#it's stream of consciousness

[panopticonsys]

when a joke takes a while to hit call that a jestational period

[plounce]

why was bashir a closeted homosexual in the 23rd century? like dude it's fine you can relax. actually wait the tense here is kinda funny. i used past tense because ds9 is from the 90s and i watched it in 2021 so in both cases it's from the past in my view. but when talking about a text you speak in the present: why IS bashir a closeted homosexual in the 23rd century? but the statement is half about how ds9 takes place in the scifi future: why WILL bashir be a closeted homosexual in the 23rd century?

[ubepan]

chilchuck gap moe this ep btw. he looked up at laios with big googoo eyes i Had to pause the ep. a middle-aged grown ass man wht are u doing looking at another man like he has the world in his eyes. you are divorced with three kids dude

i think im unwell

[ms-scarletwings]

I always loved this specific expression of his for no particular reason it’s just so effing funny

It’s the most little cartoon guy face. Everything and nothing is going on in that head at the same time.

[potato-lord-but-not]

in my wtnv era 10 years too late but uhhhh trying to figure out how to draw the guy nonetheless

[geeneelee]

Something I like about dungeon Meshi is that it explores a conflict in human nature that is usually either avoided or played for laughs, which is: how much individualism in the pursuit of your own comfort is acceptable, how much is even feasible?

Like Izutsumi is stubbornly independent and self serving to a fault, and yes it’s sometimes played for comedy because this series has a lot of comedy, but it also interrogates how much of that is healthy. After years of slavery and the violation of her bodily autonomy, it’s no wonder she just wants to do Her Own Thing, but people aren’t meant for that sort of solitary lifestyle, and if she wants to reap the benefits of other people she has to make compromises. The desire to live by your own whims is natural, especially when she’s been in a position of having total obedience expected in return for having her basic needs and no freedom but. The balance is something she has to learn to navigate.

And Laios, as lovable as he is, also represents another angle of this—he’s fine with cooperating with other people towards a common goal, and even is happy to put his neck out for his loved ones, but he struggles with navigating boundaries and has to figure out how those work to maintain his relationships and form new ones. It is hard for some people and you can get badly burned if you don’t understand them but overstepping peoples boundaries, no matter how innocently intentioned, is a form of harm you have to learn to avoid, or at least to mitigate. Like no, it’s not okay to try to count a teenage girl’s nipples even if it is your special interest. There is a racial aspect to the way he treats Toshiro. The fact that people don’t always tell him that there is a problem until it’s reached a breaking point is a fault on their side too, but Laios doesn’t always accept peoples boundaries even when they’re set—his attitude towards Izutsumi refusing the mandrake and not trying to understand why his behavior in the sauna was inappropriate is emblematic of this.

People live in societies and they bring their own baggage with them and no matter how understandable or benign their attitudes are ultimately you have to figure out how to balance your needs and comfort against the needs and comfort of others. Some behaviors and attitudes aren’t morally wrong in and of themselves (disliking working with others, not understanding other people’s feelings) but you are responsible for how you react when that hurts someone else.

The friction between individualism and communalism is something we spend our whole lives navigating!

[kiwi]

i forgot i can just draw furries

[comradekatara]

i feel like the reason aang isn’t as adored and beloved as he should be is because he’s the protagonist but he’s also not an archetypal western classical hero. i don’t agree with the entirety of that “avatar aang: feminist icon” essay because i think the role of patriarchy and gender in atla is more complex than what that essay posits, but he definitely complicates the masculine ideal of heroism and generally does not conform to patriarchal notions of masculinity. which is very deliberate, especially as contrasted with sokka and zuko’s explicit struggles with the imperialist/colonial standards of an aggressive, militaristic, and chauvinistic masculinity. aang is subversive because he represents an absence of war in a world ravaged by it. through his link to a (somewhat more) peaceful and harmonious past, he represents a better possible future. as katara would say, he brings people hope.

but people don’t like that he’s not visibly edgy or tormented like zuko is (even though he’s a far more tragic character than zuko is, just fyi), that he isn’t “cool” (even though he’s literally the coolest kid ever, just fyi), that he “gets the girl” (even though if anything, she gets him) despite being twelve and bald and nice (the horror!). katara is the more classical hero of the narrative, as its narrator and its catalyst, the adventurous revolutionary who gradually learns to control and use her powers and eventually becoming a force to be reckoned with. zuko is the classical anti-hero of the narrative, his “redemption arc” constantly hailed as one of the greatest character arcs in television. so people expect katara and zuko, as very obvious narrative foils who parallel each other every step of the way, to be the obvious couple, because based on every romance narrative we’ve been inundated with throughout our lives, within our patriarchal society, they “just make sense together.”

but as much as katara is a protagonist in her own right, aang is the show. the title quite literally represents the central thematic tension of the entire narrative, the colon illustrating the implicit divide between his duties to this brave new world in desperate need of justice and balance, or his duties to his extirpated culture as the last true voice among them. aang is the central figure because this tension represents the crucial ideological battle happening across the entire show. aang is the avatar because he is the only person in the entire world whose values have not been shaped by war.

people constantly laud zuko, in particular, for being the most interesting, complex character in avatar. but i personally don’t even think that’s true. which isn’t to say that zuko isn’t fascinating in his own right, of course, but rather that he’s certainly not the only complex character this show has to offer. he just happens to monologue about his anguish constantly. but aang wasn’t raised as an imperial prince, and so he approaches the world, and his own pain, in a very different manner. the reason he immediately goes to ride giant koi on kyoshi island, mailchutes in omashu, and otherwise goofs around after learning of the shocking ramifications of his people’s genocide is because that’s how he copes with his pain. unlike zuko, who never stops talking about his aches and yearnings, aang represses his trauma and hides his tears behind a mask of upbeat cheerful goofy twelve year old antics.

until he can’t anymore. until he snaps. both katara and zuko wear their hearts on their sleeves, and that includes their rage. but aang’s rage is dangerous specifically because it represents that he has been pushed past his limits, that the conditions of this world in which he is a perpetual stranger, temporally displaced and dispossessed, are intolerable. that peaceful reconciliation is impossible. and the fact that he persists beyond that breaking point, over and over again, to firmly and resoundingly establish his ideals even as they conflict with everything he has learned about this world, a world that is not his own even as he can never return to the world he once knew, is what makes him so unique, so powerful, so beautiful.

i know that aang isn’t the typical hero, neither narratively nor aesthetically, but really, that’s the entire point. the world, our world, needs something other than what we have now. we need someone who will not succumb to the ideals of domination and victory through violence to assert themselves. we need someone who stands firm in refusing to kill the firelord, even as everyone he knows tells him otherwise. we need someone who knows that darkness cannot be vanquished through more darkness, but can only truly yield to purifying light.

and sure, aang is a child, and often acts childishly. sure, he’s not conventionally handsome and alluring. but one thing i will never understand is how that somehow negates his appeal to the masses. because even if you don’t appreciate how crucial he is to the themes of this narrative you all seem to love so much, how can you not love his adorable little face? his precious little laugh, his zest for life, the infinite well of love and kindness he holds in his heart? people who hate aang are crazy to me. because you are, quite literally, hating the world’s most precious baby boy.

[casualcupholder]

Lots of them :))

[cryptovexillologist]

[heartorbit]

revstar emu save me

[reggies-eyeliner]

jwct really said yeah found family is beautiful for the domestic laughter and hugs and cheers and inside jokes but it is also incredibly awkward. it is apologizing first because your pride is easier to sacrifice than it is a relationship. it is doing the hard thing and facing hard truths, but also loving the person unconditionally not despite but regardless of what happened. it is choosing forgiveness because forgiveness was never supposed to be easy but for the people who make you realize life is really worth living it is always worth doing. it is the laughter that makes your sides hurt but it is also wiping the tears off of someone's face and holding them as they double over because they can't stop crying. found family and relationships are difficult and it is being vulnerable and facing hard truths and apologizing first and it is also incredibly worth it.

[biggest-gaudiest-patronuses]

*tries to organize my thoughts*

*remembers i'm not in school and therefore beholden to neither heaven nor hell nor any man's grading system*

*joyously shredding & tossing all my carefully arranged 3x5 mental notecards into the air like so much beige confetti. raising my arms in victory, cheering raucously until i accidentally inhale bits of homemade confetti*

(*coughing up itty bits of paper like a cat evicting a hairball with a firm understanding of tenants' rights*) wait wat happens next

[willgraham-manwhore]

[lucidloving]

I learned how to be quiet about pain when I was very young. I learned how to fold in on myself like laundry, to take up less space in the cupboard. I learned how to keep the peace around me by sweeping the dirt under my own rug.

I have been taught that expressing my less favourable emotions is just complaining—something weak people do when they're too incompetent to solve their own problems.

Incompetent. Incompetent. This word is very important to me. Incompetent is the word I am always running from. To run from incompetency means to run from feeling dejected, feeling lost, feeling hurt. To run from incompetency is to run towards goodness. To run towards a me who knows all the answers and shoulders all the burdens and shrugs off all the pain.

Some days I am not very good at this race I am running. Days when the past lurches forward to bite my ankles, or days when the future looks back to scorn my present.

On these days I am weak. The poise slips. It's all too easy to cry a little and vent my fears. I forget that I am supposed to be keeping all of this shut away where no one else can see. I forget that I am not supposed to be dragged down by these feelings in the first place.

Today I feigned nonchalance and I feigned it well. No one noticed that I was hurt by the thing that happened, and sitting alone in all my hurt, I was bitterly gratified. I had fulfilled the proper narrative of an animal who is injured and returns to its cave to lick its wounds only in private.

But there is a desperation for the hidden pain to be noticed. This is the Achilles' Heel of the whole stealth operation; it threatens the little play I have constructed in which I suffer alone and inconvenience no one and am all the stronger for it.

Today I stood upright to talk to my mother and doubled over in pain the moment she left the room. It is satisfying, knowing I did the valiant and honourable thing of keeping the damn pain to myself. It is infuriating, the way my eyes flickered to the door in the dark and private hope that she would come back in and witness me while I was down.

I want to be strong and hide all the hard things away. I want someone to see my efforts to hide all the hard things away and realise I'm strong. I want to bring to life this character I have created who suffers without complaint and is loved when the truth is revealed. Who suffers well.

This is the person who stores up agony to a breaking point, to justify the ultimate snapping of composure. This is the person who wants to be depended on relentlessly and one-sidedly, so that someone someday might notice the unfairness of it all. This is the person who virtuously and righteously take all the hits without a sound, so that when they finally, inevitably break, their pain will come to light all at once and inspire awe and guilt in equal measure.

Who am I, really? Is it terrible to want to play this character? Perhaps some old wound craves acknowledgement and understanding and doesn't know how else to ask for it except by hiding until it festers.

Strength. Competency. Resilience. Dependability. Independence. They have all become synonyms in my black and white dictionary. They have all become straws for the drowning man.

I self-impose silence. I take pleasure in denial and secrecy. I take pride in successfully keeping a problem to myself.

Pride. That's another important word. I think I have too much of it, although it pains me when others point it out. Pride implies I think highly of myself, which is something a good person should never do. Pride is so audaciously self-absorbed, so high-and-mighty, so filthy with ego. There's probably a lot of it in this damn thing I've written.

Pride is the other thing that keeps my mouth shut. The thing that says I should be austere, untouchable, immovable. Pride is the thing that says look here, you don't have a lot going for you so you better keep this mask on right if you want to be good. If you want to be admired.

These terrible things keep me safe. I can't let go of that stupidly noble character or that cowardly pride. I need them to shield me from the reality that I am emotional, not all that put together, and honestly hopeless most of the time.

I need to have something worth liking about myself. I need to have a grit that makes me undeniably good. I need to have a strength that goes unsung, that lies in wait of discovery.

What an exhausting way to live. But it's the only way I know.

[djemsostylist]

The thing I love most about the Warhammer 40k Space Marine game, starring one Captain Titus of the Ultramarines, is that it explains NOTHING. AT ALL. This game goes "well you wouldn't be playing me if you didn't know what Warhammer was, right?" and they would probably be mostly correct except that no, actually, I didn't even know what a space marine was when I first played, way way back in the early 20teens.

The game dumps you into a world where you play as a Captain of the Ultramarines. What is an Ultramarine, you ask? Why it's Captain Titus of course! and Leandros and Sergeant Sidonus. Are there more of them? Maybe, who knows! What's a Blood Raven? It looks like you, but different colors, and there are also only 4 of them. Are all of the space marines just squads of 4? Did you used to have a fourth and he died? Are you an army or a strike force? Who knows! The game for sure isn't gonna tell you!

What's an "inquisitor?" Well, it's Drogan of course! The one you have you save! And he's a psyker see. (What's a psyker, you ask? Well, it's what the Inquisitor is! Is it the same thing? NO IDEA! Just keep killing!) Now, is he also a space marine? Hard to say! Are space marines big, or just people in like, really big armor? WHO KNOWS! Not you, now kill some orks! Why are we killing orks? Because that's your mission of course!

And oh, hey, you're on a Forge World, fighting through the factories of the mechnanicum. What are these things? Well, you're on them and in them, what else do you NEED to know?

My favorite bit is when the Forces of Chaos show up, and a demon rips his way out of the fabric of reality, and it's just like "oh yeah, did we forget to mention you might have to fight demons? OOPS! Well, they pop as delightfully as an ork, so hop to it!" and then they just give you a different sort of Really Big Gun you can use to get on with the killing. Leandros seems concerned, the Inquisitor and Sidonus don't (and who outranks who? The regular men and women call you "Lord" but you call the Inquisitor "Lord" and all of you seem beholden to a "God-Emperor" (and is he an emperor or a God, or something of both?) but the only thing that matters is whether you chose a Plasma Rifle or a Lascanon to get through this next round, so who are you to question anything?

When the Inquisitor tells you to "meet at the monument" you just do, even though the monument is a nondescript hooded figure that says nothing and means little (except that these people do have monuments to something, and is it a saint? a martyr?) and so you go there anyway because there are more greenskins coming and you are about to get a thunderhammer (and maybe a jumppack, though those never last long.)

There are skulls sort of everywhere and everything looks like some sort of outsized Gothic cathedral and the voice that drones on and on sounds British and clipped and the words she says are dystopian and strange but there are always more orks to kill (and demons and men who look like you but aren't you, and are they really men behind those masks anymore, spilling from yawning purple clouds and splattering the walls with blood before vanishing i a lingering miasma) so you just keep going.

At one point a man who is not a man offers you the chance to become a god, to become a creature of whatever form you wish, and you still aren't entirely sure what the ultramarines are (and who is Lord Guilliman and his tenants your battle brother holds so dear) but there is a certainty in your refusal, a rigid belief that you won't fall because you can't fall (and did the man who is not a man who offers you a godhood fall? or has he always been like this?) but you deny him anyway (because you can, because you must, because you are an Ultramarine or because you believe in something more?) and you fight and fight and fight and kill and kill and kill and kill and kill and bleed until perhaps there is no blood left (your armor is huge and cumbersome and the floor shakes when you land but you move with grace and speed and roll and dodge and kill and live and what are you even, really?) and in the end you have saved a world and when you say "More than you know" you mean it with your whole heart because you are human, you are, you bleed, and you tire, and you grieve and you mourn (but are you human, really? if you can touch the darkness and not give in, not turn aside, if men call you angels and demons speak of gods) and it all means nothing because men you are you but not you show up, men in black and white (they look like Holy Orders, Hospitallers or something close) and a man who is an Inquisitor who is not Drogan, who speaks softly but firmly and they take you away and Leandros looks on with fear and maybe regret (and you do it to save Mira, you think, her and all the others you died a thousand times to save except you lived, and she lived, and they call you Angels and if you can't die maybe it's true, or perhaps you love them, all of them, the men and women who look at you with awe and fear and love, and isn't that being an Angel, in the end?)

Anyway, I've played this game thrice through (easy, medium, hard) and read all the codex and I still, to this day, do not know what happens at the Siege of Terra and what happens to make 30k 40k, and I think that's really sort of beautiful, in the end.