i'm realizing how much tapping into the void is just... not difficult. and ig i knew this conceptually, and anytime i've gotten close to or briefly tapped into the void state, it's always "just happened." but this understanding is sinking in on a new level.
the degree to which i've released judgments during my meditations has allowed me to "go deeper" so much faster because i'm not trying to accomplish anything through force, will, or intellect. instead of trying to master my awareness, i'm just being mindful of my awareness and where it's placed, therefore putting the concept of mastery in action.
we think we need a crowbar to pry the doors of consciousness open when we are actually the door itself. it's about a feather light touch, gently tapping your awareness back to where you desire it to be. because the moment you start trying, you're intellectualizing, and as the ancient one said in doctor strange, "your intellect has taken you far in life, but it can take you no further."
consciousness defies all reason because it's beyond all reason. the mind will never be satisfied, so stop trying to satisfy it. as jesus said in the chosen when healing the paralytic at the pool of bethesda, "you only need me." you only need your awareness to continue staying on your desired end. instead of trying harder or looking for another new method or technique, soften your touch and see what happens. be a shepherd to your awareness and gently herd it home.
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i'm just curious. i see it primarily used in ace+aro spaces bc i feel like that's an environment where a lot of people experience romantic and sexual attraction differently and have a strong sense that they feel one and not the other, or that they feel them towards different people. however i know a lot of people who don't experience meaningful differences between these and it feels like outside of ace- and aro-spec communities it likely gets used a lot less (while in ace- and aro-spec communities it's essentially compulsory)
but i feel there are probably people between those e.g. who do experience or understand them as meaningfully different aspects of their orientation, while also feeling both and having them be "aligned" (e.g. feeling that you're both homosexual and homoromantic and that they're distinct in some way while still pointing in the same direction) so i'm curious about that
even the wording of this poll feels biased bc it relies on the split attraction model in the framing but i couldn't figure out a better way of putting it. if these are completely overlapping concepts for you and the whole framing of them as separate doesn't match your experiences, that would be option 3
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fundamentally disinterested in the recurring discourse about kevin's drinking that aims to a) make it his Specific Problem To Focus On And Overcome when it is a crutch and coping mechanism to get him through a Much Bigger Problem (emotional fallout he can't square with by himself, culture shock, trauma, loss of his extremely wildly co-dependent relationship w riko, losing the structure of the nest, mourning a future he was meant to have, processing a grave injustice, anger and fear and desperate grief, all of which is his Actual Specific Fox Problem) while he builds himself back up, and b) thinks that even if it is a problem (more on that later), it's the foxes' problem to deal with.
like. it's just not.
yeah, he doesn't drink until he meets them. they gave him that habit, and in traditional terms, they're (the monsters specifically) a 'bad influence'. but these are the foxes. this is kevin day, son of exy, whose meteor is crashing spectacularly through no fault of his own. there are no traditional terms to be found here. the framework for it literally doesn't exist. neil comes into the foxes with more conventional expectations—appalled at the athletes' substance use, his horror at matt's trip to columbia, his steadfast and early repeated stance that none of the foxes should let andrew treat them the way he does, and certainly not nicky—and tends to engage with them less as the series goes on and he folds himself into the foxes. the thing about the foxes is that they've all been in pits deeper than they are tall. and some of them got a helping hand on the way—erik, andrew's extreme intervention methods, stephanie walker—and wymack was always waiting for them on the other side, ready to throw down a rope, but all the foxes dragged themselves out of their own holes. often not alone, often not without assistance, but at the end of the day, they have to do it.
there's that line neil has about aaron in that scene that got deleted when the timeline shifted around, when he thinks about how aaron got this far in life on his own, surviving on willpower and sheer desperation. that applies to aaron in a way that's a little more acute than some of the rest of them—boy who doesn't let the foxes in bc of andrew, boy who doesn't let nicky in bc he doesn't know how, boy made of flinching and seeking an escape and grieving the one who hurt him—but is broadly true for the foxes en masse.
this isn't to say the foxes can't help each other, but it's not their job. it just isn't. they'll keep kevin alive, keep him safe, keep him flanked and contained within their ranks. they'll fight tooth and nail in this battle with him, fight to get him to that championship game, fight to get that trophy in his hands. but that's all they've agreed to. that's all they're responsible for, in this covenant they've made with him. he says they can make this happen, and they're going to get him to that final game, but it's up to him what state he's in when he gets there.
like. they're foxes. they've been triaging their whole lives. they hate each other and they hate everyone else more. they're the kids with their backs up against the wall. half of them are addicts. i don't think kevin is comparable, personally; he's getting through a horrific situation with a coping mechanism. that's not the same thing as battling yourself to stop using. but that's not really the point of this. what i'm getting at here is that to the foxes, it's easy math: kevin who can lean on vodka and andrew and wymack and the foxes to stay upright when he's not ready to stand on his own two feet is still a kevin who is standing. a kevin with one less piece of scaffolding to lean on is a kevin who falls over, a kevin at risk of complete collapse, a kevin one phone call away from running back to the master, a kevin one crucial loss away from not ever making it back to himself at all. they're triaging. this is low on the totem pole of things they have the room to care about. they very much have bigger problems, both individually and even just kevin-related. if alcohol makes seeing the boy he knew best in the world and moved in tandem with his whole life and who destroyed their entire legacy and his entire life in one move — if alcohol makes facing that boy easier to stomach, then, fuck, why would they take that away? they're foxes. they've all got their demons. this is what kevin needs this year and a half to let him face his, that's all. they can understand that. it doesn't have to be pretty, as long as it keeps him in the fight. that's the priority.
i think there's absolutely space to explore this in fic and art and fandom in a way that maybe does explore it as a Problem, both that it's an active problem for kevin & that it's something to explore other foxes helping him with (there's a t&n fic that i've been gnawing at the bit to read for months that seems poised to explore this premise, and that's super up my alley)! i just think we're in different territory when we're talking about the series—and its characters and dynamics—in a conversational rather than transformational way, and end up talking about this like the foxes are responsible for kevin's choices. i love kevin day. i read these back at the start of 2015 & he's so dear to me that loving him was the blueprint for how i feel abt kageyama. but it's been pretty weird to see how the conversation has been translating Loving Kevin Day into... thinking the foxes are doing wrong by him with respect to this in actual canon. like that's just not how it operates there
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On the MegOP fandom trend of saying "Optimus should apologize to Megatron"
(Speaking specifically for IDW1, though it applies to a lot of MegOP especially ones that do continuity soup with heavy reference to IDW1)
I was talking to a friend in DMs and they mentioned a common headcanon/fanfic trope that I also concurred with, and both of us said it's something that bothers us: a common take in the MegOP fandom goes basically along the lines of "If Optimus had just apologized to Megatron, the war would've ended" (or other variants including "if he'd tried harder to understand Megatron/work in collaboration with him").
And firstly, this is incorrect for a number of reasons:
There were attempts at peace negotiations during the war, but they fell through. So Optimus WAS trying to work with Megatron to the point of participating in formal diplomatic meetings.
Optimus tried multiple times on page to convince Megatron to just stop fighting and work with him for peace (Autocracy, Chaos Theory) that Megatron rejected. Given that these on-page examples take place at the start of the war and at the end of the war respectively, it makes sense that Optimus asking Megatron for collaboration is something he was trying/willing to do the entire time. So again, Optimus was always willing AND ATTEMPTING to work with Megatron and find a joint solution
Even before the war when Optimus was still Orion, he was very explicitly inspired by Megatron's writing and names Megatron as one of the people who "opened his eyes" to the wrongs of Cybertronian society. So how is it that people claim "the war went on for too long because Optimus never tried to understand Megatron" when OP literally named Megatron as one of his biggest idols, thus implying that OP does understand Megatron's ideals
But the primary purpose of this post wasn't to defend Optimus, actually. Even though I personally think Optimus did plenty (dare I say, everything) to try to end the war, there are some who may still think otherwise, so instead of arguing about whether Optimus did "enough", or who should apologize to whom, or who "deserves the blame" for starting/continuing the war, I'd actually rather talk about this:
No matter who is most "to blame" for the war, it's my firm belief that neither Megatron nor Optimus would even expect/demand the other to apologize to them at all.
On Megatron's side, he would never seek to judge Optimus negatively for the decisions to the point of saying "you wronged me, apologize." Whether it's evil Megatron who doesn't care about atrocities and revels in an opportunity to expose Optimus as a hypocrite, or post-war/Autobot Megatron who knows that his own evil actions are irredeemable, the idea of Megatron judging Optimus and demanding an apology for the war specifically strikes me as out-of-character. Why would Megatron demand or even want an apology from Optimus when Megatron knows fully well that he has his own sins to bear, he prolonged the war for his own selfish/material gain, and that he is responsible for an untold amount of suffering? Demanding an apology would imply that Megatron sees himself as the wronged party and Optimus as the wrongdoer, but by the end of the war, Megatron is too aware of his own part in the war to ever demand such a thing of Optimus. Even if he DID think that Optimus was "equally to blame" for the war (which he doesn't/wouldn't, btw), Megatron's own feelings of guilt would prevent him from trying to seek the petty satisfaction of the moral high ground or making Optimus beg for his forgiveness.
Additionally, Megatron knows Optimus very well as a person: he knows that the position of leadership is full of "loneliness [and] agonizing self-doubt" for Optimus (Chaos Theory) and that "when Optimus hurts others, he hurts himself" (MTMTE). Another reason that Megatron wouldn't demand nor want an apology from Optimus is because Megatron knows Optimus so well that he already knows that being a war leader fills Optimus with immense guilt and suffering. Given that Megatron knows about Optimus' self-doubt and guilt, why would he even need an apology when he already knows how much Optimus regrets the war and desperately wishes/wished for it to end?
Then, as established in the previous paragraphs, Optimus is too full of guilt for his part in the war (both before it started and in being unable to stop it sooner) to demand an apology from Megatron. Again, demanding an apology would put Optimus in an implied position of moral superiority and/or victimhood, but Optimus doesn't see himself as morally superior or as a victim (or rather, he sees himself as being responsible for these bad things happening and internalizes this as a duty to do better/fix wrongdoings). In other words, Megatron and Optimus both share this view of themselves and each other: Their hands are so dirty, and they both feel such guilt over this, and they know each other well enough to know that the other feels this way as well. Because both of them feel blame for the war and are acutely aware of their own flaws/part in suffering, both of them feel far too responsible for the war happening for them to ever blame their archnemesis for "not trying harder" or "being responsible for the war."
Hell, if you even look at the socio-political climate of Cybertron before the war started, neither Megatron nor Optimus were the ones who put this conflict into motion. The corrupt legacy of the Primes, Functionism, class issues-- all of these things existed before Megatron and Optimus did. Even once they started doing things like writing about social issues (M) or fighting against the Senate (OP), both of them were "underlings" in sense that they weren't leaders:
Megatron's writings may have inspired the Decepticon movement, but that movement existed as an independent entity with its own leaders and speakers long before Megatron became the "official" ruler of the Decepticons. He wasn't even the leader of the 'Cons until he took control of the gladiator arena and the nonviolent sections of the Decepticons were (presumably) subsumed into the underground, exploitative battle culture that Megatron created.
Optimus-as-Orion was a police officer to start, but even once he started going against the Senate, he mainly worked in collaboration with others like Senator Shockwave and Zeta (later Zeta Prime), who he either saw as his idols or who were literally superior to him in rank due to government/military structures.
So with this in mind, even from a social level, while Megatron and Optimus may have been "catalysts" of a sort that caused the war to escalate to an outright planetary/galactic level, the scenario is too complex to solely lay the blame for the war at either of their feet. I'm not confident in saying that Megatron/Optimus would explicitly think of this when talking to each other, but what I'm trying to say is that M/OP were just catalysts in a long chain of brewing tension that exploded into a war. Even if one could claim that one of them "started" or "escalated" the war, the social issues that caused the war and the positions of power that allowed them to become leaders in the first place were falling into place before either of them actually BECAME leaders.
In other words, this shared fate of being the final reaction that exploded a societal conflict into outright war... Megatron and Optimus both have that in common. And because of this, I really don't think either of them would even think to ask the other to apologize because they're both in such similar positions, with such similar feelings of guilt and responsibility, that they understand each other's feelings without words. To demand an apology would be akin to taking that shared vulnerability/guilt and stepping on it, attempting to claim that one is right/superior and the other is wrong/inferior, and that the inferior one needs to grovel and take responsibility for the bad things that happened.
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Maybe love triangles work better in classic books because, well first off, because sex isn't really mentioned. Most people's complaint about YA love triangles is that it devolves into "I can't decide which one is hotter." Physical attraction is an element of romance in classic literature, but it's rarely the only one, and you're not going to have the same kind of in-depth descriptions of how standing near a guy causes heat or tingling sensations or whatever. Physical attraction in classic literature is more about what draws someone to another person, while the YA approach is more often about the feelings the other person causes within you, which makes the YA approach feel much more self-centered.
But I also think the different approaches to courtship may be a factor. The other big reason people hate YA love triangles is because the girl is "stringing along" two guys and "not making up her mind." This seems to be tied to assumptions of dating culture--even in the exploration stage when a girl isn't thinking about lifelong commitments, she needs to be in an exclusive relationship, otherwise she's being emotionally unfaithful. (And if she's kissing two separate boys, she's straight-up cheating).
In a lot of classic literature, the relationship only becomes exclusive during the engagement. Before that, the woman is just living her life, meeting men who could be romantic options, but not necessarily pursuing any individual one. She does have to be careful so guys don't interpret her behaviors as romantic interest, because it doesn't take much to be seen as flirtatious and "drawing men in". But she can still be around multiple men and getting to know them without it necessarily feeling like she's "stringing them along". (And she's not likely to be kissing these guys the way a modern YA heroine would). This gives her more opportunity to slowly get to know these guys without being pressured to choose just one at this early stage.
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