#he just can't conceive of the concept in relation to himself

[grassbreads]

Fei Du, trembling and coughing uncontrollably as he struggles to recall a repressed childhood memory of his father forcing him to participate in his mother's abuse on threat of suffocation:

"What are you talking about, shixiong? I don't have any trauma."

[pocketsizedquasar]

you asked for lore questions so. do you have any particular starhab Thoughts today

HI I MISSED THIS SOMEHOW but yes the answer to this question is always yes. i always have Them thots

recently, i’ve mostly been rotating what i’ve been uncreatively calling Good AU (AU where Starbuck actually Talks To ahab and they have a proper conversation and convinces him to turn around but not before at least 3 therapy sessions which may or may not involve passive-to-active suicidality on both their parts wahoo)

which is generally the AU i’m always rotating; @coulson-is-an-avenger have been talking abt it for literally 9+ months (n they have made some related fics before me, bc i’m slow <3 /positive) — but right now specifically, since i’ve finally started Actually writing it in the past couple weeks, i’m thinking a lot abt the beginning/setup of the au, which is aforementioned conversations/therapy sessions/breakdowns

more specifically, i’m thinking lots about how melville writes both ahab and starbuck as such deeply, intrinsically lonely people in different ways, and about how some of that loneliness is self inflicted and some of it isn’t. w starbuck especially… (i’ve talked abt this in the comments of a comic page before but) there’s the obvious element of loneliness that comes from losing most of his family to whaling, and having to be away from his wife and child for so long, and being seemingly the only person for a while on this boat who thinks there might be something wrong with ahab, but there is also an element of self-inflicted loneliness too: in Dusk, he specifically mentions the “heathen crew” and how much he feels apart from them. “Oh, God! to sail with such a heathen crew that have small touch of human mothers in them! Whelped somewhere by the sharkish sea. The white whale is their demigorgon.” his whiteness (and racism) and christianity is an element of isolation for him.

melville very regularly and deliberately highlights whiteness as a tool of isolation. ishmael only heals and becomes less lonely when he eschews christian “kindness” — “I’ll try a pagan friend, thought I, since Christian kindness has proved but hollow courtesy.” ahab is excluded and isolated from this world, for various untold reasons, though we can infer that some of them result from his disability (and, if you’re like me, an argument for reading ahab as nonwhite): “socially, Ahab was inaccessible. Though nominally included in the census of Christendom, he was still an alien to it.”

and starbuck—starbuck is of this world, this world of hollow courtesy and alienation, this world of nantucket quakers, which ishmael so poignantly describes as stifling and insular and strict. it is this — this whiteness, this hollow christianity, this learned racism — which prevents Starbuck from meaningfully emotionally connecting with his ‘pagan’ / ‘heathen’ crew, even as we know he is generally in other ways good to them. it is also this worldview which prevents him from meaningfully getting through to ahab.

like, ahab is obviously a traumatized specimen of a man (affectionate), but starbuck is also so deeply entrenched in his hyper specific worldview, just as much as ahab is. he can't connect with ahab more because he's so entrenched in seventeen layers of protestant guilt & conditioning, which is partially just the gay thing, but also like. being unable of conceiving ahab's pain through another framework. bc xtianity and protestantism and whiteness and all these things so wildly distort your concepts of what suffering is and who experiences it and who even has the Right to it, and what the right and wrong ways to experience pain are.

all his reasoning for why ahab giving himself so wholly to vengeance and eschewing all human connection is like… “bc god said it’s bad.” in all the times starbuck (in some ways rightly) gets at ahab for what he's doing, he doesn't ever really get to the point of trying to understand why it's happening? or where ahab is coming from? when what ahab needs is to be met where he’s at, in all his messy ugly pain and trauma

so w/ these conversations in the au it's like. part of it is starbuck letting go of this moral judgment and just coming to ahab with a genuine desire to understand hey. why are you doing this. tell me why this is so important to you. why this whale. why so hard. what is driving you to this. and like. understanding the very real amount of pain that ahab is in. the very real mess of a world that is constantly traumatizing and retraumatizing him. a world of whiteness and christianity and capitalism that has so thoroughly abandoned him to his trauma and his pain that he legitimately sees no other way out, no other alternative for alleviating that pain, than this quest.

basically in order to cure ahab’s loneliness starbuck needs to break his own. he cannot break down the walls around ahab without first reaching out beyond his own. and that’s why he fucking doesn’t in canon and tdjdhdhshdjwhdsjdhsj this is why i am so fucking mentally unwell about these two gay losers hfhehdhdhdhehddh

[folxlorepod]

Author's Notes on 'Creature' and 'Home': Trans Love, Bad Queers, and Happy Endings.

By Syd Briscoe CREATURE and HOME were an interesting pair of episodes to write, because they reflect on the same experience in very different ways. Not two sides of a coin, but then we'd be hypocritical if we went for something too binary, wouldn't we? 

I started writing from the POV of wanting to give Charlie an ending that he deserved, and my voicing him actually influenced the cross-dimensional premise of the season entirely. As you may have noticed, I was finally (after the better part of a decade on an NHS waiting list) allowed to start taking testosterone while we were planning things out, and my voice changed really quickly. So from a purely practical perspective I started thinking about how punk it was to have a trans VA change sound completely during a story. 

Charlie has been a challenge as a writer ever since the pilot episodes, because he's not a capital-letter Good Queer in the way that people often write their queer characters to be. He's angry, he's petty, he's paranoid, he's anxious - the track that always makes me think of him is 'I'm Not A Good Person' by Pat the Bunny, and he'd sing along to every word with a complete lack of irony. He's been through some stuff which he's never unpacked, and he stands for those among us who feel like we missed the boat in life somehow. 

That's why it felt important for him to still be like that once he got whammied with the magical transition stick. Because so often in media our narratives end with us transitioning, begin post transition, and/or view it as a magic wand which is at once the root of and solution to all our problems. Charlie is still a horrid little goblin once he's allowed to feel more like himself in his skin - he's still angry, he's still depressed, he's still plagued by memories and bothered by things he can't have. He's also still very much our root-deep link to Glasgow, even as he finally learns to get off the subway. 

If Charlie is an expression of how our experiences existing while trans can shape us - for better or worse - then the Creature is a manifestation of all the things we didn't get to be. Particularly the older members of the community, which very much influenced its conception as an ancient being. We didn't get to mould our bodies, we didn't get to exist outside of a hostile society, we didn't get to just be how we are. We didn't get to be the children or the teenagers our cis peers were, we didn't get to have the silly nights out without fear, and we didn't get to be carefree. 

The Creature absorbs that, tries to shield the other characters from feeling that, and yet it endures. It isn't a fantasy of wish fulfilment - it isn't a gender fairy creature - but it's how I imagine an ancient being would conceive of the business of gender and queerness in a very different way to how our society does. Namely that it doesn't matter at all in the same way we'd think about it, and they're a bit confused as to why our hostile world would care so much, but the fact that people it cares about have experienced it in the way we do matters very much. 

I wanted to have the Creature feel very alien, and then Charlie to come from his extremely bare bones relatable Going Through Some Shit place, and them to find not only love but more importantly purpose together. It often feels like there are so few trans love stories, and when there are they're about Hyper Passing Person No1 finding Cis Person No2, or couples breaking up due to transition, and… fuck that, to put it bluntly. Charlie is a weird person. The Creature isn't a person. If the lads on Grindr don't love you, then that doesn't mean you're unlovable. Weirdos are here, and we have always been here. 

My first concept for CREATURE was Charlie helping the Creature change their jewellery. The OG idea was about body mods and the queer community, but given everything happening in the UK, my writing soon became influenced by other things. It was meant to be a very simple metaphor at the start, but it became more complicated for political and personal reasons. I don't think you can make queer art in this country without it feeling fraught at the moment, as we get battered in the media for no good reason other than our existence, and it would be nice to have something's protective wings spread over us for a while.

It is not easy being in transition, even if you're going where you want to go. That's pretty much the thesis statement of both HOME and CREATURE as a pair, and I really hope you find some enjoyment, meaning, and maybe even comfort in them. 

[trulyhumblenarcissist]

Abourt Rei Himura and BNHA Chapter 301

Now that I've read the official release of chapter 301 I can finally try to gather my thoughts. I think this time the particular rendition of dialogues and inflections provided by Caleb Cook is more crisp and clear than usual, especially in throwing "shade" upon Endeavor as a father figure. But let's do things in order...

Title: THE WRONG WAY TO PUT OUT A FIRE - a simple, but stark message that doesn't leave space for ambiguity. There was a fire, an imminent tragedy that could and should have been avoided, but whoever tried to fix it, did it all wrong and now we have to deal with a huge arson.

CARLESS HANDLING OF FIRE, on the other hand, doesn't quite cut it for me, because it seems like everything was caused by a foolish mistake. "I was carless and now I'm in a pinch"- type of situation, while it's perfectly clear that Endeavor and Rei decided purposefully which "strategy" to use with Touya. A BAD one to say it lightly. Rei's contribution and complicity is debatable, of course, and I'll touch on this later.

Let me get this clear though: I'm not trying in any way to critique the hard work of unofficial translators. I can't say anything relevant because I'm not a translator in the first place (I can barely understand English and my native language on a good day) and also because I am so grateful for everything they do in order to give us really good material FREE OF CHARGE basically a second after the release in Japan. I'm just interested about the different shades of subtext we can catch if we read the story through multiple filters. Every translation is unique because it carries the personal spin of the author even if the bias should be inexistent or ideally undetectable...

However, back to the chapter

REI'S CAGE

The first scene opens on a luxurious classic Japanese villa, with Enji, Rei and her parents discussing the motivation behind Enji's proposal. Or at least we initially think that's what's going on... Because in reality Rei's family couldn't care less about the motivation. Everything these people see is a wealthy, famous guy the next number one hero ready to take their daughter in marriage. I guess the Himuras are pretty broke, thight on cash, their old prestige is definitely gone and all they can do to save themselves from shame and poverty is "to sell" their only remaining asset.

During the whole ordeal, Rei is standing still, silent, cold as ice. She knows she doesn't really have a choice. How mortifying and sad is this? An adult, capable woman has no agency whatsoever, she is used again and again and she stoically accepts this treatment from every single dominant figure in her life until she can't be stoic anymore. I really hope Horikoshi's going to give her a much more proactive role in saving her family and it seems the narrative wants us to expect this type of character development.

I'd like to point out 2 panels in particular:

First one

In this scene the Todorokis are back from their trip to the doc, who clearly said they shouldn't try to conceive a child with a perfect quirk mix because it is dangerous (and morally questionable too). Rei understands this fact and tries to dissuade Enji, but he doesn't listen, because he's projecting all his pent-up resentment and frustration onto Touya. He knows how it feels to crush against an unbreakable wall, since he can't surpass All might and his son can't too. He had to learn this truth the hard way, so Touya needs to do the same. Enji is purposefully throwing upon his son years of failures, self consciousness and despair, just because the boy has to get it into his thick skull that he is a dud, just like his father. This is not a hopeless dad making a mistake bona fide, this is a broken man trying to destroy his self reflection by proxy, annihilating everything Touya is, swiping the kid's identity under the rug. He describes his son's dreams and sadness as something birthed from stubbornness. He is auto-convincing himself however (because Endeavor is not stupid). A little bit later he's basically saying: "Touya let's play make believe! We can go on like everything I had engulfed in your psyche never existed, you're a failed attempt so you don't exist. Your needs and wants are silly and useless, nothing worth dealing with now that I can't make you my prodigy. Why don't you go play with the other failures so that I don't have to look at myself while taking actually care of you. I don't want to see you, because it's too painful, because you're a remainder of my own inadequacy."

Note: If you want to read an incredibly well done analysis about Endeavor's motives and psyche, you can get it on @thyandrawrites , she's dwelt on everything extensively and way better than me.

I really want to talk about Rei though. In the panel I showed above, her expression is a bit tricky to analyse. At first she is very vocal about her position. She doesn't want to put Touya through useless suffering, especially since they have a scientific reason not to. They have no guarantee of success with other children, besides, they could possibly have to deal with other health related issues. However, all it takes to convince her in the end is Enji's half assed attempt at the "It's for Touya's sake" shtick. Is it really? Why doesn't she question her husband anymore?

Well... I think before Natsuo, she was probably hoping Touya would let go "naturally", with time and growth, maybe by taking interest in his other siblings. Rei said she wanted to have more children because in her mind they would have supported and loved each other. Maybe she was naive enough to think that a big family full of kids few years apart from each other was all Touya needed to distract himself from his purposes... BUT and here is the point I want to get across: She was deluding herself too, much like Enji. The ugly truth, in my opinion, is that Rei is a person prone to protect herself by going with everything other people want, especially if said people are capable of hurting her. Yes, she was hurt time and time again, but what would have happened if she really tried to stop Enji?

What I am trying to say is that Rei is the kind of person who endures to survive. She holds a "captive" mentality in which, by indulging her captor's desires, she can continue living with less possibile damage. If I stay still and silent, if I don't make a scene, I can go on, I can hold onto the few things I have that actually make me happy.

Let's think about it... Enji was so obsessed with his psychotic, power-hungry quest that he would have probably disown Rei. She would have been thrown away for a more compliant woman with an ice quirk, or something similar, this resulting in her probably losing everything, the respect and love of her family (the Himuras) and also her own children. Because we know Endeavor can definitely hold a grudge and is vendicative.

So, clarifying, Rei doesn't put up a fight because she is scared for herself in a way... She is scared to be hurt in the worst possible way (by losing her little bit of serenity), so her strategy is to endure and to keep up a facade of control and purpose.

Rei, ironically just like Touya and other characters in mha, doesn't really get what unconditional love is. Her family loves her until she can be useful to the Himura name and status, her husband loves her for her quirk. Her children, however, love her for who she is and she wants to stay with them... Only to be forced to leave them later anyway.

The few times Rei actually smiles are when she is with her babies. She is a deeply loving mother in her core, but her declining mental health makes her a very lacking caregiver.

This panel, in my opinion, shows the point of no return for Rei. She can't keep the glacial facade forever...

After Natsuo's turn to be deemed a failure, Endeavor is crazier than ever, because All Might is as popular and loved as ever and he hasn't make any progress into his eugenetic games. The last two images of Rei are very telling. She is exhausted, but she knows what her husband wants from her this time too. She looks like a lifeless doll and honestly I can easily see Shouto's conception as... Non consensual and I will stop here.

Then Shouto is born, the last, perfect specimen... And Rei isn't doing much for Touya, we can see she's apparently blind towards her eldest son's distress already after Natsuo's birth... But why?

Because she is actively avoiding to face the Touya's problems too.

If Touya is still suffering, is still feeling stressed and worthless, then everything Rei has endured, everything she pretended not to feel for the sake of her family has been completely useless. What Rei cannot look at is her own parental failure, is the concrete proof that while protecting herself and her peace she did not protect her children too, because the two interests were never really aligned, even if she really believed so. She never had a functional family to preserve in the first place and everything she accepted to do was all for the sake of a false sense of belonging.

However is too easy to say she should've rebelled against Enji and dumped his sorry ass. Abuse traps you and your abuser too in a cage tricky to escape.

What I imagine will happen next chapter is one of two things:

Enji stops Touya by using brute force, probably also saying something really scarring to reinforce the notion that Shouto is the only child he cares about.

Rei stops Touya by using her quirk. This act could be considered by Touya another confirmation that even his mother actually does something by her own accord only when Shouto's safety is at risk

Necessary conclusions

I don't blame Rei for her actions too much. She is a victim turned abuser by circumstances, but more importantly she's actually taken mesures to prevent herself from hurting her children again. She's trying to heal for her family's sake, really this time. Ten years spent dealing with guilt and having actual therapy seem a good plan to me. And now she's the one ready to snap Enji back to reality.

Enji, on the other hand, is trying too. It's too little too late, but if he stops avoiding reality and hardly works on understanding his family's point of view I don't think he is completely unredeemable. I don't see him surviving his last confrontation with Touya, thought... But I could be totally wrong.

Obviously everything I've said it's my personal analysis on Rei's character, as I interpret her actions and words, so feel free to contradict me and/or to add anything you might see fit.

[lesbianaglaya]

you're one of the only blogs i follow that has content related to i am in eskew so i Must pick this bone with you: what do you think of the idea of eskew doing what it does because it loves david?

i think that's a really shallow, easy-way-out, needlessly romanticised interpretation of the entire concept, but i genuinely can't think of another explanation for their dynamic.

that is, obviously, apart from the simple fact that eskew is cold and cruel (perhaps with moments of misdirected empathy, although i would perceive them as weakness, pity or sadism rather than genuine compassion). those two seem to be the only interpretations of eskew's motivation? admittedly i haven't listened to it properly in a while so i could be wrong..?

but i'm very tired of people trying to claim romance as an inherent aspect - and sometimes even the cause - of horror. it can definitely be a part of it and add to it, but seeing that as a quality that all forms of horror have is kind of a reach imo. i especially don't understand the need to draw that connection between david and eskew. is there something i'm missing from the actual plot/themes, or is this just a widespread fan theory? am i approaching this with too close-minded a perspective?

i'd love to hear where you stand on all this <3

thank you for this message anon!! im going to do my best to explain my interpretation of david and eskew’s relationship. warning it’s. long.

to start off i do think eskew loves david. i think it loves david terribly, desperately, and selfishly, like a child to a parent. or i suppose, more like a toy to a child, but if that toy had sentience and near omnipotence and also was kind of a god. i sort of conceive of eskew as the horror version of the velveteen rabbit — eskew loves david, because in seeing eskew, in recording it and experiencing it and living in it, david makes eskew A Real City. 

One of the dialogue exchanges in the velveteen rabbit goes like this: 

"Real isn't how you are made," said the Skin Horse. "It's a thing that happens to you. When a child loves you for a long, long time, not just to play with, but REALLY loves you, then you become Real." "Does it hurt?" asked the Rabbit. "Sometimes," said the Skin Horse

so many episodes of eskew are about david experiencing horrific versions of mundane, everyday things. things that you experience in normal cities but twisted beyond recognition or comprehension. ej did a great job outlining it in this post but eskew fundamentally wants to be a city, yet it was created to be manipulative and cruel. what do you do when hostility is ingrained in you so deeply that you cant recognize its existence? and so every attempt to be kind to david, the person who makes it real by living there, is touched with cruelty and perversity that i dont think eskew can even perceive.

giving david jobs that it thinks he will like, and things to do in his spare time, and even lucia, i think eskew does these things out of its understanding of love, which can never be good or kind or equal. this is all compounded upon as well, of course, by david’s own negative self image, and the comfort i would argue he takes in the predictability of his own suffering. i made this post a while ago about david as eskew’s eternal sacrificial victim and i stand by it, and i think that’s part of why david has such a hard time conceptualizing himself out of eskew. he enters the city when he is basically still a child — just 17 — and his conception of his adult life is that when things hurt, they are real. and for a boy who was so obviously disconnected and isolated, feeling real is just as important as it is to a city that is not a city.

so tl;dr i dont really conceive of it as a romance, but i do think there is love. like, the jeanette winterson quote “This is not a love story, but love is in it. That is, love is just outside it, looking for a way to break in”. i think that’s eskew. love trying to break in but never, ever, according to the very rules of its existence, being able to.