#it is essential to understand every aspect of this course. However

[glazedcroissant]

Been thinking about Galacta knight and his use of fire. I've actually got a few headcannons about it if you want to have a read!:

So! I've actually got a whole system worked out for how I think magic in the Kirby universe might work, but let's just look at this goof first. *puts him under a magnifying glass*

To start, every mage has their own unique form of Energy magic. It's essentially their "default" manifestation of mana; the caster's most natural state of magic. It is generally seen as the safest type of magic to use, easily channeled through the body and moldable enough to use in a wide range of spells. As a bonus, its drawbacks are small, requiring a mage to burn through nearly all their mana reserves before they'd have to deal with any advirse effects. Galacta knight uses this type of magic for things like his energy swords and abusing the laws of nature by using his own mana as an ill advised substitute for sleep.

Some find their Energy magic limiting on its own, prompting research into other forms of magic to tie into their spells, such as elemental magic.

Fire magic, like all elemental magic, can be quite costly against its user if not used with caution. Every use raises the caster's body temperature, leading to sweating and eventual coughing. Abuse of the element will envitably cause minor to severe burns at channeling sights, depending on one's tolerance and overuse. It is important to time attacks and casts far enough apart from each other to allow the body time to cool down again. Some learn counter elemental spells to cut down on this recovery time—such as water or ice magic to counter fire—but such rapid heating and cooling is dangerous and harmful to the body.

Galacta knight is an incredible fire mage, having a natural aptitude for it, given his affinity. The vast majority of magic users are born, or soon develop, an affinity to a specific kind of magic. They're brought into the world with an innate understanding of that type, though it may take some time before they realize what it is. Galacta knight's being fire gives him a better tolerance to its effects than most. Even so, he is not immune, and manifesting blisteringly hot flames within one's core is, generally, unrecommended (nevermind setting your whole body alight in a blaze of glory). It's typical to see mage's using weapons or heatproof gloves as their channeling sights to help prevent self-inflicted burns, and Galacta will typically use his lance or shield for this. However, spells can often be charged and fired off faster and more powerfully when expelled through the body alone. That, and breathing fire looks cool as hell. Galacta figures a parched throat and dry eyes for a couple hours is worth the payoff. He's tried the whole counter element deal to cool off faster, but Water magic doesn't mesh well with him. He lacks the the serenity and steady flow at his core to understand it.

Also! As a fun little addition. If you're wondering why I ting his fire pink, it's because that's the color of his natural Energy magic. Elemental magic is still dependent on the user's own mana pool, with it's appearance changing from mage to mage depending on the individual's natural magic properties.

This is just my own thoughts I've scraped together into the doughy mixing bowl of my brain, of course. And, like dough, these thoughts are subject to change and grow later on. I've got some thoughts on the ins and out of How elemental magic, and the other types, are cast in terms of the technical (l say loosely cause it's literally magic) aspects of them, but I don't have all those details ironed out yet. My mind is a fickle thing, never wanting to settle on one headcannon or another. It's part of the reason I hesitate to write and draw longer character scenes and interactions, my opinions of them constantly shifting. But! I do think I'm getting to the point where I can keep them somewhat consistent in my head. Thus, my little fire magic spiel.

[aizenify]

[💌] AIZEN SŌSUKE RELATIONSHIP HEADCANNONS

[NOTE]: Aizen has a variety of character arcs, so this won't be limited to any specific one. I do plan to create a more detailed version covering the different Aizen arcs in the future, but you're welcome to request any specific one in the meantime.

[ ☕️ ] My ask box is open! If you have a specific prompt you'd like me to write about—whether it's relationships, everyday activities, or anything else—don't hesitate to ask! I encourage you to suggest whatever your heart desires.

TW: none!

This will be split into 2 sections

What does Aizen look for?

— If you were Aizen’s partner, you’d definitely be someone very special to him. Looks wouldn’t be as important; rather, it would be your personality and ideologies that matter most.

— For instance, Aizen values someone who enjoys challenges and is willing to take risks. He’s all for that, but, of course, you’d also need to be cautious at times.

— Aizen greatly appreciates a deep understanding of the world. I like to think that he and his partner would engage in philosophical conversations daily. He’d want someone to explore the world with, to venture into new places, and try new experiences. Aizen definitely strikes me as the type to enjoy travel.

— He would want someone who challenges him. Given who Aizen is, he wouldn’t be interested in a partner who is passive or follows the crowd. He wants someone who will challenge his ideas, his ethics, and his worldview. He seeks someone who is on the same intellectual level, someone equal to him, or perhaps even better. This is something he has always longed for.

— I believe Aizen is sapiosexual, meaning he is attracted to people with high intelligence, and also likely demisexual or somewhere on the aromantic/asexual spectrum. He deeply values intelligence and personal space. For him, the sexual aspects of a relationship would not be his focus; instead, he values the fundamentals. His understanding of "love" is more complex than that of most people.

— Building on what I mentioned about his view on love, you would also need to respect his needs and be patient. Trust is essential here. Aizen doesn’t easily trust anyone, so the idea of him loving someone would make him feel extremely vulnerable. While he views trust as a form of reliance, his approach to trust in relationships is different. His way of showing trust and love will likely be expressed through his actions. Perhaps after Muken, Aizen would become more open and free. Muken Aizen, after all, is much more carefree and relaxed.

I’ll keep this section as is since it’s getting long. I’ll leave the rest for another day!

What will Aizen be like with his S/O?

— Aizen would likely ask for your thoughts on his plans or if you have any alternative suggestions for execution. He enjoys the sound of his own voice, so don’t be surprised if he rambles on about his strategies or just shares his thoughts from time to time.

— He will shower his partner with gifts and words of affirmation. Aizen is incredibly attentive and will take note of even the smallest details about what you like, even if you haven’t explicitly told him.

— Quality time will be very important to him as well. Despite his preference for solitude, having someone by his side will be a refreshing change. After being alone for so long, it’s natural to crave companionship. Aizen will likely plan a variety of activities for you both to enjoy together, whether it’s shopping, cooking, or simply taking a walk. Every moment with you will be meaningful.

— Physical touch is something Aizen might find unfamiliar at first. He’s used to being cautious with those around him, especially with anyone who gets too close. However, I think he would offer hugs from time to time as a way to show that he’s there for you and cares for you. If he knows you enjoy physical affection, he’ll make an effort to meet that need, even if it takes him a while to become fully comfortable with it!

— Expect a lot of playful bantering. Aizen seems like He enjoys a bit of lighthearted back-and-forth.

— Aizen will take you out on extravagant dates or to fancy venues. He is undoubtedly classy and chivalrous, he will treat you with the utmost respect and make sure you always get the best of everything!

That’s all for now! Thank you for reading!!! This is my first published hc 🧡🤎☕️

[laypis]

Lapis and the Narrative

I guess I'll elaborate on the theorizing I was doing wrt to Lapis, I need to start writing this shit down lmao

basically my idea is that, Lapis being aware of her place in the greater story is what drives a lot of her actions, and especially explains her martyrdom and savior tendencies towards Steven in specific. it also ties in very well with other themes about her character.

Lapis is aware of her place in the narrative. a lil meta, if you will, in a loose sort of way.

she understands that, on the whole, there is something larger always unfolding, and she is as much a part of it as anything else.

now, this is something I genuinely believe she became aware of in her time flying back to and on Homeworld once she gets there. she experiences culture shock on a mass scale and a collapse of faith of the only society she knows and so badly wanted to return to, despite their previous treatment of her (aka, trapping her in the mirror, interrogating her, and essentially leaving her to rot on a doomed planet. something she squarely places the blame for on the crystal gems at the start mind you).

this culminates into new trauma, and the horrible, dawning realization that she has basically reignited an intergalactic war and placed the burden of it firmly on the shoulders of her newest best friend and savior, Steven Universe. no, she doesn't know about the pink diamond stuff at this point, but she fears for his safety all the same in the beginning before she really realizes the gravity of what she's done. he's a human(?) that she's now put in grave danger. great! she tries desperately to warn him of homeworld's impending approach. tells him flat out not to fight it and maybe they won't hurt him if he cooperates. then, she denies his help entirely as she feels guilty for putting him in this mess. and what a mess it is, because it doesn't end at Jailbreak.

And her singular selfish wish to go home caused this spiral, that Steven has to deal with the bulk of.

because you see, once Lapis is introduced, her arc kicks off the rest of the series and the larger story at play. Lapis' journey as a character is, in part, realizing her place as the catalyst to what is to follow her actions and accepting her responsibility in the matter, and thus, her place narratively, figuratively, and literally.

so of course she feels guilty. of course she'd want to try and change the narrative, to insert herself to save Steven. she starts to understand her weight in the narrative, and it leads her to fighting to change it. everything from trapping Jasper, to denying Steven's aid at every turn and pushing him away. She tries in vain, at first, to fight it. and then, she stops.

she stops entirely, for a while. too afraid to reassert control of her own story, of herself, because look what happened last time! it's exacerbated by her seeming lack of control over the story happening to her. control and the lack of is, according to Sugar, an important aspect of her character. and maybe, just maybe, if she just displaces herself, that will fix it. maybe, if she stops participating in the narrative, it will be okay. however, that isn't what happened.

and when it all comes to a head as the Diamonds approach Earth, no wonder she freaks the hell out and flies to the moon. the weight of the fact she couldn't do anything to prevent this from happening to Steven is too much in the end.

so, she fully disconnected herself from the story.

well, she tried to, at least.

The Moon is her harsh lesson in acceptance. The final stage in the grieving process. Her last act, if you will. All in all, her journey almost seems to mimic the process of grief—Denial, Bargaining, Anger, Depression, and Acceptance. The time leading up to her leaving to the Moon is marked by Depression. Anger being the time she spent trapped with Jasper and the immediate span after. Bargaining during her time on the hand ship. Denial, at first, of Homeworld's dystopian ways and their changes. She's completing the process of grieving what she had, what she was, and what she valued. Of the world she now no longer recognizes as her home. Of her former place in the narrative. She can't stand idly by and be a side character in her own life anymore, and let down the people she loves.

This acceptance, at last, is what allows her to drop the Barn. So by the time she comes to do so on Blue Diamond's head, she is ready to accept her place in all aspects. And she does. It's why she says, more or less, if you can't beat 'em, join 'em ("If they're gonna punish me like a Crystal Gem, I might as well be one, right?") Not only that, but it could symbolize her taking up Steven's offer from the episode involving lapis before this, Can't Go Back, where he invites her to drop the Barn on the beach so they can be neighbors, and thus, more involved in each other's lives. this shows that lapis basically exiled herself because she wanted to keep the crystal gems at arm's length until she was capable of accepting her place among them.

she can't fight her place in the narrative any longer, and she's come to accept Homeworld is not, and maybe even never was her home. She is taking control of her own story, and her life back. Watching her slam her former dictator on the head was satisfying, knowing that.

on that note, her destroying the Barn via the drop is remarkable symbolism for her acceptance and thus final rejection of Homeworld. The Barn marks some of her darkest eras of grieving. It's where she banished herself to (or was banished to by the author, if anyone remembers the "put in the Barn" discourse around the show wrt characters not getting on screen development). Destroying it is her shedding that, more acceptance in the form of letting go of the thing that acted as safety for her until it didn't. until it no longer served her to do so, and was actively holding her back in some regard (maladaptive coping/survival mechanism, anyone?). and, to quote my friend @sevenines—"For the audience there’s a wish to keep places precious, keep a status quo (which is why i see a lot of ppl hc lapis and peridot rebuild the barn). but lapis breaking the barn is like a shock that breaks audience expectations. the crew explained they used the breaking of rose’s sword in this way, so i wouldn’t be surprised if the barn symbolized this too."

by the end, Lapis is ready to accept her fate in its totality. is she perfect in doing so? of course not, she still has mountains of trauma to fully unpack, and maybe she never will. that pain will always exist, that guilt will always be there.

however, she knows now that her way forward is, ultimately, her choice. and probably always has been. that her actions, though they will have consequences, aren't fully out of her hands.

it's the true freedom she longed for. the true "home" she wanted, but could never quite name in its entirety.

Lapis always struck me as a character that, for being so lost in a worldly sense, is very aware of her role in the narrative and plays to that.

other little notes of what else this can tie to and explain:

- the fact that sometimes it feels like she has a bit of a Cassandra complex going on

- Her relative deadpan nature during her beginnings in the Barn

- makes the line I've felt worse hit harder. lapis has probably experienced a form of Ego Death, which Blue never had. she's gained the ability to truly see above and beyond herself, unlike Blue at this point in the story. it's not who was more depressed, or who has more trauma, it's a signal of Blue's old ways not phasing Lapis. it's a sign that she's more free than Blue could ever be. She isn't shackled by the injustices and prejudice of gem society any longer. She's stronger because she realized she had to change. Not because she's gone through worse. change is a core theme of SU, after all.

- the fact that Blue Diamond was intended to have a much more personal relationship with Lapis, as a member of her court (confirmed in the Answer when we see what I believe is her form before Regen from the mirror) makes this more interesting. The Barn drop was meant to be a cathartic moment for Lapis because it's implied she believes Blue more or less abandoned her. She's destroying the two biggest hindrances to her ultimate goal (freedom) with one Barn.

- Lapis' own design even reflects her lack of control. Rebecca has stated that her gem is on her back for that reason. everyone can see and know her, except herself. in that way, she is vulnerable, and lacks control over who or what might "see" her.

- elaborating more on Lapis' struggle, @sevenines says the following: "It’s interesting that her actions are like a chain of trying to go against what has happened to her and what she’s done. she holds jasper down to make up for endangering steven only to spend the rest of her time forcing herself to do nothing in a pseudo retirement out of guilt for what she’s done. endless attempts to fix her mistakes only to fear what she’s become to do it."

- With Jasper, she intends to erase them both from the narrative—Lapis dragging both herself and jasper down under the ocean is another way she tries to escape the narrative. her original goal was to keep them there forever. her one moment before she disappears entirely. Also, funnily enough, Steven himself acts a bit like a diegetic manifestation of the story. something that makes sense, because it IS his show, and story, it's from his POV and it's in the name.

anyway thanks for coming to my lapis ted talk have a nice day 🥰

[vivika-ka]

I hate to be the person complaining about fanfics, but reading Leopika fics can be a bit difficult when you kin Kurapika more so than the other characters lol.

I feel like there’s barely any emphasis on the fact that he’s grappling with the literal genocide of his people. It’s not one person or some members of his family, it’s literally everyone. Everyone and everything he’s ever known, completely gone yet simultaneously haunting him as parts of them can’t be laid to rest properly (the eyes) and sold as some exotic commodity, completely dehumanizing their bodies even in death--I also wager it is part of their culture to be buried "whole."

He’s carrying that guilt and the fear it’ll happen again to the people he loves and who love him. He’s carrying the legacy of every Kurta clan member on his shoulders. He’s grappling with the disappearance of their culture, sans himself attempting to keep it alive amidst revenge and a quest that may very well kill him. He doesn't want to do the things he's done, but rather views it as a necessity to achieve his goal (to catch a monster, you become one, essentially).*

If this was One Piece, I’d somewhat understand the vitriol in majority of the fics—how frustrating it is that Kura doesn’t open up to his friends, since One Piece begs the characters to trust their friends wholeheartedly (thinking about Nico Robin and Trafalgar Law in relation to Kurapika). But Hunter x Hunter is entirely different in its approach to trauma and interpersonal relationships in general.

I know it doesn’t excuse how Kurapika’s coping mechanisms affect the people who love him; if anything I appreciate how fic writers explore the pain of watching someone you love trying to fight alone and fighting in self-destructive ways. This aforementioned aspect in fics is not what I'm usually picky of, but more so how his trauma is constantly overlooked or underplayed.

The comparison to Gon is something I also don't mind in terms of how hard-headed and self-centered they can be when it comes to their goals (tunnel vision). However, it is not a 1-1 comparison. It always goes back to the fact Kurapika is carrying a genocide on his back vs. Gon carrying the loss of one person. Above everything else, grief is absolutely valid. But I do think there's such a thing as someone grappling with a person's death vs. an entire society and subsequently their culture.

(Much is similar when it comes to aforementioned OP characters, especially Trafalgar Law, when their loss is often compared to other characters but it doesn't quite amount to the same level psychologically and physically. For example, his loss to Blackbeard is often compared to the Strawhats losing to Kuma, when it is entirely different given the context of both characters and crews' backstories and world connections).

Killing the Phantom Troupe is one thing I don't necessarily mind when other characters urge him to let go, since killing them won't bring his clan back. What vexes me boils down to the mission of laying his clan to rest being treated as something easy to give up, I feel like it loses sentimentality. Especially when the fics, and occasionally metas, usually entail every single character shitting on Kurapika for essentially not giving that up.

If there’s any character who hates Kurapika with a passion, is Kurapika. No other character needs to do that for him because he does it plenty for himself, given both his survivor’s guilt and the guilt of hurting the people he cares for.

Anyway, I rarely complain publicly like this, nor do I like to. Following etiquette, I don’t keep reading the stories that aren't for me, and choose to work on my personal WIPs, of course. This is a vent, if anything. It’s just hard when the fandom at large seem to mischaracterize the your favorite blorbo 😅

*Disclaimer. I wouldn't even bother putting this here if I didn't see people arguing Kurapika is willfully enabling the upper class' oppression just because he works for rich folk, plus claiming he himself subscribes to capitalist and oligarchical ideologies compared to Leorio, when that's not true at all lmaooo. Kurapika came from a clan that has deep connection to nature, they were far removed from society at large and lived through deep communal relationships and "trade," they used what was available to them; I wouldn't be surprised if there was little to no monetary system in place. His notion of what is honorable and what isn't has nothing to do with capitalism, it boiled down to doing what is right at the cost of yourself, that's why he is literally sacrificing himself to avenge his clan. Him disagreeing with Leorio on reasons why to become a hunter and having to work for the Nostrade are not AT ALL congruent with agreeing to a capitalist and oligarchical view, what are you people on?

[whencyclopedia]

Halloween is among the oldest traditions in the world as it touches on an essential element of the human condition: the relationship between the living and the dead. The observance evolved from ancient rituals marking the transition from summer to winter, thereby associating it with transformation, which is still a central theme of the holiday. Every recorded civilization has created some form of ritual observance focused on what happens to people when they die, where they go, and how the living should best honor those who have passed or respond to the dead who seem unwilling or unable to move on. Countries around the world today celebrate Halloween in one form or another, from Mexico's Day of the Dead to China's Tomb Sweeping Day. The modern-day observance of Halloween in countries such as the United States and Canada – where this tradition is most popular – share in this ancient tradition, even though some aspects of the holiday are relatively recent developments and can be traced back to the Celtic festival of Samhain. Christian groups through the years have routinely attempted to demonize and denigrate the observance, in part by repeating the erroneous claim that Sam Hain was the Celtic god of the dead and Halloween his feast. This error comes from the 18th-century British engineer Charles Vallancey, who wrote on the Samhain festival with a poor understanding of the culture and language, and has been repeated uncritically since. It was actually the Church itself, however, which preserved the Samhain tradition in the West by Christianizing it in the 9th century, setting the course for a pagan Northern European religious tradition's transformation into a worldwide secular holiday which has become the most popular – and commercially lucrative – of the year, second only to Christmas.

[laughhardrunfastbekindsblog]

Fate of the Jedi was admittedly an uneven series, but one of the aspects I liked the most about it was that it showed the Jedi Order cannot avoid political influences.

Now, I strongly dislike Natasi Daala, but I can understand the perspective from politicians that a group of essentially superpowered individuals must be kept under close watch - controlled, even.

I, of course, side more with Luke's idea that the Jedi Order should be free to act as they see fit for the best interests of anyone and everyone in the galaxy. But that doesn't change the fact that there will be many - politicians and common civilians alike - who consider the Jedi to be dangerous.

I bring this up because I think a lot of people approach the Jedi Order as portrayed in the prequels like - well, they shouldn't have been so closely tied to the government. They shouldn't have gotten involved in politics. They shouldn't have gotten involved in the war. They were too easily manipulated and played right into Palpatine's hands. They shouldn't have let themselves get into a position where they COULD be influenced so much by the Republic's major players. The Jedi Order was too close to the corrupt Republic so naturally they also became corrupt.

Now, all of these points have some merit. However, they're also an oversimplification. For one thing, hindsight is always 20/20; but the Jedi, despite occasionally having Force visions, can't operate purely from hindsight based on future knowledge. For another - and this is my main point - I can very easily see any galactic government (and the individuals they represent, for that matter) becoming uneasy about giving an Order of strange space wizards free rein/full autonomy, and therefore insisting on some kind of outside oversight for the Order, which would thereby lead to the Jedi answering in some capacity to the bureaucracy as we see in the prequels. (Disclaimer: I haven't gotten into the High Republic materials quite yet so I can't speak to what they reveal about the Jedi Order/government prior to the prequels.)

Besides this, I think we often overlook the fact that, in the Clone War, the opposing side was being led by Count Dooku, a former Jedi who apparently was now a Sith. Even if the Jedi Order didn't feel any level of responsibility for him having been a former Jedi (which I'm sure they did), it's almost certain they would have been drawn into the conflict simply by virtue of the fact that Dooku was a Sith, whether they were directly answerable to the Galactic Republic government or not. And come on, how well do you think it would have gone over if the Jedi Order had broken away from the Republic and basically acted as independent vigilantes trying to apprehend Dooku during a galactic war?

(Palpatine seriously covered every single angle in his plot. Master manipulator here.)

All of this to say: it can be so easy to say the Jedi were wrong and they had become too complacent and they shouldn't have ever been tied to the Galactic Republic and they stopped acting like Jedi so they got what they deserved... But it is SO. MUCH. MORE. COMPLICATED than that, and taking everything into account it is clear to me that the Jedi, while still fallible (they aren't perfect beings, after all), really were doing the best they could and overall were trying to adhere to their core beliefs even in an impossible situation, a situation where they literally could not win.

[dead-dolphins]

We need to talk about the changes on Mr. Senator.

Friends, you know how much I cherish this AU to the point of being meticulous with the plot (as I am with any fic, really). However, I need to discuss the changes I intend to make to Mr. Senator from the “Things You Need to Know About Mr. Senator AU” that I wrote previously.

But before I begin, let me share what I aim to capture with this fic. Ideally, I should demonstrate things by actually writing rather than explain my reasons, but I feel it’s necessary to clarify so you can grasp the essence of what this fic is about.

Mr. Senator is a fic where I want to portray a Mikasa who is deeply in love with a man she has admired from afar. This man, however, is significantly older and a politician, making her feel insignificant and afraid to approach him for fear of appearing foolish. This changes when she hears a rumour that he plans to marry for electoral gain, needing a wife to secure more votes. Mikasa can not bear the idea of him belonging to anyone else. The pain of seeing him with another would be unbearable, a wound too deep to heal. Driven by this fear and her overwhelming love, she resolves to do whatever it takes to make him notice her, even if it means trapping him. What I essentially envision is a shy yet determined Mikasa. Though she may seem naïve, she is ready to step into the light, determined to make Eren see her as a brave woman and a potential wife. Her complex feelings of love, admiration, fear, and determination intertwine with the recklessness of youth and passionate infatuation. Her youthful impulsiveness propels her forward, making her bold in ways she never imagined. I dare to say that it's a lot of passion for someone so young YET this passion is not just a fleeting crush but a deep-seated need to be seen, to be valued by the man she loves.

So, with that being said, here are some changes (I will not say them all, lol).

First and foremost, to dispel any doubt, I’ve decided that this fic will be told solely from one point of view, and that will, of course, be Mikasa’s. She is the heart of this story, and although you might be interested in Eren’s perspective, I believe Mikasa’s lens will provide the clearest understanding.

With Mikasa’s point of view as the central focus, certain elements, such as Eren being of low-born status, will be adjusted. Instead, I’ll portray him as a wealthy man. This change facilitates their interactions mean to their social class. However, he will remain an Ackerman protégé, and his wealth will not alter this aspect. How he will do that? Keep reading.

Previously, I mentioned that Mikasa has younger brothers, but now they will be younger sisters. So, Mikasa is an older sister of a family full of girls. This shift will impact her psyche, offering rich narrative potential that I can't fully detail at this moment (but the keyword for this is: daddy's issues or something of the sort).

Eren has an ex-girlfriend from their social circle who will be displeased to see the senator she once knew taking an interest in a little girl. Her resentment will play a role in the unfolding drama.

And yes, you read that correctly—senator! In the earlier sneak peek, Eren was merely a candidate, but now he is firmly established as a senator seeking re-election. His ambition stretches further, for he harbours aspirations of one day becoming PRESIDENT.

In this iteration, Mikasa's father is absent, and instead, the family is under the care of her uncle, none other than Kenny Ackerman. This dynamic is one I haven’t fully explored in my previous writings, so I felt it was time to delve into it. Consequently, Uncle Kenny will be a prominent figure in Mikasa’s life, leading to numerous clashes with Mikasa’s mother.

Speaking of Mikasa’s mother, she is a formidable woman, ahead of her time. However, Kenny often outmanoeuvres her at every turn. To survive in this challenging environment, Mikasa’s mother focuses on empowering her daughter, making Mikasa a key player in their family’s struggles (you shall see it later!)

Lastly, Mikasa will be twenty years old in this story, rather than eighteen. This decision ties directly into the dynamic I want to explore between Kenny, Mikasa and Mikasa's mother. In their society, women were expected to marry quickly, but Mikasa defied this norm, which will be a significant element in the narrative. The full implications of this choice will unfold as the story progresses.

Additionally, Eren will be 32 years old!

That’s all for now, folks! I’m thrilled to bring this fic to life, like, for real! It’s shaping up to be a long, single shot (unless I separate it) and I’m diving deep into research to make it unlike anything I’ve written before.

¡Estén atentos para algo realmente INCREÍBLE!! ! :D

[psychoticwillgraham]

here's a small drabble for a prompt of 'ice tea!' and realistically Hannibal would know how to make southern sweet tea, but for the sake of the prompt and the fluff, let's pretend he doesn't.

Hannibal was good at many things. Cooking, art, music, and murder. He perfected every dish he made, and with Will's help, could make perfect southern cuisine.

One aspect of southern food that he couldn't quite grasp however? Was making ice tea. Sweet tea, to be exact.

Will had been craving it lately, and not the shitty kind that you'd find in restaurants, poor imitations of the real thing. He could easily make it himself, but he wanted to give Hannibal a small challenge. Hannibal knew how to make it of course, just not southern style. Will had tried to explain him that there was a noticeable difference in the southern version compared to the standard version, but Hannibal just wasn't quite getting it.

So, on a particularly hot summer day, Will had tasked him with making what Hannibal thought qualified as 'southern sweet tea.'

The results? Were... not so good.

When Hannibal had presented him with the pitcher and poured him a glass, he'd looked a bit smug, clearly pleased with it after tasting it earlier. Will knew that Hannibal was cocky when it came to his cooking skills, and it was no different when it came to mixing drinks. Hannibal could make a mean whiskey cocktail, much fancier than what Will would normally prefer since he was just a whiskey on the rocks kind of man. But god, had Hannibal been good at it.

So to Hannibal, making sweet tea had to have been a no-brainer. It was simple enough, after all. Black tea bags and sugar, right? A stipulation of the challenge however, was to not look up any recipes for what was considered typical for southern sweet tea. Hannibal was only able to go by what Will had told him, and how exactly he liked it. Someone as intelligent as Hannibal shouldn't be able to fuck up a simple sweet tea, right? Well, Will had decided to omit a few important important tidbits of information, like for how long to steep the tea to get Will's preferred strength and the addition of baking soda to make it last longer in the fridge.

So essentially, Will had set him up for failure all along, but he saw no problem with it. He had to humble Hannibal once in a while, and show him that no matter how many recipes he followed and perfected, nobody would know better how to make it than the person who'd made it all their life and came from the region where it was common.

When Will finally brought the glass to his lips and took a sip, his reaction was immediate.

Will frowned, trying to find any flavor whatsoever, but came up with nothing. Then, he grimaced, the sugar so overwhelming that it was way too much even for Will. It was nothing more than barely flavored sugary water, and while Will knew it would be bad due to his purposeful omissions of instructions, he hadn't expected it to be nearly undrinkable.

Hannibal stood there, the grin on his face slowly fading at the faces Will was pulling. Will glanced at Hannibal, sitting the glass down on the table next to him, silent for a few long moments.

Then, Will busted out laughing, a look of amusement on his face. Hannibal looked confused, not understanding why Will was suddenly laughing after having looked very displeased with his drink.

"Darlin', this tastes like shit," Will chuckled, "I'll give you an A for effort though."

"I did my best with the sparse instructions you gave me, however I believe that you may have omitted some very key steps," Hannibal stated, a small smile tugging at the corner of his lips at the realization.

So Hannibal had known the entire time, but still decided to make it wrong, just to indulge Will a little bit. Will figured that he'd known anyway, and that he was just simply playing along. Will smiled at that, motioning for Hannibal to lean down so Will could capture his lips in a kiss.

When their lips touched, they both sighed into the kiss, still smiling as enjoyed the small moment, Will eventually pulling back. Hannibal was grimacing, probably from the taste of the drink on Will's lips, which pulled a small laugh from Will.

"See? I told you it tasted like shit," Will grinned lazily.

"Definitely not my best work, I'm afraid," Hannibal smiled, wide and bright.

"It's fine, baby. Sometimes, you just need to be humbled a bit, that's all." Will grinned again, rising to his feet and taking Hannibal's hand in his own.

"Now c'mon, sweetheart, let daddy show you how it's really done."

[animation-is-my-jam]

How protective is Tobey of the McCallister-Botsford children?

Lol depends on the kid, but in all honesty, Tobey will always be protective of them and worried to the point that if it weren't for the blessing of his grandmother's genes dwarfing his grandfathers, he would be bald from stress.

Tori, being the first, he's been on the verge of falling apart when she was born because first-time parent ofc he would be. but he's very much relaxed with her as she grew up and when she proved to be the strongest and most resilient member of the family. I mean, he's gotten very sure she can be okay on her own that he's built her training robots and entertained her in a battle with his creations as he supported her desire for fighting unlike Becky (who very much did not like said activities). But on the flipside, Tobey's assurance on Tori's resilience does have a blindside in that maybe she can't take on everything. Just because she's the most strongest doesn't mean she's not tired, and he can't let her shoulder a lot of things. (Just because she said she was okay accepting a huge ass responsibility at like 14, doesn't mean she's not regretting it well into early adulthood).

Luis. Oh boy. Now, if we ever want to see Tobey at his most coddling and protective, then of course it's with Luis. Being born without any powers and almost essentially human, Tobey was always going to be extra careful with him. Didn't help with how clingy and very emotional Luis is on his own. But mostly, it came from a deep fear of him not wanting his son to hate him at all, after all, a very terrible track record of McCallister father's and sons' dynamics in their lineage. So let the spoiling begin (I mean, Tobey spoils all of them, but luis definitely took the most advantage of it, lol). Luis’s antagonism on Tobey is playful [and harsh being a tween], but it definitely comes from a place of annoyance on how his dad keeps an eye on him like he could fall and crumble at any moment. Although it is kinda warranted as Luis almost died when he was young. So, no shit Tobey is extra panicked if Luis would ever be in trouble. Another layer of protectiveness is definitely with Luis’s terribly hidden yearning for romance and his naive tendency to just be in love with any boy and yeah Tobey is not just going to let any brash suitors start taking his son out on dates without proper assessment. They haven't bested any of his robots. How can they be worthy?

Matilda is complicated. Because he will be protective no matter what; even though he can't express it when she's around or let her know. Matilda is intelligent and capable, but she's still the youngest. However, due to her very clear statement that she doesn't want them to "baby her" due to some factors that other people in society unfortunately already do. that includes her worried father. Tobey tries his best than to seem very neutral in not being worried about her almost every day and freak out when she's obviously doing a dangerous experiment. Mentally, of course, he's screaming and weeping that he can't just be there for her or spoil her like he would with Luis. However, similar to Luis and one aspect he won't hold his tongue about is with Matilda and boys. He'll make it very clear that any young gentleman who even thinks they can court his daughter will be met with disproval. He's really lucky Matilda does not give a damn about that at all and thinks it's funny (unlike Luis, who is angrily ranting to his diary over his dad scaring away another boy with robots).

Extra: Becky thinks his protectiveness is very cute, although she does understand its annoyance sometimes. Not that she can really criticize him when she's protective, too, but not to the codependent extent Tobey is in. But she's glad that he's taken on the role of the worrying parent or that he'll be the one to make a fool of himself to take precautions with their kids. Because she will have a panic attack, but Tobey is going to let her transfer that to him. He's the one who will hug them tightly or give interrogations to future boyfriends of Luis or Matilda. Meanwhile, all that she will probably do is likely (stupidly!!) invade their privacy or give lectures that are too embarrassing. Ah, the stutters of motherhood being a former superhero.

[bardraelyn]

Hi, I saw your comment on a locked post about majoring in comic books, and was wondering would you be so kind please if you have a moment I would love to hear every single thing about that if you have any old info dumps that is so fascinating??

I was not aware that was something a person could do

Hi! Sorry for taking so long to reply; I don't check Tumblr very often.

You can absolutely major in comic books. At some schools, it will be listed as sequential art. That's how it's listed at SCAD, which is where I got my degree. It was the first college to offer a sequential art major; the other schools were comics-focused technical schools founded by comic book artists. Now there are more colleges and universities that offer courses, minors (often under an illustration major), or even majors in comics.

A major in comics covers a lot of different aspects of the comics-making process along with providing a solid foundation in fine art. I took classes in art history, drawing basics (that is, learning to see and render shapes and negative space, light and shadow, and local color, i.e. the color an object is without the influence of color in the light applied to the object), perspective drawing, figure drawing, human and animal anatomy, the history of comics, comics scriptwriting, penciling comics, inking comics, digital coloring for comics, painting for comics, comics cover art, comics lettering, and character design for comics and animation.

If studying comics is something you're interested in doing, there are a lot of options, but be forewarned that many of them are ridiculously expensive, and some of the schools out there are less than reputable. My advice would be to avoid any private for-profit schools, and look instead at public or private not-for-profit schools. Most public not-for-profits will be local colleges and state universities. Art schools typically fall under private for-profit (ex: Full Sail) or private not-for-profit (ex: SCAD) and are generally expensive. If you decide to go to an art school, get as many of your basic classes out of the way as you can at a state or community college before transferring, to minimize the amount of student loan money you borrow. Most reputable schools will work with you to help you select classes that will transfer, but you'll need to handle reaching out to admissions in both your starting school and your transfer school to coordinate.

If you are highly motivated, you can learn a lot of the same things I did on your own, without a degree program. You'll miss out on the feedback you get from professors and peers in classes, but it's a heck of a lot cheaper, and many early comic book artists started out in exactly that way. If you pair this route with a degree in business, you'll have the skills to market yourself effectively as an artist. And you can still get feedback if you reach out to artist communities online or in your area; it just may not be comics-specific.

The place to start learning on your own would be with all of the following:

Scott McCloud's series on comics, starting with Understanding Comics (literally the textbook for many of my sequential art classes, and it's written in comic book form), then Making Comics and Reinventing Comics.

The Art of Comic Book Writing: The Definitive Guide to Outlining, Scripting, and Pitching Your Sequential Art Stories by Mark Kneece. (Mark was my scriptwriting prof.)

The Essential Guide to Comic Book Lettering by Nate Piekos.

Perspective! for Comic Book Artists: How to Achieve a Professional Look in your Artwork by David Chelsea.

Any number of books on figure drawing (making sure to include books that specialize on hands and feet, heads, facial expressions, and drawing figures of differing body weights). Burne Hogarth has a pretty good figure drawing series, but there are many others. A lot of artists I know like the Morpho series.

And as I mentioned in that comment you saw, comics is definitely not a "useless" degree. However, how much use you can get out of it and what you can earn depends on how flexible you are with what you want do for a living. Getting stuck on the idea of only doing comics might make it challenging to build a lucrative income (hence the strong advice to avoid expensive art schools). I combined my art school degree with a degree in English, then took a circuitous route through teaching and other creative professions to eventually land a job developing corporate training content, which I enjoy and which uses my creative skills, but not in a way that burns me out, so I'm still able to apply those skills to my own passions outside of work. It also pays really well, but it took a while to get here, and I'll be paying off student loans for a long time to come. For me, it was worth the cost, but not everyone will feel the same.

I hope that covers everything you might want to know, or at least gives you a starting place if you want to learn more!

[annawayne]

Regarding your last anon ask about your career, what job would you like to do if you were able to enter the art industry?

Hello, Meli, and, oh! Thank you a lot for asking! 🖤

For a long time, I wanted to have a career of an artist & writer, as in creating various conceptual arts, design, and as for writing - publishing book. I had some experience working as a graphic designer, and it wasn't that bad - yes, also quite far away from my artistic taste, but it was at least something close to what I admire.

However, as time goes, I understand that "simply" creating is not enough for me. The "scientific", "researcher" and "conceptual" layer of art is something that lives deeply in me. I understand that working as graphic designer or working on conceptiual arts is not enough for me, but what is so appealing to me is creating complex projects, from A to Z, both drawing, writing, and then, exploring the particular topics with reference to all knowledge I have. This is it.

By complex projects I mean something like making the excessive research on particular topic, and then, present it in a form of the written book with illustrations. Basically, this is who I am, to be honest - "scientific"/researcher approach + creativity (work with visual concept and text).

I already have various ideas of something like this - for example, make a huge expedition over Ukraine, my country, and save all the folklore songs and embroidery which is left, and then, creating the huge book with illustrations, text, explaining and presenting the different aspects of particular regions through the urbanistic & cultural & folklore aspects of each region with historical canvas - nothing goes unnoticed, and the history and culture always develop with people and events around them. To make it more engaging - illustration; more spectacular and not boring - writing a story about it, that would lead through centuries and the country. Make it vivid, breathing, alive and modern.

This is, you know, like an example of what I mean by "conceptual project", where the research, my knowledge about art, history, folklore, linguistics and anthropology blend with my creative side in illustrations and literature.

For me, saving, developing and promoting the culture and art, is my passion.

As for Ukraine, it's an essential need to save our culture which is destroyed every day. Some of the things we already lost forever - and that's why it's so important for me to save it. We already lost so much, something and someone. My hometown is occupied for 10 years now, and it's almost nothing left of its history. Even if you Google it, you won't find the photos before 2014. You won't be able to find almost anything about the Ukrainian roots and rich history of this incredible region. And saving all the remnants, it's not only important to me, it's important to declare to the whole world - we existed, exist and will exist, no matter what.

(but of course, I would love to make it not only about Ukraine, it's just great example on explaining why it's important to me)

I still remember how people saved from the fire during the full-scaled invasion of Ukraine the paintings of Maria Prymachenko - one of the most known and vivid folk artists who worked in naïve art style, one of the best in this field, artist, whose works were noticed by Picasso who said, after visiting a Prymachenko exhibition in Paris in 1937, "I bow down before the artistic miracle of this brilliant Ukrainian". The museum after constant attacks was on fire, 25 paintings were lost, but local people just went into the fire and saved what was left with their bare hands under constant attacks - 10 paintings.

Maybe, I'm the same like these people - would enter the fire if it means to save art, and then, showing it to the world.

So... Yeah, this is it!

Thank you a lot for asking, and I apologise for the long-read... I hope I didn't bore you...

Thank you a lot, and wish you all the best🫂

[abboudlawfirm-omaha]

Can I File a Personal Injury Claim for Injuries at a Music Festival?

Attending a music festival is an exciting experience, filled with live performances, a lively atmosphere, and the chance to create unforgettable memories. However, accidents can sometimes interrupt the fun, leaving you with injuries and questions about your rights. If you’ve been hurt at a music festival, you might wonder whether you can file a personal injury claim. This article explores the key aspects of personal injury claims related to music festival injuries and what steps you can take to protect your rights.

Understanding Liability at Music Festivals

Music festivals can present various hazards, from overcrowding and unsafe equipment to negligence by staff or other attendees. To determine whether you have a valid personal injury claim, it's essential to understand liability and who may be responsible for your injuries.

Event Organizers: Responsible for planning and managing the festival, organizers are expected to implement safety measures like crowd control, proper signage, and emergency protocols.

Venue Owners: The property owner or operator must maintain a safe environment for attendees, addressing hazards such as uneven walkways or structural issues.

Security Personnel: Security teams are responsible for monitoring the event and responding promptly to incidents that could compromise safety.

Vendors: Food, drink, and merchandise vendors must ensure that their operations do not pose risks, such as unsafe food handling or poorly set up equipment.

In some cases, the concept of comparative negligence might apply. For example, if your actions contributed to the incident, your compensation may be reduced. However, this doesn’t necessarily disqualify you from pursuing a claim. Consulting with a personal injury attorney can clarify your options.

Assessing the Viability of Your Claim

Not every injury sustained at a music festival qualifies for compensation. Several factors affect the viability of your claim:

Circumstances of the Incident: Was the injury caused by negligence, such as poorly maintained facilities or insufficient crowd control?

Severity of Injuries: More serious injuries are more likely to result in significant claims.

Establishing Negligence: You must demonstrate that the responsible party failed to meet a duty of care, directly leading to your injury.

A personal injury attorney can help evaluate these factors and guide you on the best course of action.

Calculating Damages

When pursuing a personal injury claim, it’s essential to quantify your damages accurately. Damages may include:

Medical Expenses: Costs for emergency care, follow-up treatment, and rehabilitation.

Lost Wages: Compensation for income lost due to missed work during recovery.

Pain and Suffering: Financial compensation for physical pain and emotional distress.

Mental Anguish: Injuries can have a lasting psychological impact, which may also be compensated.

Steps in Filing a Personal Injury Claim

The claims process for festival-related injuries can be complex due to the involvement of multiple parties. Below is a general outline of the process:

Consult an Attorney: A legal professional can evaluate your case and advise you on the next steps.

Gather Evidence: Collect photographs, witness statements, medical records, and any other documentation that supports your claim.

Send a Demand Letter: A formal request for compensation is sent to the responsible party or their insurance company.

Negotiate a Settlement: Many claims are resolved through negotiation before reaching court.

File a Lawsuit: If negotiations fail, filing a lawsuit may be necessary to seek fair compensation.

The Importance of Acting Quickly

Every state has a statute of limitations, which sets a deadline for filing a personal injury claim. Missing this deadline could result in losing your right to compensation. Acting promptly after your injury ensures that evidence is preserved, witnesses are available, and deadlines are met.

If you’ve been injured at a music festival, it’s essential to take the following steps:

Seek medical attention immediately to address your injuries and document them.

Report the incident to festival staff, security, or the venue management.

Gather evidence, including photos, videos, and contact information for witnesses.

Consult a personal injury attorney to evaluate your case and discuss your options.

Navigating a personal injury claim can feel overwhelming, but understanding your rights and the process can make all the difference. By taking the right steps, you can focus on your recovery while pursuing the compensation you deserve.

[ndbookstudy]

the power of now, eckhart tolle.

note: i was going to make a q&a type of post, but i just decided to copy paste the chapter questions instead!

chapter one, you are not your mind - the greatest obstacle to enlightenment.

The word enlightenment conjures up the idea of some super-human accomplishment, and the ego likes to keep it that way, but it is simply your natural state of felt oneness with Being. It is a state of connectedness with something immeasurable and indestructible, something that, almost paradoxically, is essentially you and yet is much greater than you. It is finding your true nature beyond name and form. The inability to feel this connectedness gives rise to the illusion of separation, from yourself and from the world around you. You then perceive yourself, consciously or unconsciously, as an isolated fragment. Fear arises, and conflict within and without becomes the norm.

I love the Buddha's simple definition of enlightenment as "the end of suffering." There is nothing superhuman in that, is there? Of course, as a definition, it is incomplete. It only tells you what enlightenment is not: no suffering. But what's left when there is no more suffering? The Buddha is silent on that, and his silence implies that you'll have to find out for yourself. He uses a negative definition so that the mind cannot make it into something to believe in or into a superhuman accomplishment, a goal that is impossible for you to attain. Despite this precaution, the majority of Buddhists still believe that enlightenment is for the Buddha, not for them, at least not in this lifetime.

You used the word Being. Can you explain what you mean by that?

Being is the eternal, ever-present One Life beyond the myriad forms of life that are subject to birth and death. However, Being is not only beyond but also deep within every form as its innermost invisible and indestructible essence. This means that it is accessible to you now as your own deepest self, your true nature. But don't seek to grasp it with your mind. Don't try to understand it. You can know it only when the mind is still. When you are present, when your attention is fully and intensely in the Now, Being can be felt, but it can never be understood mentally. To regain awareness of Being and to abide in that state of "feeling-realization" is enlightenment.

What is the greatest obstacle to experiencing this reality?

Identification with your mind, which causes thought to become compulsive. Not to be able to stop thinking is a dreadful affliction, but we don't realize this because almost everybody is suffering from it, so it is considered normal. This incessant mental noise prevents you from finding that realm of inner stillness that is inseparable from Being. It also creates a false mind-made self that casts a shadow of fear and suffering. We will look at all that in more detail later.

The philosopher Descartes believed that he had found the most fundamental truth when he made his famous statement: "I think, therefore I am." He had, in fact, given expression to the most basic error: to equate thinking with Being and identity with thinking. The compulsive thinker, which means almost everyone, lives in a state of apparent separateness, in an insanely complex world of continuous problems and conflict, a world that reflects the ever-increasing fragmentation of the mind. Enlightenment is a state of wholeness, of being "at one" and therefore at peace. At one with life in its manifested aspect, the world, as well as with your deepest self and life unmanifested - at one with Being. Enlightenment is not only the end of suffering and of continuous conflict within and without, but also the end of the dreadful enslavement to incessant thinking. What an incredible liberation this is!

Identification with your mind creates an opaque screen of concepts, labels, images, words, judgments, and definitions that blocks all true relationship. It comes between you and yourself, between you and your fellow man and woman, between you and nature, between you and God. It is this screen of thought that creates the illusion of separateness, the illusion that there is you and a totally separate "other." You then forget the essential fact that, underneath the level of physical appearances and separate forms, you are one with all that is. By "forget," I mean that you can no longer feel this oneness as self-evident reality. You may believe it to be true, but you no longer know it to be true. A belief may be comforting. Only through your own experience, however, does it become liberating. Thinking has become a disease. Disease happens when things get out of balance.

For example, there is nothing wrong with cells dividing and multiplying in the body, but when this process continues in disregard of the total organism, cells proliferate and we have disease.

Note: The mind is a superb instrument if used rightly. Used wrongly, however, it becomes very destructive. To put it more accurately, it is not so much that you use your mind wrongly - you usually don't use it at all. It uses you. This is the disease. You believe that you are your mind. This is the delusion. The instrument has taken you over.

I don't quite agree. It is true that I do a lot of aimless thinking, like most people, but I can still choose to use my mind to get and accomplish things, and I do that all the time.

Just because you can solve a crossword puzzle or build an atom bomb doesn't mean that you use your mind. Just as dogs love to chew bones, the mind loves to get its teeth into problems. That's why it does crossword puzzles and builds atom bombs. You have no interest in either. Let me ask you this: can you be free of your mind whenever you want to? Have you found the "off" button?

You mean stop thinking altogether? No, I can't, except maybe for a moment or two.

Then the mind is using you. You are unconsciously identified with it, so you don't even know that you are its slave. It's almost as if you were possessed without knowing it, and so you take the possessing entity to be yourself. The beginning of freedom is the realization that you are not the possessing entity -- the thinker. Knowing this enables you to observe the entity. The moment you start watching the thinker, a higher level of consciousness becomes activated.

You then begin to realize that there is a vast realm of intelligence beyond thought, that thought is only a tiny aspect of that intelligence. You also realize that all the things that truly matter - beauty, love, creativity, joy, inner peace - arise from beyond the mind. You begin to awaken.

[kloppool]

Essay - One of Our Own: Jurgen Klopp and his influence

It is a special thing to have a manager that fits so seamlessly with what a club is. Football clubs are much more then just men chasing a ball. They’re pillars of the community, an important social gathering spot, an event and oftentimes, stand for something socially and politically. There are few better examples of this then Liverpool. The motto says it all. “You’ll Never Walk Alone.” And indeed, they have proved this. Time and time again former players will recall how much they love and miss Liverpool. Bill Shankly was famously a socialist and many of Liverpool’s managers since have expressed similar sentiments. Liverpool is known as a working class city and the fans reflect this in not just their passion for the club, but what they expect of the players and manager. All of this is to say Liverpool has an incredibly strong identity Which is why its so very special that Jurgen Klopp has not only fit flawlessly into this identity, but enhanced it. Everyone knows Jurgen Klopp is German, born in Stuttgart and raised on the borders of the Black Forest. But everyone also knows Jurgen Klopp is a Scouser, reborn in Liverpool and raised on the banks of the River Mersey.

The primary reason for Jurgen Klopp’s success and ascension to something beyond a manager can, in my opinion, be summed out with one word: vibes. It sounds a little stupid, maybe, but it's true. There are so many things you can quantify in football. The “stats revolution” has made us hyperaware of every single footballing aspect of a player, allowing clubs and players to maximize their effectiveness. Obviously, vibes are different. There’s no such thing as “expected vibes.” Oftentimes, you must read between the lines or pay close to attention to off-picth happenings to be clued in. However, despite not being as easy to feel out, vibes are undeniably incredibly important. In fact, they can make or break a club. And, usually, the vibes are dictated by the manager, simply by the way they choose to do things. Playing style, how training is conducted, rules, involvement with team matters and decisions. 

Jurgen Klopp’s approach, as we well know, is all encompisng. His influence is felt all over the club. This is partially why so many players are able to buy into Liverpool’s playing style ad culture so easily. Klopp’s playing style is very intense and requires high energy. Naturally, over the course of a long season, this can be hard to maintain. This play style requires a complete buy-in from players at all levels. Football is a game of trust in your own abilities, but just as crucially, in those of your teammates. In order to ensure players buy into his system, Klopp himself needs to be energetic and intense. It’s why he goes off on rants during press conferences. It’s why he ran onto the pitch to hug Alisson after Origi’s Everton winner.  

Vibes also very much depend upon the players at a club. Prima-donnas with egos the size of Jupiter may score goals, but cause chaos in the dressing room. There are countless examples of teams that have been brought to their knees because of behind-the-scenes-drama. Now, a little bit of conflict is inevitable. Footballers need to be overconfident, and at times, a little selfish, in order to succeed. But constant disharmony, angry inetrvies and arguments will sink a squad, no matter how many star signings there are. 

Known to be a very passionate figure, Klopp exhibits a warmth and love for this club, its players and Liverpool as a city that is truly special. He’s charming and funny. In one of his first press conferences he famously called himself “The Normal One.” Mid-game, he will turn to the fans at Anfield, and let them know his feelings. Klopp does this because he understands how essential the supporters are in a football game and knows there is no better 11th man then a roaring Anfield. 

Alexis Mac Allister was at Liverpool for only a few months when he gave an interview talking about how his teammates tease him “They say he’s my dad now.” Naby Keita, who struggled with injuries while a Liverpool player, said he had tears in his eyes when Klopp announced his departure. Many of Klopp’s former Dortmund players still talk about him fondly and with the utmost respect. He hugs his players (and sometimes the opposing teams’ as well) like there’s nothing else in the world. 

Speaking of players. Klopp seems to have a knack for picking (and helping create) leaders, both on and off the pitch. 5 players are captains for their national teams, including Virgil van Dijk, the current Liverpool captain. The Liverpool leadership group is composed of Egypt captain Mo Salah, Scotland captain Andy Robertson, Brazil goalkeeper Alisson and the vice-captain, Trent-Alexander Arnold. Robertson and Alexander-Arnold stand out here and are perhaps the best pair of players to showcase Klopp’s success. Robertson was signed from Hull for a only 8 million pounds. Alexander-Arnold was a Liverpool academy player. Neither were flashy signings. But they’ve both grown into leaders, have become renowned for their styles of play and are now occupy the first and second spots for most assists by a defender in Premier League history. 

Klopp gives all of himself to his players, his team and his city. And that’s why he’s leaving. In his announcement, he said he was running out of energy. Klopp knows that in order to get the most of out of this team- to give them what they deserve, he needs to be 100%. And he’s not. It’s a product of not just aging, but having been a manager at a high level for so long. It’s hard to find the words to say how horrible it feels knowing he’ll say goodbye. But Klopp is getting to do something incredibly special in football- leaving on his own terms. He has never been sacked. He’s beloved by millions. He stands out in a line not just of legendary Liverpool managers, but managers in general. His influence will continue through the players he has become a father for, a club he has become a hero for and a city that calls him one of their own.

[seerofaspects]

Seer of Space

The Seer of Space is an aspect I hold quite close to myself as it's always been the associated aspect with myself and a character of mine who originally started off as a self insert but has evolved over time into being her own thing. I wanted to kind of go into the Seer of Space a little bit and actually give my thoughts about this aspect. The Seer class is the understanding class and the Seer understands from others, they are then able to translate their understanding so others are able to utilize that information in a tactical sense. There is also an association of having alternative timeline versions of the Seer communicate with them in some capacity, so they can literarily use themselves from other realities in order to grab hold of information. The personality traits of the Seer tend to be a bit all over the place, but the Seer tends to have confidence in themselves over their aspect but the more the understanding about their aspect, the more they realize they haven't even cracked the surface of understanding. They tend to be blunt with difficult to read personalities, which may make them come off as being hard to approach. The Space aspect revolves around creation, creativity, and of course the literal aspect of space and matter itself. There is hinted to be themes of isolation for the space player as well. The space player also gets visions of the future and past thanks to the clouds in skia. They are also essential to frog breeding in Skia. The Seer of Space is going to be able to gather understanding from others relating to the aspect of space, recontextualize it, and then have others be able to have an understanding of the space aspect. I want to give a few example of Seer of Space abilities here. The first is having a session where pretty much every player is in the dark of their surroundings, almost like they are playing the game with the map feature turned off. The Seer of Space however, is able to see where everyone is on the map and is able to coordinate others in her session and provide assistance in where they are going. Another example, if we are using alternative timelines, we can have the Seer of Space having visions of not the session that they are in but other sessions, seeing what they are doing and what they are not doing. In the session I made for my OC, there were multiple ongoing sessions that were 'competing' against one another, so having abilities which allow her to spy into other sessions was very important for that and one of the reasons why she ended up being the Seer of Space. I even mix things up to where the clouds she sees in Skia are not of her session but still provide super valuable information to her. I almost like the idea of the Seer of Space not getting feedback from their past selves but rather other sessions all together. Since Space is the counter to Time, it felt like it would be a bit fun to change how this interaction works a little bit. Another simple example I can think of for the Seer is sort of gathering insight on creative and innovative processes from other sources and being able to give an understanding of how people create certain things. The Seer could look at a piece of artwork made by someone else, come up with a tutorial on how to do what they did, and share that with others. It could be artwork, a special computer, a weapon, etc, etc.

[throwingmelons]

I was watching a couple of video essays about Twilight the other day and I have a few opinions that I don't think many people have considered when it comes to YA media.

I think it's easy to assume that the preteens who were into Twilight during its peak were just kids too young and impressionable to understand why the relationships and aspects represented in Twilight were wrong and toxic, and while there is truth to that, I don't think many people understand the ways that children's priorities change over time and how that affects the media they consume.

In the case of Twilight, I think it's important to acknowledge not only who the characters are and what they represent, but what kinds of problems they face throughout the story. In Edward's situation, he was turned into a vampire against his will after almost dying from the Spanish flu at seventeen, only to be thrust into a life of vegetarianism while also not being able to cope without it. Of course there's also the added caveat of Edward's uncontrollable thirst for blood as well as the way his body and mind have been left in a frozen, stagnant state due to his vampirism. All of these things are beyond his line of control, essentially forcing him into a life with an extreme lack of free will.

Of course, the same can be said not only about the other vampires, but about the werewolves as well. Jacob couldn't choose the lifestyle that was thrown upon him as he was forced into an incredibly invasive pack where he had to put his life at risk every day to protect others. On top of that, there's also the uncontrollable anger, and the weird imprinting thing that more or less takes over his autonomy and privacy as an individual. I'd even go as far as to say that this lack of control can be applied to Bella as well. Sure she makes her own decisions, but in the end of the day, she usually gets what she wants and is happy with it. None of her choices really have as much weight as they should, and after enough time, the impression is left that if Bella asks for something, she will eventually get it successfully. This sometimes makes it feel like she's living less of a life with difficult, complicated decisions to make, and more like she's living a caricature of one where she already knows what she's supposed to want, and what the end result will be before the options are even laid out to her.

Now sure, I could go on for hours about how these hidden deterministic undertones allow for interesting story analysis, but I think it's more important to talk about why I think these qualities seem to appeal to preteens so much.

I feel like younger teenagers are generally in a very odd spot in their lives, as they are typically old enough to begin to understand many issues in the world, while also realizing that there isn't much they can do about it at the time. It's much easier for an average six year old to find themselves in a situation where they can casually consume media while remaining unaware of situations happening around them like say, for example, financial issues happening in the family. However, by the time you're a preteen, it becomes harder and harder to stay unknowledgable about real world events that are occurring and affecting you. When the lack of choice and say becomes more evident to people, it's no wonder those of this age group tend to feel more connected to these characters.

This is especially so when you remember how accepting and happy the characters ultimately are, despite their circumstances. Maybe an eleven year old out there who is worried about their parents getting evicted and can't do anything about it finds Twilight and doesn't see Edward's constant creepy behavior towards Bella against her will as any worse then their own uncontrollable situation. In fact, it might even be seen as comforting, because at least Bella gets a sexy mysterious vampire boyfriend out of it.

Of course it's easy for kids who can experience real world problems while still not having a say in any of them to feel drawn to the characters who not only learn to love and enjoy the fated life set out for them, but also get to be cool and have fun amped up powers. And why would someone who's old enough to understand how a new elected politician could potentially ruin their life while still not being allowed to vote have any fear over the things forcefully done to Bella by the shitty men around her? To them, being stuck under this reign of control really doesn't seem all too different from Bella's situation.

Anyway, I guess what I'm trying to say is don't think the answer to the question, "Why were so many young teenagers into Twilight?", can be answered by saying that kids were just dumb, and I think there's always more to it that people aren't willing to look into, and I think this might just be one of many reasons. I feel like we need to stop breeding excuses to make fun of preteen girls for liking cringy things and instead should look at things more realistically.

Tl;dr: I think many preteens who are into Twilight end up connecting to the characters in ways that are very different than other age groups. When you're left feeling like you're too young to control many of the things that happen to you, it's easier to see the lack of control that many of the Twilight characters face as normal and even sought after, rather than concerning.