok being a healer when that was never all she wanted to do but liking the scene where she heals zuko in sozin's comet. at the time i thought about responding directly and decided against it, but i have since scanned through transcripts of every instance (i could find; it's possible i could be missing something) of katara healing someone in the show and how they respond. (you know, like a normal and well-adjusted individual. lmao.)

anyway, aside from katara explicitly stating that she doesn’t only want to be a healer, another aspect of why people don’t like that this is how her story goes in lok is because of the way healing is treated in the atla narrative.

Katara: Aang, you're burned! Let me help you. [Katara heals the burn on Aang's arm.] Aang: Wow, that's good water. Sokka: When did you learn that? Katara: I guess I always knew. Sokka: [Sarcastically.] Oh ... Well then thanks for all the first aid over the years. Like when I fell into the greaseberry bramble. [Angrily.] Or that time I had two fishhooks in my thumb!

this comes, of course, after aang accidentally burns katara and she learns she can heal through her waterbending by healing her own hands. then (after comforting aang despite being the one who got hurt, not that i'm bitter), she heals aang after he gets burned in his fight with zhao. and like... there's not so much as a cursory thanks in this scene.

to be clear, because i can already hear some responses in my head and i am making a preemptive strike: i'm not saying that when other characters don't thank katara for her healing, they're like, the worst people ever for not doing so or there aren't other ways at different times where they show their appreciation. what i am saying is that it feels like this sets up a long pattern of katara's healing specifically being taken for granted, and it makes me especially uncomfortable when i see her healing as a sort of metaphorical parallel to the emotional labor often expected of her in the show, especially because this and being The Avatar's Girlfriend/Wife is more or less what she's relegated to in post-canon.

also, i have to note sokka's line here. i don't want to come down on him too hard for this, because it's obviously being written humorously (and does genuinely make me laugh, for what it's worth, if just for the inherent ridiculous nature of two fishhooks), but his sarcastically saying thanks for all the help over the years when katara says she always knew (which is supposed to be her saying it just somehow instinctively came to her) does feel like another mark in this pattern. but i also really read this as sokka trying to lighten the mood after a Difficult (TM) day, so i cut both him and the writers some slack for it.

Meanwhile, back at the Outer Wall, Katara attempts to heal a member of the Terra Team. General Sung: What's wrong with him? He doesn't look injured. Katara: His chi is blocked. [Stops healing.] Who did this to you?

i find it interesting that katara has sort of naturally fallen into a token team healer role, to the degree that we don't even see them ask for her help or her agree to it; it's just automatically assumed that she will. and i mean, on the one hand, it's fairly standard to have an Assumed Healer in a fantasy action setting like this, where people will get hurt in combat and therefore the narrative needs someone whose job is to help them. the problem for me is that the show kicked up such a fuss about how women shouldn't just be allowed to be healers, and yet it's still the role no one but katara ever fills. aang is also a waterbender! why couldn't she have taught him healing, too? i genuinely think it would have added a lot to the story, but katara is The Girl (TM), so healing is what she (and only she) does, what's expected of her, and again, with very rare thanks for it.

Katara stares open-mouthed at Jet, her hands hovering near her mouth in shock. Snapping out of it, she withdraws water from her water skin, with which she covers her hands, and it begins to glow as she kneels down next to him. Cut to a shot from over her shoulder, with Jet glancing at her while she rubs her hands over his chest in an attempt to heal him. After rubbing his chest three times, the glow fades, the water stains Jet's clothing, and Katara looks back over her shoulder toward the rest of the group. Katara: This isn't good. Smellerbee: You guys go and find Appa. We'll take care of Jet. Katara: We're not going to leave you. Longshot: There's no time. Just go. We'll take care of him. He's our leader. They stare at Longshot in surprise. Jet: Don't worry, Katara. I'll be fine. [Smiles a little.]

Cut to a closer shot of Katara placing Aang's body on Appa. Katara opens the vial around her neck and uses water healing on Aang's wounded back. The rest of Team Avatar, Kuei, and Bosco all look sadly and in anticipation. The glowing from the spirit water stops, and Katara starts crying, assuming that it was not enough to save Aang. Aang's tattoos glow for a second and Aang groans. Katara, overcome with joy that Aang is alive, looks at him, who smiles a little, and she holds him closer.

writing about these together because i have less to say about them. i'm definitely not going to fault jet for not thanking katara when she tries to heal him as he literally lay dying, or aang for not having the mind to do so after she brings him back. but i am still going to fault the narrative for putting her in a position where healing is just inherently expected from her and yet very rarely allowing her to feel the emotional toll of that or to feel constricted by it. and when she does struggle against the weight of it (not necessarily of being a healer, but of being expected to be kind and good and uncomplicated with no room for other aspects of her identity, which are very tangled up in why she is The Healer) in episodes like the runaway or in the southern raiders, she just... does not receive a lot of support from the people she should be most able to rely on.

Katara: Maybe we should go upstairs. [Helping Aang up.] You need a healing session. Back in Aang's room on the ship. Katara bends some water onto the scar left by Azula's lightning attack. Katara: Tell me where the pain feels most intense. Aang: Mmm, a little higher. Uhhh! Aang briefly flashes back to the battle at Old Ba Sing Se where he rose into the Avatar State, then back to reality. Aang: Wow, you're definitely in the right area there.

not much to say here, it's just another instance where it would have been so easy to slip one thank you in, and the writers just... do not. the reason i think it bothers me so much with aang specifically is because katara is supposed to be both aang's physical healer and his emotional crutch in a way that she's not written as being for, say, toph or sokka. he's sometimes shown appreciation for her emotional support, but he still comes to rely on and expect it in ways that do not always feel healthy, and knowing that, it bothers me that he shows even less appreciation for her healing, because it's just what katara is there for.

A figure resembling the Painted Lady glides over the water on a carpet of fog and enters the village. She steps into a hut where several people are sleeping on the floor, and bends over each of them in turn, healing them with a blue glow. Her last patient is the mother of the little boy seen earlier, her son sleeping at her side. He wakes as the Painted Lady turns to go and silently follows her out the door. Little boy: Thank you, Painted Lady.

this is a genuinely sweet scene in which katara does receive appreciation and genuine thanks for her healing, but i think it's also worth noting that katara is not being recognized as herself here. still, i am genuinely very glad that it's included in the episode because (again, unless i am missing something) it is the first time katara gets thanked for her healing.

The scene cuts to show Appa landing on the edge of the battlefield. Sokka and Katara help Hakoda onto the ground, and Katara starts trying to heal him. Katara: How does that feel, Dad? Hakoda: Ah, a little, better. I need, to get back to the troops. [Attempts to stand but is too weak to.] Ahh! Katara: You're hurt, badly. You can't fight anymore. Hakoda: Everyone's counting on me to lead this mission Katara, I won't let them down. [Attempts to stand again but can't.] Ahh! Sokka: Can't you heal him any faster?

they're in a high intensity situation, and sokka is Stressed because hakoda is supposed to lead the mission, so i, like, Get It, but "can't you heal him any faster?" does strike me as another moment in which katara's healing is being taken for granted. i think it's something that would bother me a lot less if this was an isolated incident in the writing, but *gestures vaguely at whole post*.

Sokka: [Brightening.] Dad! [Rising and approaching the two.] You're on your feet again. Hakoda: [Sitting down; somewhat weakly.] Thanks to your sister.

that being said, in the next hakoda and katara scene, there is this very sweet moment, where hakoda might not be thanking katara directly but is showing a lot of appreciation and admiration for her skill in healing (and though she's not in the dialogue i included, she's around to hear it, which makes me happy.)

Katara: It's gonna take a while for your feet to get better. [Stops healing.] I wish I could have worked on them sooner. Toph: Yeah, me too.

once again, i'm not gonna fault toph for wishing katara could have healed her feet sooner, because she's been in pain all night, but the writers could have very easily (as they could have in any of these scenes!) chosen to include a perfunctory 'thanks' here, and they just didn't. i know this is getting repetitive, but i swear it's because it's largely more me being mad at the writers than the characters, lmao.

there are also a couple of scenes in which katara doesn't heal anyone, but her healing gets brought up by aang.

Aang: He doesn't look sick. You okay, buddy? [Appa groans and Aang pulls out Appa's purple tongue.] His tongue is purple! That can't be good. Katara, can you heal him?

to be fair, aang asks here, and it's not like aang gets defensive or angry when katara says appa needs medicine (and also to be fair, appa's not even actually sick, lmao, katara's being slightly trickstery), but it's another instance where katara is automatically positioned as the person who is and should be responsible for healing.

Aang: [Chuckles.] Well, not over over. I mean there's always Katara and a little Spirit Water action, [Turns to Katara.] am I right? Katara: Actually, I used it all up after Azula shot you. Aang: [Disappointed.] Oh.

i actually don't mind this so much as a writing moment, as i think it's a lot more intentional wrt aang not always conceptualizing the reality of the violence he’s facing. still, it’s another instance of katara’s ability to heal and care for him being taken for granted, and i find it especially notable it’s in of the last significant moments they share together (the other being an argument as katara urges him not to run away from the reality of their situation with ozai) before they spend the rest of the finale separate until they’re kissing without a word at the end.

and then there is the zutara healing scene, where katara heals zuko after he interferes and takes azula’s lightning to the chest when she’s aiming for katara.

Cut to Katara as she rolls Zuko on to his back and begins healing him. Zuko opens his eyes, feeling the pain lessen, and smiles weakly at Katara, who smiles back as she sheds a tear.

Zuko: Thank you, Katara.

Katara: I think I'm the one who should be thanking you.

it seems fair to me to say that one of the reasons the motifs of healing in the zutara are dynamic are so appreciated by their fans is because of how it contrasts to a lot of moments where the work katara does with her healing is under-appreciated. for one thing, it happens as part of a mutual exchange—katara heals zuko after he gets hurt saving her. (this also somewhat calls back to their scenes together in the crystal caves in the tcod, where she offers to heal his scar after they are trapped together and zuko extends her empathy.) it’s based in reciprocity. it’s also, as shown here, one of the few moments of explicit, heartfelt appreciation and thanks given for katara’s healing.

[mrinafria]

[contains spoilers]

I'm an eternal digger of good narrative techniques. A decent story becomes great in my eyes if the narrative is done right. And it's one of the hardest things to do really, since there's no one-size-fits-all rule for what technique works well with a particular story and what doesn't. One of the primary reasons I keep obsessing over Lovely Runner is its' narrative technique. In all honesty, if it had a linear, singular narrative, I would not be hyperventilating over it on a constant basis (I still would just a certain amount, because both Byeon Woo Seok and Kim Hye Yoon deserve awards for what they are doing). One reason it has managed to knock it out off the park and take the top spot in my forever-favorite list is how wonderfully well the narrative is done.

The primary perspective used in this show is Im Sol's. It's through her we're introduced to the story. Her perspective gives shape to the plot, the characters, because we learn things through her. Her perspective is absolutely critical for exposition. Without her thoughts and way of viewing things, you would never realize why saving Seon Jae means so much to her, or why she would bend the rules and bulldoze ahead when it comes to his safety (exhibit A, her leaving home on the day of the accident, despite knowing about her fate). She'd rather have him alive than have him in her life. Without her narrative, you'd think it's really all about a fan saving her idol (thanks to everyone who'd rejected the script listening to that pitch by the way, I'm grateful we have BWS and KHY as the leads because of that, I would not change it for anyone else). With Im Sol's perspective, you realize, she is not just a fan: she's an ardent admirer, a cheerleader, a well-wisher, a protector, an invisible friend trying to support her friend any way she can, someone who respects Seon Jae, sees him as an idol but also as a human, someone who wants to give back to him the same kindness, empathy and love she had once received from him over a radio call. To her, Seon Jae is first a guardian angel and then an idol, the angel who changed her view of life, made her appreciate things even amidst all that could be wrong with the world and her life. He saved her. Not just on that day at the hospital but every time she struggled and faltered since then, he was there, as invisible as it may have been. So this time, she wants to save him, no matter the price.

Then comes Seon Jae. Oof. If Im Sol's perspective gives the story its beautiful, beautiful shape, Seon Jae's perspective breathes literal life in to the body of the story. The show wouldn't be what it is today if not for his perspective. Without his view into things, Im Sol appears as a fangirl going to extreme measures to save her idol, clinging onto him like a monkey (yes I mean the poster) embarrassing the heck out of herself, making you cringe (in a good, enjoyable way) throughout. Then you reach the end of episode 2 and it knocks the breath out of you because WHAT DO YOU EVEN MEAN. It all clicks.

All this while we kept thinking Seon Jae was caught off guard and just kind enough to tolerate her antics, and maybe he'd slowly fall for her now, only to realize we were completely oblivious to a whole different side of the story. If Im Sol's narrative draws you in and keeps you hooked, making you root for her to succeed, it's Seon Jae's narrative that makes you irredeemably fall in love with them and sincerely, genuinely, desperately hope they get their happy ending together after all the storm.

And the motifs. Walking/running, for instance. I'll focus on just one scene here. I recall seeing a bts where KHY is discussing the OG 2008 accident scene, and it explains how she has to slow down, while running away, for just a moment, only to be hit by the taxi driver. Have you ever been in a situation of absolute panic, desperation and stress, then suddenly found a familiar face or a name or a thing you could connect to, and felt a wave of relief rush through you? She sees Seon Jae, a person who is calling out her name. Even if she didn't know him back then, the fact that he knew her (and that he had his uniform on), gives her a sense of safety she badly needed that moment. That momentary relief, so visible in her features, then overtakes the crippling fear she felt running in the middle of nowhere with no one in sight in the dead of the night. Her body, already exhausted beyond anything, responds to the relief she feels for those few seconds, slowing down her steps.

And that is when she is caught off-guard and hit. That also might have added to Im Sol's anger at the hospital when she is screaming at Seon Jae, her internal anguish that if only she had not paused seeing Seon Jae, and kept on running, then maybe she wouldn't be hit, wouldn't fall, wouldn't lose her ability to walk. It's one thing to have tropes and symbolic things, but it's a very different thing to know how to use them effectively so they elicit very specific types of emotions/reactions out of people. Lovely Runner excels in that. All kdramas more or less have 'things' that take on different meanings for the couples/viewers. It's the way motifs are used to narrate the story in this one that has me going back over and over again to all the episodes aired so far. These are not just their 'things', these are 'things' that drive the plot forward, tell you about their characters, their personal motivations, what they mean to each other and so much more.

This is getting longer that I intended it to be so will end with this. I feel valued when watching Lovely Runner. And I've seen people saying the same thing. It feels like they respect your critical thinking skills, and your ability to infer, so they don't spoon-feed you everything from the get-go, and you can't predict much despite it being primarily a rom-com. You'd be pulling your hair out (again, in a good way) trying to figure out what they will show next, and you will be somewhat or very far from the truth, which will compel you to think further about the story, the characters, long after an episode has aired...I can't remember the last time it happened with a drama. I love this storytelling.

[ifyouknowmenahyoudontt]

ranting about the fandom ( TW: opinions)

- remus is so badly mischaracterized, the shift from him being a soft sensitive kid despite the violent nature of his condition was so so important but now he is turned into this mean angry alpha male. i feel like the point of him being so sensitive was to contrast w him being a werewolf ya know. bring back weird and awkward remus

- gay ships that are just there because they’re gay is pretty strange. i’m speaking of the whole jegulus/pandalily/whatever new thing ppl come up with i don’t really understand the point of just thinking that making a couple gay makes them more interesting. seems a little counterproductive .

-jily loosing its popularity is killing me. bring back my 7 year slow burn prophecy beautiful love story they are the most important ship

-sirius being a feminine dramatic gay twink. this man was a motorcycle owning rebel strong guy. and believe it or not he CAN be gay and still be that. him being gay ( in our head canons) doesn’t mean he’s a woman

- turning gay ships into basically a straight relationship by making them so stereotypical ( wolfstar w feminine af sirius and strong man remus)

- shipping character that died and fought against a certain ideology and people that were actively apart of the problem is kinda crazy. like jegulily? my brother in christ regulus wanted her dead.

-fanon regulus. he was a strong willed DEATH EATER he wasn’t forced into it or abused by his family. it.is.stated.in.the.book.

-deatheaters are interesting characters BUT don’t tell me people are babying and glorifying them in a effort to explore their complexity.

-some of you are blinded by the fancasts and forgot all about what the characters are.

- the new fan casts are meeeh. they’re not all supposed to be supermodels…

- jegulus taking over the fandom is insane.

-andromeda should be getting the regulus treatement she is what you made regulus into.

-frank and alice should be more loved.

- the romantization of that whole pureblood supremacist squad is NOT cute.

-james potter my beloved.

- i don’t really like the idea of the casanova being remus. i feel like it would james or sirius based on how remus talked about his high school years

- jily is way too important to the universe to be discredited.

-lily evans being put behind regulus is CRAZY. my girl did not die for this bs

-sirius being criticized for leaving is wild. regulus was not abused and didn’t even want to leave. sirius was mistreated.

- i kind of like the idea of the developed character of walburga. sirius said she wasn’t a deatheater. and i like people writing her as a more complex character.

- as much as i love wolfstar, james and sirius’s relationship stays the central point of the gang.

-ships have taken way too much importance over the friendships of the group.

-i feel like a people make female characters into lesbians ( like lily ) just because they are strong characters and it’s weird.

- yes once she got married to james she was lily POTTER and she was a mother just like james was FATHER they’re is nothing wrong with that.

- jegulus/ any ship between a member of the order and a deatheater is just plain stupid sorry but if your head canons goes completely against the core of a character it’s just a wrong statement.

before you start “LEt pEoPle dO whAT thEy WaNt” these are MY opinions

please share yours i love to debate

[extremely-judgemental]

[Really, really long post.]

Every time I see ‘let my girl be happy’ tag and the post is about canon Nessian, it infuriates me as much as breaks my heart. Sometimes I wonder those who romanticise Cassian’s behaviour are speaking from a place of privilege or ignorance because admitting that calls for addressing real life abuse that misogyny forces them to endure.

I’m an Indian living in a highly patriarchal, misogynistic society where women are still required to marry someone out of convenience for the sake of their families. This is not the cute arranged marriages you read in books or watch in movies. Most women have to sacrifice everything they are and they stand for to ease the family’s burden. Let’s not start with dowry or DV. Sure our society has progressed in many ways, this is still reality of most women when it comes to marriages and having a family. No matter how well off you are, no matter how successful you are in your career. It’s more nuanced than you can imagine where the parents meddle with children’s life at every step and our lives are more intertwined with our families than in western society. So I simply can’t read Nesta’s story and delude myself that she got a happy ending with Cassian or the IC. I try to keep my emotions out of most of the criticisms to help people see the situation objectively. That’s hard to do in this case but I’ll try.

Nesta is the eldest child who ‘fails’ her sisters when it is her father’s responsibility to take care of three young girls. Being groomed to be a housewife all her life, Nesta contributes as much as she can by doing the chores and nurturing her family the only way she knows how. She seeks help from relatives and friends while the ones in position to do so ignore her. And when the time comes, she finds the way to be of useful to her family by marrying Tomas. Despite all this, Nesta is a failure of a sister simply because Feyre made a choice. These only come to light in Nesta’s book and even the few instances where Feyre realises this, there’s no real appreciation for her efforts. They are dismissed and only mentioned to highlight Feyre’s empathic tendencies and her general awareness of her sisters’ plights rather than uplifting Nesta’s character itself. None of these are acknowledged as these aren’t the typical masculine ways that’s glorified throughout the series.

As Nesta navigates her life as a recently transformed fae, she partakes in a war she has no part in. She has no obligation or need to risk her life for Night Court, or any other court, or even the mortals. These are the same acts that make Feyre a hero in the first book. But when it comes to Nesta and she rises up to the occasion, it’s downplayed as she deals with PTSD from her death, the Cauldron, the toll of war, and her father’s death. None of her sacrifices or her attempts to protect her sisters are given an ounce of importance or due respect that it deserves. It’s turned into Nesta’s duty as the eldest sister or the sister of Night Court’s High Lady instead.

When Nesta deals with her trauma, everyone takes great pleasure in controlling how the situation pans out. She goes as far as to live alone to spare her sisters, yet Feyre and Elain who have the choice of when and how to regulate their emotions, don’t grasp the concept of personal space. Her actions are self-sabotaging at best and have no real consequence on any of the other characters. Still, they are amplified to an extent that it’s made into a court affair. And the reason for this is Nesta isn’t coping in the right way. Gambling, drinking and sex which are common activities for the IC become a question of their reputation the moment she does it in her pain, emphasising that these are only acceptable when she does it with them. Spending Feyre’s money on gambling may seem like a reasonable cause for the IC to interfere but if we factor in how Nesta’s rightful wealth from Tamlin or her father was lost because of the direct consequence of IC’s actions, along with the fact that she’s still owed money for her contribution in the war, Nesta is deliberately stripped off any monetary agency to trap her.

If this isn’t punishment enough, Nesta is locked in an inescapable tower with a man she wants no part with. And when she fights, she is lied to about laws and threatened to be thrown among people who consider her a threat. She has no interest in training to fight or work for the Night Court but she’s forced to. She’s not compensated for any of this labour either. Nesta is known to starve herself after the war to the point that she’s all ‘skin and bones’. Cassian, an established gym bro in the series, weaponises food against her when she doesn’t eat what is offered and when. The moment she shows any interest in eating, he judges her for being picky and brings up her latent guilt that leads her down that path in the first place. And later on, knowing she’s not fit enough IC insists on training her right away and in freezing conditions without proper clothing. Nesta soon learns that she has no choice but to comply, goes on to train with Cassian, work in the library, and accept the food the house gives her. This is the first step in breaking her.

Nesta has no one to rely on or even talk to in the house except for Cassian. The relationship that develops between them is not circumstantial but a well orchestrated one. Even for small talk, her only choice is Cassian. After finding out Nesta was SA’d by the kelpie and was on the verge of death, no one (including her sisters) cares for her as much as they should. The one person who checks on her is Cassian and even he’s so overcome with his desire and lust that he has sex with her instead of comforting her. It’s a common knowledge that sex is a coping mechanism for her, and has been SA’d twice which something only Cassian knows. This perpetuates the idea that even when a woman is hurting and in pain, she has to be appealing, her trauma should be sexually gratifying and desirable for the man. A woman can walk back from the doors of death but she has to look pretty while doing it. There’s nothing empowering about that.

Feyre looks down on Nesta for contemplating selling her body to take care of her sisters. But the same is expected from her when she serves Night Court and seduces Eris. It’s almost glorified and revered by Cassian himself. During their conversation in River House, he lets Nesta believe that she has to earn his love and her sisters’. Not once does he contradict any of her fears or insecurities. For the first time, Nesta has sex with him without it being an escape and the next morning Cassian abandons her enforcing the idea that she indeed earned the sex and love for what she did in CoN.

When Nesta reveals the truth about Feyre’s pregnancy, her true feelings are swept under the rug with how she ‘failed’ her sister again. Nesta has the right to out Rhysand and his plans. And even if the situation isn’t the most appropriate, Nesta is locked in a tower and only ever talks to anyone when IC choose which limits her options. Besides, when will the timing be perfect for such conversation? Nesta is again vilified for being the only one honest to her sister and punished. Her intentions are warped to cover up others’ mistakes. Cassian is again the one who punishes her for it. Nesta is suicidal and Cassian recognises the signs. He insists on taking the hike, also using silent treatment to enforce the idea that Nesta is the one on the wrong. His interactions with Feyre proves none of them dwell on Nesta’s actions as much as she believes. While Nesta is having a guilt trip edging her closer to suicide, Cassian is laughing behind her back with Feyre, almost enjoying her fears. At the end of this trip, Nesta talks about her trauma for the first time, Cassian swoops in with his own sorrows and how he overcame them. Instead of making Nesta feel seen and heard, she’s again lectured on what she should do and how.

Lastly, Cassian and Morrigan have a mildly, if not completely, inappropriate relationship which Nesta is expected to accept. If she expresses jealousy or anger, it’s not because of the bond or their relationship but will be seen as an inherent quality of Nesta. She can’t fight it as everyone else has accepted it as a normal relationship. If Nesta shows any displeasure, her past of sleeping with other men will be brought into the conversation and she will be scrutinised. This is very similar to the ‘men will be men’ narrative where the man can flirt with whoever he wants and it’s harmless but the woman has to behave.

Throughout the series, everyone is against Nesta. Her family is her responsibility. She has duty to protect them and serve them no matter the circumstances, no matter how it costs her or how much pain she is in. Her own sisters will side with her in-laws saying it’s how things are and she ‘doesn’t have to be so miserable’. Her life is forever bound to a man she initially wanted nothing to do with and her everyday life is dependent on him. She is trapped with him until she learns to accept her fate. He doesn’t lay a hand on her but he psychologically and emotionally abuses her until she complies with his family and behaves to fit their image. He even gives her silent treatment, withdraws sex/intimacy from her, leaves her alone in the tower, cuts her off from everyone she loves and cares about if she misbehaves. She has no financial independence leaving her at the mercy of her sister and her family. Even when she’s hurting, she has no choice but to risk her life for them or go to wars when they demand. She goes as far as to change her body for her future child. Her life is threatened by her in-laws but no one bats an eye at that forever leaving her fearing for her safety.

If you believe it’s just fiction and all this is exaggeration of something in a fantasy book, you really need to look around you. This is a real nightmare for most women all over the world. Your girl Nesta isn’t happy. She settled. She has accepted a life where she’s treated less than a dog and is used as a weapon. She’s been beaten down until she learnt not to step out of line if she wants to live. She is still with Cassian because she doesn’t see a life other than that as an option and has come to accept whatever scraps her sister and her family have decided to throw her way. And I sincerely hope if you ever come across a real life Rhysand or Cassian, you have the wits to protect yourself and run the other way.

[visenyaism]

Sorry if you’ve been asked this but what do you think of all the rot in asoiaf? Obv some of it is related to the problems with monarchy but I feel like a lot of it isn’t and it just leaves me curious. Like cold hands or people killed by the others idk what that symbolizes there. Jon is in a land in which rot is in stasis from the cold and it’s creepy as shit. And then there’s stuff that could have multiple interpretations like dany by proxy of selmy experiencing bio warfare with the corpses like I know some people see it as the fall of old ghis but I wondered if maybe it was a sign to dany about breaking the wheel and doing as her ancestors did. Idk I know it’s a nasty series and sometimes grrm is just doing stuff so that it’s gross but I feel like rot comes up SO much and I people are usually talking online about like Tywin when it comes to rot.

Oh one of my favorite things about the asoiaf series is how heavy-handed george rr martin is with the rot symbolism. and (at the risk of sounding like an mfa vomited on my keyboard) the way that the political, pestilential, societal, and climatological aspects of the rot symbolism all interconnect.

In a society founded on so many feudal evils that has perpetuated for centuries, something has to give. It is a recurring theme in these books that violations of human decency under feudalism cause cataclysmic societal collapse represented through literal and metaphorical pestilence.

There’s the sociopolitical collapse in the riverlands caused by war of human decency and norms like guest right and prohibitions on kinslaying or cannibalism just dedicating away as times get hard. broken men. bodies left to rot in the sun for the crows to feast on. There’s the fermenting wildfire under every major street in Kings Landing. There’s the familial/relational decay of incest especially the targaryens and the lannisters. The people who hold power and that society rot, despite everyone’s best efforts at keeping up appearances: Robert Baratheon the “war hero” dies of a very nasty festering stomach wound he got in a drunken hunting accident, Tywin gets shot on the privy and his corpse putefies in the sept.

The climate stuff is also very salient. The series starts during late summer and as things get worse and worse in the world declines into the autumn where the summer fruit and all of the abundance is literally rotting through the hands of the characters. (see: renly’s peach vs doran’s blood oranges!) The cold up at the wall keeps the rot at bay for a while, but it does not entirely stop it. Coldhands’ hands are still blackening. Things are still unraveling at the hinges of the world. that’s pretty representative of the way that the violence of the border wall and the penal colony stationed there to patrol it are not sustainable. The decline of the night’s watch from a once proud order to a penal colony full of cruel and often impoverished convicts dropped off there by circumstance is a symptom of the society that sends people up there. But something still has to give. The wall will fall down and the existential crisis will come, it’s just slowed.

Critically, there is also the forgotten parable of Old Valyria: a society founded on extreme cruelty and slavery which eventually experiences cataclysm coming up from the very tunnels they send the enslaved into to die for the empire. A lot of what Daenerys experiences in Essos is an extension of that commentary on slave societies to me. Like. as the slavers try and reconquer places dany has liberated, people fleeing the violence, bring disease like the bloody flux with them. The rot creeps back. (important: disease and rot in the series is not always something people get for being morally bad. it often happens to people who just have no choice but to live in these places.)

But that’s why I think the way Volantis is described really ties a lot of those elements of the rot symbolism together. This is a society that has founded itself up from out of the corpse of old valyria. The city maintains some veneer of old glory, but the fountains are dry and the paint is chipping. The people there eat food that is so sweet it literally causes your teeth to rot out if you were to consume it every day. In terms of climate, I think it’s relevant that it is described as extremely, almost disgustingly, humid, and everything is excessively perfumed to cover up a tangible smell of decay.The air is quite literally cloying and difficult to breathe. You feel dirty after walking through it. The evil of slavery is rotting the city to its core in the same way that the evil of feudalism and the wars for the iron throne is affecting the city of king’s landing.

To wrap allllll this up. Rot is a signal that obviously societal collapse is coming, but it’s also transitional: the empire of old ghis brought about its downfall, and then valyria found itself on the same principles which brought about its own downfall, and then the Targaryen went to westeros and engineered their collapse in Kings Landing while the freehold did the same essos. I think the climatological and disease aspects of it are really heavy-handed symbolism that something has to give in the societies and we’re at the point in the series where that’s about to happen.

I think the ultimate arc of the series ends in some form of significant societal collapse, but instead of building upon a rotten foundation again people are going to have try and hope for something new and gather the courage to build that.,quite literally dreaming of the spring.

[hotvintagepoll]

This is a three-way poll. Only one of these women will continue to the fourth round of the bracket.

Propaganda

Ava Gardner (The Killers, The Barefoot Contessa)— She's so goddamn hot. Her and Frank Sinatra could've sandwiched me and I would've thanked them for the privilege

Leonor Maia (The Tyrannical Father)— She didn't do a lot of movies but in The Tyrannical Father she is so pretty and charming that there's a guy who's obsessed with her to such a degree he is still a meme 80 years later. Her character's name is Tatão and the guy would stare at her whenever she was there and say her name to the tune of everything. A clock ticking: ta-tão, ta-tão, ta-tão. And to this day one of the lines people know the best from that very quotable movie is "ta-tão". She inspired crushes and horniness of legendary levels.

Louise Brooks (Pandora's Box, Diary of a Lost Girl)—Louise Brooks started off as a dancer and went to work in the Follies before going to Hollywood. Disappointed with her roles there, she went to Germany and proceeded to make Pandora's Box, the first film to show a lesbian on-screen (not her but one of her many doomed admirers in the film), and Diary of a Lost Girl, both of which are considered two of the greatest films of the 20th century. She helped popularize the bob and natural acting, acting far more subtly than her contemporaries who treated the camera as a stage audience. After the collapse of her film career and a remarkably rough patch as a high-end sex worker, she was rediscovered and did film criticism, notably "Lulu in Hollywood," which Rodger Ebert called "indispensable." Also, christ. Look at her.

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Ava Gardner:

Ava Gardner is one of my favorite actresses of all time. Although a lot of her roles in movies are about her being beautiful and nothing else, there are some films where her acting truly shines.

Gifset: https://www.tumblr.com/pelopides/721438308726603776/ava-gardner-as-pandora-reynolds-pandora-and-the

Gifset 2: https://www.tumblr.com/portraitoflestatonfire/731899355804598272/if-the-loustat-reunion-doesnt-look-like-this-then

HER FACE. LOOK AT IT. Also was a life long supporter of civil rights and a member of the NAACP, had lots of fun love affairs with other stars, bullfighters, married several times but was also happy in between to just have lovers and was unapologetically herself.

I literally gasp every time I see her.

Between 1942 and 1964, Ava Gardner was credited in no less 50 films, and is still considered by some to be the most beautiful actresses that ever graced the silver screen. Despite life-long insecurities regarding her talent as an actress, she weathered public scandal, industry hostility, and outright condemnation by the Catholic Church with fearless grace. She would later in life talk candidly about the reality and pain of living through two (studio approved!!) abortions during her short marriage to Frank Sinatra, and while the two of them could not make their relationship work, they remained in each other’s lives for nearly 30 years. She would forever describe herself as a small-town girl who just got lucky, but always felt like a beautiful outsider.

Really genuinely one of the most beautiful human beings I have ever seen. An autodidact. Had amazing chemistry with Gregory Peck to the point where I do think about watching On The Beach again sometimes because they're so good together even though that movie did destroy me. Was a great femme fatale in many movies.

There is no additional propaganda for Leonor Maia.

Louise Brooks:

"Defined the style of the modern flapper. A gaze that could make a stone fall in love."

"Louise Brooks left a legend far greater than her real achievement as an actress, but even today few people have seen her films. In our own time, the fascination with Brooks seems to have begun in 1979 with a profile by Kenneth Tynan in the New Yorker, which revealed that the actress who made her last movie in 1938 was alive and living in Rochester, N.Y. Such was the power of Tynan's prose that people began to seek out her existing films, primarily this one, to discover what the fuss was about. What we see here is a healthy young woman -- she was 23 when the film was released -- with whom the camera, under G.W. Pabst's influence, is fascinated. There is a deep paradox in Brooks and her career: the American girl who found success in the troubled Europe between two wars; the vivid personality who briefly dazzled two continents but faded into obscurity; the liberated woman who had affairs with such prominent men as CBS founder William S. Paley as well as with women including (by her account) Greta Garbo but wound up a solitary recluse. And all of this seems perfectly in keeping with her most celebrated role in Pandora's Box. For despite her bright vitality, her flashing dark eyes and brilliant smile, Brooks's Lulu becomes the ultimate femme fatale, careering her way toward destruction, not only of her lovers but eventually of herself."

"She invented having bangs to indicate that you have borderline personality disorder"

"chances are if youve ever seen a "flapper girl" character or even just art of a generic flapper type made after the 20s it was based on her appearance - particularly the bob hairstyle! she had some pretty rough experiences through her life before during and after her tumultuous acting career which ended in 1938 but she made it to the 80s, wrote an autobiography and did a lot of interviews that she was never afraid of being honest in about her own life or peers of the age, and apparently was unabashed about some affairs she had with well known women (including greta garbo!!)"

"She read Proust and Schopenhauer on set between sets. She was one of the original flappers/new women of the 1920s. She had a one night stand with Garbo and was the inspiration for Sally Bowles in Cabaret. Truly a stone cold fox."

"on her wikipedia page it says her biographer said she "loved women as a homosexual man, rather than as a lesbian, would love them" and while i have no idea if this is true or not i thought that was very gender of her"

"despite being american she was big in german expressionist films and thus her aesthetic was unmatched!!"

So far ahead of her time in regard to portraying complicated women. Timeless elegance. "I learned to act by watching Martha Graham dance, and I learned to dance by watching Charlie Chaplin act.” - Louise Brooks

[crazyforclones]

I am so ill over Mario and Peach

Continue reading to listen to me absolutely lose my mind over these goobers

Establishing character:

I just adore Mario and Peach so much. And before I get those funny people always like “oh Mario hates peach,” or “peach never “gives” Mario anything for saving her! He probably only does it to get something from her-“ Ima need yall to shut your trap ok 👹

First of all, Nintendo, especially with Mario characters, had no idea how to characterize their characters in the beginning. Peach changes in almost every single different medium. Take the old Nintendo power (I think) comic called the “super Mario adventures.” in which Peach is a lot more outgoing, strong, sassy, and a literal general.

Not saying this is a bad rendition of peach I actually like it! But I use it as an example of how these characters have changed over the years. And also, often times in games or stories like these where they focus more on the characters than gameplay, we see a more accurate and fleshed out character. Which is why in some other Mario games, characters often say things that might seem rude or out of character but is put there for comedy. (Nintendo obsession with making fun of Luigi in every rpg game is an example 💀). And the same goes for Mario, he’s changed a lot. But I feel in the current renditions of the characters, they have a much more stable idea of their character.

Also another cute picture from the comic-(sorry quality poopy I took it from mine)

This is peach dreaming about marrying Mario btw.

Mario’s character:

From what we see now, Mario is just an average blue collar man in his late twenty’s who is quite short and also plump. Despite this he is still THE most brave, athletic, talented, determined, occasionally hot headed, and an overall idol to the entire mushroom kingdom. He is often labeled as THE Mario. And people also express their surprised when they actually see what he looks like 💀. But the reason I bring this up is Mario is quite literally just some guy. He’s some guy who entered this foreign kingdom, heard there was a Princess in trouble, and as a New York Italien blue collar worker he could’ve easily just went on with his day or ignored these random peoples pleas, but instead, he immediately decides he will travel multiple worlds so he can save this princess and help the kingdom (also cause the game needed a incentive but still-). From the get go mario was ready to help people. He helps them not expecting anything in return, but because he has a good sense of Justice. There’s hundreds of side quests you can do with Mario, sometimes they’re ridiculous. But you know what? Mario will do it. Because he likes helping people. Because he’s a role model. And because he’s just a good guy.

Mario and Peach as a couple:

Most of the time, people who criticize or make fun of their relationship are often doing it as a joke which is fine, but this is for the people who genuinely think Peach is a jerk for not giving Mario “more” for what he does.

People often say “Mario has saved her so many times and all he gets is a kiss on the cheek!”

Now despite the fact Peach doesn’t owe Mario anything just because he saved her, I can see why people might be upset over this. However, like I said before, Mario does things not expecting rewards, but just because it’s the right thing to do and he has a duty.

People forget one dire things when it comes to love like this:

Love can be shown in many different ways

Peach kissing Mario in the cheek wasn’t proof that they were in love or together. I’d argue they weren’t really at all in the beginning. Except maybe a slight crush. A kiss on the cheek is often just a gesture of gratitude. Peach usually kissed anyone who saved her. It’s just her way of saying thank you.

What really shows that Mario and peach love one another is how they interact. The things they say and do. They don’t need to kiss to prove they’re in love, it’s simply implied with how they interact with one another. Whether it’s small gestures like holding one’s hand before a big game, or something such as trusting the other person to give you a boost so you can save your partners rabbid version of themselves from an evil space fish.

Or! It can be something more direct, like peach literally looking Mario in the eyes and saying this:

Or when she is scared but assured herself she will be ok as long as she has Mario!

It’s these little things that speak larger than words. Mario and peach simply have a relationship that is there but doesn’t need to be forced down your throats to convince you that they’re in love. They simply are. And their love is shown in many ways. Love comes in all shapes and sizes, and so does Mario and Peach!

Now have Mario dancing like a middle aged dad snapping his little fingers to make Peach laugh :)

[serene-faerie]

I didn't want to post this kind of discourse, but it's something that I genuinely can't ignore anymore.

It's no secret that the Silm fandom has a lot of problems with its standards for female characters. I've noticed that a lot of heroic female characters like Lúthien, Elwing, and Idril tend to be criticized and bashed on quite a bit.

But I've also noticed that there are three female characters that hardly anyone bashes. In fact, some fans actively like to pit these characters against other female characters by making them the hype-men of the Fëanorians.

(I apologize to any mutuals who happen to be Fëanorian fans. And this isn't to say that these female characters are terrible because they're connected to the Fëanorians, but these are just my observations. I still think they're wonderful characters on their own.)

First is Nerdanel, the wife of Fëanor and the mother of his sons. And with the Fëanorians being so popular in the fandom, of course she would be an automatic favorite. It also helps that she doesn't play a huge role in the events of the First Age, which gives fans the freedom to interpret her character however they wish. And despite the fact that she and Fëanor are separated following the Darkening of Valinor, Nerdanel still remains a favorite among Fëanorian fans.

Next is Aredhel. She's not only besties with Celegorm, but she happens to be the mother of Maeglin, the creep that fandom loves to woobify. People also sympathize with her for her tragic death, understandably so. However, there are people who will claim that she would've wanted Celegorm to rape Lúthien as revenge for her abduction by Eöl, never mind that neither Aredhel nor Lúthien even knew each other. Some fans will also have her sympathize with Maeglin for causing the fall of Gondolin, ignoring the fact that Maeglin betrayed the city because he felt entitled to Idril, Aredhel's own niece, and that he actively tried to rape her during the city's fall.

The third one is Haleth. I've noticed that Fëanorian fans really like to ship her with Caranthir, mostly because he helped the Haladin fight off a bunch of attacking Orcs. This is despite the fact that Haleth wasn't interested in living on Caranthir's lands as a vassal. Instead, she took her people to Brethil and lived freely in the domain of Elu Thingol. Nevertheless, people like to compare her and Caranthir to Aegnor and Andreth, sometimes making fun of them for their tragic separation and claiming that neither Haleth nor Caranthir would be as "foolish" as them.

What do these three women have in common? They have a connection/interaction with the Fëanorians at some point in their lives. So these women are just used to uplift the Fëanorians to the detriment of other female characters- particularly the creeps like Celegorm and Maeglin.

Which, in my opinion, is a huge disservice to their characters.

All of this is to say that Aredhel, Nerdanel, and Haleth deserve better than to be reduced to Fëanorian hype-men. And Lúthien, Elwing, and Idril deserve a lot better than to be pitted against other female characters.

[terras-domain]

Memories of Us

Characters: Kim Chaehyun, Yu Jimin (Karina)

Tags: friends with benefits, sensual, lesbian sex, titty play, pussy play, somewhat fluff

Words: 1869 words

Author's Note: Hiiiiii terra here! Tbh I'm really excited for this work especially if it blows out. I think the dynamic between Chaehyun and Karina would work so well together especially since surprise surprise CHAEHYUN WAS FROM FUCKING SM! I think we can lead this to adding another idol which I'm pretty sure we all know who if it's Yu Jimin, right? In any case, I'll do my best to this work and if I think it's good enough, I'll try to do continue it more as a series. Enjoy <33!

"With MY world in the back, WORLD in the back YEAH!" As the song slowly ended, Chaehyun hurries towards Karina, wrapping her arms around her hips as Karina looks at her with a soft smile, patting her head before looking at the camera, waving to end the TikTok challenge for Drama. "Alright, thank you so much for your hard work, girls." The cameraman showed a thumbs up as the crew clapped their hands for their hard work, starting to pack up their tools and get going for the next video production. "Uwaaah~ unnie you did so well~" Chaehyun's eyes sparkles as she looks up to Karina, clearly enthusiastic of meeting her old friend back when she was an SM trainee. "Awww Chaehyun knock it off with the formals~! Jimin is good enough and you know that, right?" Karina giggled, seeing the bubbly Chaehyun in front of her, rolling back their trainee days. The times where Chaehyun had to endure a lot of criticisms for her lack of dancing and her body shape, Karina has always been there to support and comfort her, often giving her encouragement to do better too. Such precious memories for the Kep1er vocalist even though it was short due to SM terminating her contract.

After a little small talk, Karina invited Chaehyun to relax at aespa's waiting room. The girls are out to buy coffee at the barista downstairs, so it'll be just the two of them for the time being. As they both lounged on the couch, Chaehyun leaned down to Karina's shoulders, sighing. "I missed you, Jiminnie." Her tone started to sound like a vent. Karina, who is still clueless about the situation, only patted her head, smiling while still scrolling through her Instagram feed. "Awww, but I'm here now, right? Hahah c'mon Chae~ cheer up a bit." Karina playfully caressed Chaehyun's cheeks, pinching and pulling it while giggling as the ex-SM trainee pouted. "I'm being serious here Jimiiin~" She scowled and threw a little tantrum, which only fueled Karina's laughter more, seeing Chaehyun's adorable face blush red from anger and embarrassment. She has to admit, she did miss teasing Chaehyun, although she does have Winter as her victim now.

Despite Chaehyun's adorable growls of frustration, Karina still didn't take her seriously. Her hands are still fixated on Chaehyun round puffy face, squishing her cheeks and pinching them occasionally. It was at that point Chaehyun lost it, grabbing her unnie's hands and pushing them away and now hugging her tight, almost like she's trying to squeeze her body. "Unniieeeee! I'm being serious here!" Her red flushed face faced to the cushions of the couch. Blushing from her out of character behaviour, she can't even move a muscle, still flustered from her actions towards her unnie that she looks up to so much. Karina could only bite her lips, trying not to burst out and laugh. After taking a long, deep breath, Karina sighed, and slowly tapped her old colleague's scalp, scratching it a bit as if she's doing one of her ASMR lives, trying to comfort the shy Chaehyun. "Alright Chae Chae, what is it? I'll take you seriously this time~" She smiled as soon as Chaehyun's face lifts up, pouting as her large round eyes shined back too Karina's. "I missed you, Jiminnie."

Karina only sighed as she smiled, looking art her old friend being as clingy and adorable as she remembers, the same Kim Chaehyun she spends her time with for years together in the SM building. She can see the attachment Chaehyun had with her, and it melted her heart. "I missed you too, Chaehyun." Karina ruffled Chaehyun's hair, before her hand guided the main vocalist up, making their faces level. Karina slowly lifted up Chaehyun's bangs, giving her a kiss on the forehead. "I'm here for you Chae~" a soft whisper echoed into Chaehyun's ear, giving her goosebumps, both from the cringeyness of Karina's words but also the nostalgia. The feeling when she always had Karina by her side, caring and supporting her every step of the way. After the kiss Karina gave on her forehead, Chaehyun looked as if she spaced out, lost in thought. "Chae...?" Karina snapped her fingers, trying to gain her consciousness again. She eventually did, but not a word was let out of her mouth. Instead a kiss on the cheeks, her mouth charging to Karina's.

"Mh~!" Karina was flustered, but also not really surprised by the sudden reaction by Chaehyun. She's always been a clingy little baby to her and she guesses that little clinginess never faded away from Chaehyun's nature. Instead of pushing her away, Karina embraced her, tucking Chaehyun's long wavy hair behind her ears as Karina softly caressed the back of her scalp. The kiss lasted for about 30 seconds before Karina broke the two pairs of lips' moment of connection, leaving the two in a state of silence. Chaehyun was blushing, red as a tomato and Karina was just trying to process the whole situation, not knowing what to do. "J-Jiminnie~ I want m-more, please~!" With her face facing the couch, Chaehyun's plead for satisfaction was said aloud, finally admitting to her desires.

Karina could never say no to those cute puppy eyes of Chaehyun. All she could do is please Chaehyun's undying desire for her. Her former colleague in SM, both now in seperate ways, but their lips never this close in their lives. Karina pinning the Kep1er member to the wall and kissing her pretty mouth, occasionally sucking on Chaehyun's tongue which made her whimper, melting in Karina's arms. "Fuuuuck~ Jiminnie~" Chaehyun was just a mess at that point, having her mouth dominated by her old friend back in SM, her whimpers and words weren't even fully audible due to her lips being locked my Karina's. The aespa leader takes charge, tiptoeing her fingers slowly towards Chaehyun's crotch, touching the wet spot on her safety shorts. "You've been enjoying a lot haven't you, Chae?" Chaehyun couldn't do a thing but pout and nod to Karina's question.

The excited Yu Jimin giggled, seeing how adorable Chaehyun is behaving, making the sexual tension in the room sky rocket. Karina guided Chaehyun to lean back to her seat, letting her more access to take the lead. Karina gently removes Chaehyun's top, not completely off, just enough to see her bare tits out. They both know that the staff could crash in the room any moment and it's gonna be one hell of an explanation to get them off this situation. "You're so hard here too Chaehyunnie~" Karina looked at her friend's volumed breasts, her nipples getting hard and stiff from the stimulation and the cool-airconditioned room. Chaehyun let out a soft moan before she managed to answer as Karina's mouth takes in her left nipple, sucking on it gently. "Jiminnie~ wait...nghhh-" Chaehyun bit her lips, containing her moans from escaping, she doesn't want the staff to catch them like this. Or even worse, the rest of the aespa members seeing them like this.

Karina continues her pursuit, now her hands roaming towards Chaehyun's inner thighs, hiking up her skirt. "Let me please you down there too, Chaehyun" she whispered, sending shivers down Chaehyun's spine. Chaehyun could feel Karina's hand moving closer to cunt, slowly touching her pussy covered in the white cloth of her panties, dribbles of precum painting on her underwear painting the situation, Chaehyun an absolute mess for Karina. She took charge of the situation by starting to rub her fingers gently on Chaehyun's panties, all whilst her mouth kept on sucking on her old friend's round boob, sucking with Karina's eyes sparkling at Chaehyun's. "Jiminnie, it feels so fucking good~" Chaehyun's moans finally made some human words out. It was words of encouragement for Karina to do more, and more did she do. Karina's hand slide Chaehyun's panties to the side, revealing her pink temple, where Karina starts to slide her index and middle finger inside Chaehyun's pussy. The stimulation made her scream out a moan, Chaehyun starting to lose her cool and turns into a moaning mess, enjoying her old friend's gentle fingers, digging in her cunt which made her twitch and shiver. "Jiminnie~, I'm gonna cum~" Chaehyun cries, putting a smirk on Karina's face. "Cum for me then, Chae. I want you to lots of pleasure~" "oh god, Jiminnie, I'm cummiiiiing!" Karina's words was more than enough to make her cum, releasing out her pleasures and coats Karina's two fingers.

The after effects of Karina's assault on her pussy, Chaehyun is left panting, reaching for air. "Jiminnie, I wanna make you cum too" her eyes looked straight at Karina's eyes, then tracing down her body. Karina, needing to let it out, is as eager as her old trainee partner is. "I need it to Chae. Make me feel good." She asked, her breathy voice sounded full of lust as she undoes her pants, showing her bare cunt. The room is ever so chilly yet the tension between is too hot to handle. Chaehyun didn't need an instruction to understand the situation; instantly falling to her knees, between Yu Jimin's legs. Chaehyun takes her tongue out, her mouth now on Karina's pussy, starting to lick it while looking up at the aespa leader's eyes.

Karina tilted her head back, feeling the cold tender lips of Chaehyun starting to give the attention she needed, making her moan as her hands hold on her boobs, groping herself as she enjoys the pleasure. "F-fuuuuck, yes Chae~. Just like that, I love your mouth so bad." Once again, Chaehyun is motivated by Karina's words, Chaehyun gets her mouth to work even more, letting her tongue get inside her pussy. Her mouth did a great job in turning on Karina, as she moans louder, getting herself more stimulated, moaning loudly as her hand is on Chaehyun's long hair. "Fuuuck Chaehyun. I can't do this any longer. I-I wanna cum" Chaehyun didn't reply, only a nod from her whilst remaining between Karina's legs as the room is now only filled with Karina's moans. Karina gripped Chaehyun's hair, flexing her thighs as her body shivers, unable to take it any longer. "Chae, I'm cumming I'm cumming I'm cummiiiiing!" Karina grunted, screaming out her moans as she squirts on Chaehyun's adorable round face. Chaehyun whimpered, tasting her lovable Yu Jimin's sweet cum, looking up to her face, covered in cum.

"That was amazing Chae~" Karina smiled, exhaustion is displayed on her face, the same can be same can be said to Chaehyun. Chaehyun got up and to Karina's face she aims, kissing her passionately, sharing the taste of the aespa ace's cum. They enjoy a deep kiss for a moment before their lips depart, smiling at each other. "Let's clean up this mess before anybody sees us like this shall we?" Karina tilted her head, painting a smile on her face to Chaehyun as the Kep1er vocalist replies with a bright smile. "Of course Jiminnie, this is our little secret, right?" She asked, as they both stood up and looked at each other's messy faces. Karina's reply, a giggle and her index finger on her lips, sealing the deal of their sweet little secret.

[artbyblastweave]

I've seen your capeshit posts thinking about The Boys, Worm, Invincible, the Big Two and their media landscape, etc. and I've enjoyed them a lot. You've got a good understanding of the creative and fandom forces surrounding the superhero genre. The one burning question that has sat at the back of my mind since I read Worm back in 2018, which I think you might have an interesting answer to, is simply this: IS an adaptation of that serial possible? Like in any practical sense? And would a mass-market Worm adaptation, however compromised by the adaptation process, have a positive or even significant at all impact on the genre going forward, and the way it's perceived both by hardcore fans and the average consumer?

People (including Wildbow himself at one point) have bounced around ideas for how you'd execute a tv adaptation of Worm, so I certainly don't think it's conceptually impossible. It would definitely be hard, because you'd be kneecapped by the absurdly short runtimes of modern tv seasons and the long turnaround time between seasons. Worm also has a wealth of detail and scene staging complexity that would be really hard to reproduce in a visual medium where someone has to either dress up as or animate all those bastards. And as the third kick in the teeth, I've mentioned before that there are ways in which I think Worm is in conversation with the superhero genre and fandom as it existed in 2011- the MCU cape boom has really heavily altered the space. Reference how The Boys (comic) was really specifically swinging a bat at the post-crisis comic book fandom, but the much tighter and more critically successful and broadly appealing Tv show is swinging at the MCU and DCEU.

But something I think Worm still has going for it over basically every other cape thing is its status as a worldbuilding project. Even if you don't understand every single comics element that it's riffing on, it's a story that, despite having a single definitive protagonist, does a really good job of having the setting be a character in the world and not just a bare-bones launchpad for that single protagonist. If the adaptation could really strongly integrate the setting-specific ways in which there have been, like, procedural reactions to the existence of capes, cultural reactions- really capture the sense of accumulating entropy that characterizes the tone of the setting, the sense of everyone being caught up in dynamics too big for any individual to control, the sense that all of this is in some way adding up- it would be doing something that's really just really not currently covered by any cape adaptation that's gotten big. And tonally, this would pan out (in fact does pan out) as something unique as well, because the fact that there's this entire setting out there constantly disintegrating under its own weight juxtaposes really well with how Taylor is constantly fighting like a maniac to sandbag her own little corner of purgatory. I really can't think of another superhero work that strikes that balance! And it's a balance you can't strike unless you're able to convincingly render that disintegrating world.

[anneapocalypse]

On blood magic and the Inquisitor.

I think there is a lot to be said about how Inquisition handles the topic of blood magic, with regard to the Inquisitor and Hawke and the mage rebellion, and there are valid criticisms with regard to narrative framing and role-playing limitations.

However I also think that any discussion of blood magic in Inquisition and the available specializations for a mage Inquisitor is very incomplete without acknowledging that necromancy is considered blood magic in the south.

Tevinter, so far as we can tell from what we know, just straight up doesn't consider it blood magic (hence Dorian seeing no contradiction in practicing it while vocally opposing blood magic), and Nevarra seems to get away with not considering it blood magic, despite being nominally under the southern Chantry, for political reasons (and probably also geographic reasons). But anywhere south of that? Necromancy is blood magic. The first two games, set in Ferelden and Kirkwall, strongly associate animating corpses with blood magic. From the southern point of view, this is and has always been blood magic.

A necromancer Inquisitor is a blood mage. Mary Kirby agrees. Companions and advisors react accordingly. Here's a compilation if you're interested in seeing them all, but Josephine's reaction is especially telling. Keeping in mind that Josephine is a seasoned diplomat who is well-traveled, has a multicultural education, and understands the nuances of this situation better than most, she says this:

Outside Nevarra, most people think the Mortalitasi practice death rituals… and sacrifices…

To my ear, it's pretty clear what Josie means here. Because she is a diplomat, she is not coming right out and accusing the Inquisitor of being a blood mage, but let's be real, in this context what else could she possible mean by that ominous "and sacrifices..." She is making it clear to the Inquisitor that they are creating a PR nightmare for her, and goes on to say that she'll be keeping this as quiet as possible.

On the other end of the spectrum we have the reactions from Sera and Blackwall, the most common of your companions. Blackwell openly disapproves of the whole practice. Sera is clearly unnerved personally, but she also says:

It's scary to anyone smart enough to think for a second. You shouldn't be scary. You're the Inquisitor.

As someone who's vocal about the interests of little people, she's also pretty clearly trying to warn the Inquisitor that this is a practice that will alienate common people who are already frightened of magic generally.

From what I could find, it seems Cullen doesn't have a reaction to this specialization, which seems like a real dropped ball! I think that his reaction out of anyone could have really cemented how this practice is viewed in the south. (Edited to add: Cullen does have a line in a war table op where he says, "I can accept that necromancy is not blood magic," with seeming reluctance, but still strongly disapproves of the practice being used on fallen Inquisition soldiers.)

As for why there are no meaningful consequences for this, and why no one says the quiet part out loud, well, I think this comes back to the fact that everyone needs the Inquisitor whether they like them or not, and whatever shady shit they might be doing, not closing the rifts is undoubtedly worse. Not only that, the Inquisition has some major allies among northerners, so while it wouldn't do for the Inquisitor to be known as a blood mage in the south, it also wouldn't do to insult those allies by openly condemning necromancy.

In some ways, it is a shame that this aspect of the Inquisitor's character constrains other characters' reactions to them, to a degree. I think it would be fun to get more heated reactions from your companions for this specialization. But I can see why it's limited by the game's basic premise, as are many things, which is itself a whole other discussion beyond the scope of this post.

Anyway, the Inquisitor can be a blood mage, of a sort! Just a sort where nobody calls them that to their face.

[mossy-green-aka-ferrythem]

I like. Have not played a single Hoyo game so it is quite shocking to see people take deeper looks into the games and their themes to uncover just how DEEPLY racist Hoyoverse is.

When I say racist I mean like. Painting this fantasy, ideal, "aesthetic" world that only wears the face of multiculturalism, while explicitly making it so all the heroes and good characters are white, while making the enemy characters typically with a darker shade of skin. Like just. In fucking Genshin. Look at the Hilichurls. They've literally got pitch black skin and masks, and despite having their own culture, are constantly and consistently treated nothing more as "pests". Like just. I swear to god there are so many "Hilichurl" like examples of weaving weird racism into video game enemies in the wider media sphere, but I digress.

What really gets me is like. I saw some shit from fucking Honkai or whatever where there is an entire character who was born black, but bleached her skin out of shame. Like. What. Also this is all second hand, so forgive me for getting details wrong, but doesn't she just. Keep hating herself for her skin color and her heritage? Also the way her mother is drawn is just like. Somehow both a racist and transphobic caricature rolled into one. Like they illustrated her in a way that doesn't feel done in good taste. It fees like they want to evoke a sense of confusion and maybe disdain. Perhaps they wish for you to sympathize with the girl who bleached her own skin (???) and like. What the fuck is this writing HOW DO PEOPLE JUST NOT GIVE A FUCK ABOUT THIS??????

Also. There is of course ZZZ. The issue here is more what people have already mentioned and something I don't feel like fully relaying. Which is the sort of heavy emphasis and inspiration from Hip-Hop and Rap culture, but without any black characters actually in the setting. Ben Bigger is like. Legit the blackest character there, problem is that he ISN'T HUMAN. Like it shows that they would sooner create an anthropomorphic bear, a fantasy character, than a black character that actually displays their culture in a proud way. Not really my place to say all of this, since others have said it much better than I ever could. Last thing I would say is that the Black edits of the characters (especially Ellen Joe), make the character designs leagues better.

To cap off this messily organized tumblr post and rant, it brings me to my biggest issue: erasure. The fact that when you search up Tighnari, you only get that dogshit anime boy, hell, the issue even still persists somewhat when you specify for Al-Tighnari. I am not well read on who Tighnari is, but even skimming past a description of that man is truly breathtaking. He sounds like a very well traveled, very wise man who likely had a sizable impact on the world. Thing is. When you search up Tighnari you don't see this man anywhere. When you bring up Tighnari, it is unlikely people actually recognize who the man himself was. Instead you have this character, who's skin is as white as a sheet, actively acting like a shroud being thrown over an old cultural icon. His design has been criticized endlessly for how little it lines up, but that's not the point. The point being is that Tighnari in Genshin has uprooted knowledge of the original in the public eye. This is but one example, and doesn't even BEGIN to touch upon the absolute shitshow that is Natlan. However, people have already exhaustively described what is wrong with it so I digress there. Oh and I said I would close this out but like. Fucking Star Rail or whatever has a character with Dark Skin who has "shacklebreaker" as one of their main skills and like. This is some J.K. Rowling type racism. Like what. What the fuck?

Look what's really important here is that I am just so fucking taken aback by learning the extent of it. I always bore a minor grudge against Genshin, but the clarification, and the knowledge of how deep this shit goes... just makes me realize this. There is no longer any confusion about how this got so popular, because racism is excusable in general fandom spaces. Racism isn't considered a dealbreaker to many people, and that is the root of the issue I believe. How general online fandom communities and people as consumers are just so unbothered by racism that they will just not criticize it, pass it off as normal, and will actively engage in racist tendencies, rather than making any effort to better themselves and to be more tasteful in what they choose to support financially, and what they choose to consume.