#it's like you're my mirror

[howifeltabouthim]

She only saw Gideon . . . Gideon standing upright in front of the altar, Gideon smiling, Gideon with an expression she'd waited for all her life, the expression she knew was reflected on her own face . . .

Susie Yang, from White Ivy

[christadeguchi]

(✿◕‿◕) die (ꈍ ꒳ ꈍ✿)

[evenlarksandkatydids]

something about lucy giving cooper the chems he needs to keep from going feral to show him that she'll never let the wasteland turn her into someone like him and cooper immediately afterward finding a copy of the anti-communist propaganda movie he was talked into doing despite his apprehensions. cooper looking into the past at the exact moment that started the gradual wearing away of his principles and put him on the path to becoming the man he is while lucy walks off defiantly, no i will not allow this place to change me, i may have to become harder, i may have to become violent, but i will hold true to the values that have shaped me.

[apnourry]

hydrangea blue never broke my heart🫶

[bookshelf-in-progress]

Reflection: A Retelling of “Snow White and the Seven Dwarves”

The mirror is a gift from the dwarves. Its frame of hammered gold is wrought with delicately-crafted birds and beasts, fruit and flowers. Its silver-backed surface, unlike those created by human craftsman, shows a true reflection.

The queen loves to gaze at herself in the mirror. It tells her that she is beautiful—skin like milk, hair like midnight, eyes as blue as a crystalline lake. She is young, healthy, graceful, charming—perfection in human form. Truly a queen worthy of this kingdom.

Then, one day, the mirror’s message changes. It shows that the queen has lines around her eyes, sunspots on her nose, wicked glints of silver in her night-black hair. The queen does all she can to hide the damage, spends hours before the mirror with cosmetics and concealers. To the rest of the world, the queen is as perfect as ever.

Yet every morning, the mirror tells the truth.

Worst of all, her husband has a little daughter—barely fourteen years old—who grows lovelier by the day. Every morning, the mirror says that before long, those who worshiped the queen’s beauty will transfer their devotion to the princess—and will be right to do so.

The queen's beauty would not seem so tarnished if the princess were not there for comparison. The queen tries to send the princess to an isolated estate—tells her husband it is better for the girl to grow up away from the corrupting influences of the court. But the girl is too dear to her father. She wastes away with homesickness, until her father the king orders her to come home for the sake of her health.

The queen tries neglecting the girl in ways the king won't notice—refusing to let her wash with good soap, denying her a maid, forbidding her fashionable clothes and hairstyles. Through it all, the mirror tells her that the girl’s beauty shines out brighter than ever.

Before long, the queen spends hours by the mirror each day, locked in a futile endeavor to restore what is lost forever. One moonlit night, she finds a dagger, and considers plunging it into her heart just to end this ceaseless torment, but the morning shows her a better path.

She will never be perfect, nor make the princess less so—but she can destroy perfection.

It would be easy to take this dagger to where the princess sleeps and shove it through her perfect heart, but the queen doesn't dare to mar her own beauty with blood-stained hands.

She gives the dagger to a loyal huntsman. He takes the girl into the forest—and returns holding a small, bloody heart.

That night before the mirror, the queen's smile makes her glow with a new kind of beauty.

*

People often tell the princess she is beautiful. She believes them, for she has never seen an ugly face. Old Sal’s missing tooth is an open door into her smile. The chambermaid’s freckles make a daytime constellation. The little stable boy’s one good eye glitters green as an emerald. Her stepmother owns a beautiful mirror, but the princess barely gazes at it. Why would she waste time examining her own familiar face in a world with so many other lovely faces to gaze upon?

One day in early spring, she asks to go berrying in the forest beyond the castle, as she once did with her mother. To her surprise, the queen permits it—the queen rarely allows the princess anything that might be a luxury. She even sends one of her huntsmen as protection.

In the eaves of the forest, the princess finds strawberries not far from the path, and she hastens to gather as many as she can. She invites the huntsman to join her, but he stands statue-like at the edge of the clearing, always on guard. Not wanting him to go without, the princess brings the berries to him, and offers him the largest, sweetest one.

As she does, she gazes at his face. Scars make mountain ranges along his cheeks and brow. His hair is edged with silver. The lines of his face are solid as stone. His deep gray eyes hold storm clouds.

“Oh, my,” the princess says in awe. “You are beautiful.”

The huntsman’s face disappears as he hides it in one of his hands. “I can’t,” he says, his voice rough with unshed tears. “I must betray my queen."

His other hands darts to the side, quick as a serpent, and the silver flash of a blade disappears into the undergrowth.

The huntsmen places both of his hands on the princess’ shoulders and crouches to look into her face. “You must run. The queen wants you dead. If you stay at the palace, she will find a way to kill you. You must flee into the forest and never return.”

“The forest?” the princess asks in terror. She has often wandered in the eaves, but she has never dared the strange terrors that are said to lurk in its interior.

“There is nothing there that can harm such innocence,” the huntsman says. “You will find shelter.” He turns her around and pushes her toward the depths of the forest. “Now run! As fast and as far as you can!”

The shadows of the forest embrace her, and the flowers make a path at her feet. She crosses shallow rivers, climbs rocky slopes, winds through twisted groves of trees. She couldn’t return home even if she wanted to.

She had not been blind. She had seen something like ugliness in the queen’s face whenever they were alone. But hatred? Murder?

She nearly collapses with grief, but through the trees, she sees a wisp of smoke. A chimney. A roof over a tumbledown cottage. The princess runs through the open door, collapses on the floor, and is glad to find a safe place to weep.

Her father will think her dead, and she will not be there to comfort him. She will never again see any of the beautiful faces that fill the palace. The hundreds of hidden details that made the castle home are forever out of her reach. The huntsman saved her, but to what end? A lifetime of loneliness and misery? Is this truly a better fate than the quick death of a dagger through the heart?

She opens her eyes. She has looked too long at the sorrows in her heart. She must find solace from without.

She gazes upon the cottage.

And sees seven beautiful faces.

*

The dwarves love their princess. She is beautiful, not only because of her face, but because of the way her soul shines out through it. She is endlessly beautiful because she sees the beauty in everyone and everything.

There never was a girl so selfless. Her every waking moment is spent filling their days with a million small comforts. The cottage has never been so clean. The food has never been so lovingly prepared. There is nothing she would not do for them, and in return, they devote their lives to her service.

She needs their protection. One so naturally kind and innocent can’t recognize when strangers might have ill intent. One day, after being out in the woods, the seven dwarves return to the cottage to find the princess nearly strangled by a set of stays. When they revive her, she tells them of a ragged old woman (with such beautiful hands!) who asked for food and water and then repaid her generosity by giving a nearly-fatal gift. The eldest of the dwarves caught a glimpse of the stranger’s retreat, and saw enough of her form to suspect the queen.

The dwarves keep a closer guard on the princess, but six months later, a few minutes go by when all seven of them are away from home. They return to find the princess nearly killed by a poisoned comb in her hair. The story she tells is similar to the last one—an old woman in need of help repaid their kind princess with a gift meant to kill.

After that, the princess is never alone. The dwarf on guard duty always has the envied task, so lovely is it to be in her presence. A year, then two, go by with no signs of danger.

Then one winter morning, after a night of birthday feasting, all seven of the dwarves sleep late. The princess rises at her usual time, hoping to fix them a holiday breakfast. By the time the dwarves stumble out of bed, they find the princess sprawled across the kitchen floor—cold, pale and lifeless, with a poisoned apple in her hand.

They despise themselves for having failed her, but their love for the princess drives them to serve her the only way they can—by laying her body to rest. The cold, hard earth won’t take her, and they can’t bear to hide her away in the realm of death. Knowing that decay will not touch one so innocent, they place her in a coffin of glass and lay her in their garden, where her beauty can brighten the world in death as it did in life.

They keep a constant vigil, lost in loving grief. They ought to have known she would end this way. This is the fate of all innocence in this dark and sinful world—to be destroyed by wickedness. Even as they see this truth, they know that it is wrong. The world should not be this way, but what can they do? They wish and pray for better, but they can’t hope. How can innocence ever overcome such evil?

In the spring, when the last snow melts and the first snowbells bloom, the dwarves see movement in the woods beyond their cottage. A prince approaches on a snow-white horse. He is ruler of this forest and its mysterious ways—a king of kings, even more beautiful than their princess. His face shines with a wisdom that does nothing to defile the innocence of his heart.

He leaps from his horse, approaches the coffin, raises the lid, and takes the cold hand of the princess between his.

“Beloved,” he says, “arise.”

In his words and actions, the dwarves find the answer to the riddle they have pondered in their long vigil of grief. In a world of wickedness, the salvation of Innocence is Love.

The princess opens her eyes. Takes a breath. Sits up and gazes upon the world she loves, upon the one who loved her back to life. Something of the prince’s wisdom is reflected in her, so that her beauty is almost painful to behold.

The dwarves rejoice, and the princess rejoices with them. She kisses each one atop the head, but does not release the hand of her prince.

Eager to serve one who served them so well, the dwarves cook her breakfast, and she eats with even more enthusiasm than she showed in her former life. Yet when the meal ends, she stands with her prince at the threshold of the cottage.

“I must return to my father,” the princess says.

The dwarves protest. What of the queen? What of the danger?

The princess looks at her prince with eyes full of love. “I have nothing to fear.”

*

The king rejoices at his daughter’s return—he has thought her dead for so many years. Grief has aged and weakened him, but there is beauty in his face that grows brighter with every minute he spends in the presence of the princess.

The princess tells him of her troubles since she went away, and the king is horrified by her words. “I knew my wife had lost her reason,” he says, “but not her heart! She must pay for her crimes!”

He moves toward the door as though he will administer justice this moment.

The prince stops him with a gentle hand upon his chest. “There is no need.”

*

The queen gazes at herself in the mirror. She never looks anywhere else. If there is a world beyond the edges of its frame, she has forgotten it. She sees only her own face, searches for the remaining scraps of beauty, tries desperately to erase the blemishes that grow ever more hateful with the passing of years.

Another face appears in the reflection—a face the queen thought she had destroyed long ago. It is lovelier than ever. The queen hides her face in her hands so she can not see the painful beauty of the princess.

“Come away from there,” the princess says. “Gaze with me upon the other beauties of the world.”

“And lose myself?” the queen shrieks. “That is what you have always wanted—to destroy my very self! To take all the honor and beauty that should be mine!”

“I wish to save you,” the princess says. “Come away.”

“Never!” the queen screams, clutching the mirror in two white-knuckled hands. “I have everything I need right here! You can’t take it from me!”

The princess touches the queen’s shoulder. The queen screams and shrinks away, hiding her face once more in her hands.

A man’s voice—painful in its beauty—says, “Beloved, she has made her choice.”

At long last, they leave. The queen looks in the mirror and sees no face but her own. No greater beauty remains nearby to shame her.

In the confines of her world’s silver surface, she is fairest of all.

*

The queen is locked away in the prison of her choosing.

The king stays to do what good he can for his kingdom, and the princess promises to return for him after he has fulfilled his purpose.

The prince places the princess on his snow-white horse, and they travel once more past the cottage of the dwarves, who are glad to see her so beautiful and beloved.

At last, the prince brings the princess to his kingdom at the heart of the forest.

The beauty she finds there is beyond words.

[hyacinth-sims]

i'm everywhere i'm so julia juliette

[thwispsings]

Might be a weird one so feel free to skip it, but what if an artifact hits post marriage SQQ and LBH and summons their younger counterparts to them. Unfortunately, teenage Luo Binghe and a very confused teenage Shen Yuan have different opinions on their current situation.

Not sure if older SQQ and LBH would be embarrassed or embarrassing for their younger selves.

“A-yuan so cute!” Shen Qingqiu hears Binghe exclaim while pinching his teenage self’s reddened cheeks, he would try and get the attention off of little himself before he implodes but in the moment he is entirely too busy patting his cute little white sheep’s hair and fixing his robes even though there’s nothing for him to really fix.

“Binghe is one to tell.” Shen Qingqiu says, giving in to his thoughts and pinching one of little Binghe’s full cheeks. It goes pink under his fingers immediately, the blush spreading to Binghe’s cute little ears “Oh Binghe, this master could just put you in his pocket.”

“Shizun.” His little white sheep whines and Shen Qingqiu gives in once more to his instincts and boops him in the nose, little Binghe goes cross eyed trying to look at his finger and Shen Singqiu wills himself not to coo openly, this little white sheep might know him as the soft Shizun but he surely does not know him as the loving husband.

“We really should find a way to send them back soon, Binghe,” he says to the absolute despair of his sticky husband “It wouldn’t be wise to keep them.”

“But husband.” Binghe whines in the very specific tone that combined with the use of his marital title will immediately get him anything he wants from Shen Qingqiu, Binghe just forgot to account for their present company.

“WHAT?!” “HUH?!?” Both boys exclaim at the same time, voices tinged with very different types of disbelief. Shen Qingqiu sighs. It’s going to be a long one.

[sergle]

what I was talking abt earlier. we have fully looped back around and away from feminism, societally, whereas before it was very Feminism 101 to acknowledge that many parts of existing as a woman in a misogynistic society are painful and upsetting. not that being a woman is Inherently Negative in a bubble. but that living on this earth, in the conditions we're living in, is hostile to women. and that gender is a performance. that many of the Staples Of Femininity as accepted by society are things that you have to create and perform and mold artificially and aren't inherent, that COMPLAINING about day to day difficulties of existing as a woman is something that you're allowed to do. acknowledging these basic, again, feminism 101 things, that something tied to womanhood is more time consuming or more expensive or more dangerous Because Of The Problems. does not CREATE the problems. that when women complain about having to perform femininity, they are not, in fact, oppressing themselves. the call does not come from inside the fucking house. saying that you HAVE suffered does not fucking equate that you believe you SHOULD have suffered.

like I could talk about this for hours. how braindead and one-dimensional the Takes are getting. "being a woman is looking in the mirror and going fuck yeah i'm a woman" damn. I guess any negative experiences you have by living in a misogynistic world... are your fault if you are anything but positive? "you don't actually want liberation" we've fully gone back to telling feminists "you WANT to be oppressed" when anything negative about our society is pointed out. it's not real until I say it out loud, I guess, and then I'm actually the one who caused it. if anybody expresses any unhappiness with how they're treated or the status quo or the language and culture surrounding womanhood and femininity. they've created it, right that second. they invented it just now. it wasn't a problem before somebody complained, right? also trans women aren't braindead zombies who just follow the flow of whatever cis women around them say. I am pretty fucking sure they are very much aware of pain, and are MORE than aware of the swirling torrent of misogyny and standards of femininity than anybody else. actually. and I am pretty sure someone complaining on tumblr that being a woman means always putting on a performance is going to make someone change their mind about transitioning. also "performing femininity" as a necessity to being treated well as a woman is not fucking NEWS to your Local Trans Woman. I AM PRETTY SURE SHE GETS THE CONCEPT. using trans women as a scapegoat for this braindead perspective on gender politics is spineless, meritless, and pathetic.

[that-disabled-princess]

I don't care who the fuck you are, unless you're a member of my medical team, you are not entitled to my medical information.

[vegaseatsass]

You know, these past two episodes I was thinking to myself, Su Yin is almost perfect in every way, simply the ideal devoted, protective, loyal, dedicated sworn brother, call him Da-ge indeed!!!, but my one piece of constructive criticism is that he needs to learn how to give real hugs - he does a lot of manful shoulder clasping, but Xiaobao is a shivering chihuahua desperately in need of cuddles and body heat, you gotta HUG THAT BOY - but now I see that Su Yin's hugs are simply reserved for his horrible little gremlin of an imperial cousinwife.

[disniq]

The thing is, I actually think it's a super interesting angle to look at the intersection of trauma and mental illness and vigilantism and coping mechanisms with Jason's character.

But, for me, if you want to seriously ask at what point does Jason need therapy more than he needs the vigilante lifestyle it's not Red Hood Jason you should be looking at. Red Hood Jason was literally murdered and the mysteriously resurrected. That's not something you can therapy your way out of! That's something that no amount of talking will ever help you understand, because it's a completely incomprehensible event!

No, if anyone needs therapy it's 12 year old Jason.

It's 12 year old Jason, who has poverty trauma and homelessness trauma and prison system trauma and parentification trauma and drug related trauma and, depending on your reading, potentially sexual trauma.

It's 12 year old Jason, who is taken in by Bruce - a man who is *also* severely traumatised (in extremely different ways) and chooses to dress up as a Bat and punch people about it instead of seeking healthy coping strategies.

It's 12 year old Jason, who Bruce decides - without psychiatric training or so much as a second opinion - needs the same outlet that "helped" Bruce and "helped" Dick.

And by the time aditf rolls around, Bruce is maybe just realising that he's made a mistake. But it's too late, because for two years he's told this child - a child who arguably feels indebted to him, a child who is extremely isolated and had very few if any other trusted adults to talk to - that violence and avoidance is how you deal with emotions.

I think that's fascinating to think about!

That Bruce's own failure to process his trauma left him blind to what Jason might actually have benefited from! That if Bruce had noticed Jason struggling earlier, if he'd reacted differently or explained himself better in aditf, Jason might not have felt the need to travel around the world alone looking for a woman he'd never met and only just learned about!

That if *Bruce* had been healthier, had been to therapy instead of throwing all his energy into vigilantism, none of this might have happened!

Reframe Red Hood Jason as a tragedy of Bruce's own making, not because of the classist bullshit that Jason was always going to end up a criminal and Bruce failed to stop that, but because Bruce's terrible coping mechanisms became *Jason's* terrible coping mechanisms and nobody likes to see the worst parts of themselves in the mirror.

[harbingersecho]

misrecognition is not ignorance

[angelsdean]

no but really it's funny sam thinks dean is john 2.0 when s1 dean is just. content to take on random cases and help save some people and is trying to do some good w/ the hand he's been dealt and isn't all that interested in his father's revenge quest and up until then has always had to play the mediator and swallow down his own feelings and anger. while sam's the one who quickly becomes obsessed w/ revenge the minute he loses jess and finding the thing that killed her and is quick to anger. "you're more like him than i'll ever be" "i'll take that as a compliment" "you can take that however you like" etc etc

[rabenschwcrz]

PEOPLE ONCE BELIEVED THAT WHEN SOMEONE DIES, A RAVEN CARRIES THEIR SOUL TO THE LAND OF THE DEAD.

⸻ A STUDY IN: Everything black, love and loss, death and resurrection, grief, revenge served cold, talking to the moon, cold and lonely nights.

【 . . . 】 If the people we love are stolen from us, the way to have them live on is to never stop loving them. Buildings burn, people die, but real love is forever.

✞ ⁰¹ 『rules.』 ✞ ⁰² 『about.』 ✞ ⁰³ 『starter.』 ✞ ⁰⁴ 『inbox.』 ✞ ⁰⁵ 『writings.』 ✞ ⁰⁶ 『edits.』 ✞ ⁰⁷ 『tutorials.』 ✞ ⁰⁸ 『credit.』

#RABENSCHWCRZ, a singlemuse blog for MICHAEL CORVIS, original character, inspired by the movie THE CROW (1994), as resurrected by 𝚖𝚒𝚍𝚗𝚒𝚐𝚑𝚝. Crossover-, multiverse-, and multiship friendly. Very low activity, semi-selective, german preferred. English is fine for short interactions. Mdni, 18+ only.

[room--of--mirrors]

That moment when Usopp said to Robin "you can't leave the crew without the captain's approval" implying he left the crew because he had (or at least thought he had) the captain's approval to leave !?

[wifihunters]

mind boggling how sometimes time apart makes old wounds stop stinging and gives a chance at meeting old friends again but as a new person--and then sometimes time apart just gives you a chance to fucking breathe and realize you're far better off this way.