#it's the choosing to be fundamentally good for the sake of others

[casscainmainly]

My Top 10 Batgirl (2000) Moments

This is my list of top 10 Batgirl (2000) moments!! There were so many to choose from, but these are my personal favs :)). Counting down from 10 to my absolute favourite.

10. Volving

An absolute classic. Perfectly encapsulates what Cass does throughout the entire run, and more writers should play with Cass' use of language like this!

9. Beat Up Every Mob In Gotham

Perfect encapsulation of the early Barbara-Cass dynamic, and one of the funniest moments in the series. Just love the expressions and the way this shows so much of Cass' character.

8. Choosing to Write

The entirety of issue #2 builds up to this heart-wrenching moment. After delivering a dead man's final message to his wife, Cass sees the wife's reaction to the written message and decides to learn to write. A foundational moment for her character, and a nice motherly Babs scene too.

7. Alpha Redemption

Capping off issues 35 + 36, Batgirl unmasks herself to convince Alpha (an amnesiac villain) that he doesn't have to be defined by his past. Brilliantly displays her core belief that people can change, and the fact that her belief pays off makes this moment extremely moving.

6. For God's Sake

Possibly a controversial pick, but I really like this moment because it underscores some of the fundamental conflict between Babs and Cass. They love each other, but they don't always understand each other, particularly in regards to each other's disabilities. A painful moment that should have been explored more.

5. Fight For Your Life

My favourite Stephanie and Cass moment in this run. You can feel Cass' grief throughout this hallucination, but there's also so much hope and love (for Stephanie and for herself). It's an amazing conclusion to Cass' initial suicidal tendencies: instead of desiring death, she now actively fights to live.

4. Darknight Detectives

This interaction sums up a lot of Bruce and Cass' best moments. Cass' unwavering moral beliefs, Bruce's pride, their instinctive understanding of each other; they just get each other in a way few others do. I picked this one instead of the 'instinct/good answer' moment because it also marks Cass' development in her detective ability. From Moment 8 above to here, the confidence in her mental capacities has grown so much. She really volved!

3. Perfect For A Year

I mean of course this had to be here. These lines literally take up 90% of my brain space, it's an incredibly tense moment that illustrates Cass' desire to be perfect, her need to be useful and good. This issue is also just awesome.

2. You're... Not

Another absolute classic. Illustrates Cass' compassion and her belief that people aren't defined by their lineage, which is particularly personal to her, given her own dad. This struggle between good/bad, parent/child defines many of Cass' best stories.

1. Who Do You Think You Are? + Father's Day

What else would number 1 be?? Issue 33 is my favourite in the entire run, and the entire thing is stacked with moments that could fill up this list. I just love 'who do you think you are' because it's all of Cass' rage spilling out, and yet she still loves David Cain in her own complicated way (and he reciprocates, too). Then we have the ending, which is the BEST Bruce and Cass moment ever. The sparse, meaningful dialogue, the expressions, the reveal of the TITLE: comic book writing at its finest.

Honorary mention to the Shiva/Cass fight, which just narrowly missed out.

[snivyartjpeg]

Yuma Month Day 26 - Role Swap

god i was excited for this one. it first started off as a joke, but the more i thought about it, the more interesting this swap became. so here's my massive lore dump of changes that'd happen in the story beneath the cut (spoiler warning):

i think, fundamentally, yuma and yakou are very similar characters. they're both very protective and kindhearted, with a strong sense of justice and a penchant for attracting terrible luck. because of this, some things would remain the same, such as the NDA's dynamics with their doormat chief as well amnesia!yakou's massive unpaid intern energy. i think yakou would be pretty similar to how he behaved in the light novel- a bit more optimistic and naive, like yuma. but there are two key differences between them that'd make this a different story, especially in ch 4: yuma has a forte, and yakou is very selfish. so here's some changes:

yakou's wife is his shinigami now, as you can see, while shinigami is yuma's dead wife. i think mrs furio would act cooler than shinigami. she'd still be playful, but she takes her job more seriously. also she hands yakou the solution keys normally without throwing up. they still have to do the dance and mouth sword thing tho. and the other stuff. that's just death god protocol

shinigami (or in this case the unnamed Mrs. Kokohead but i will still be calling her shinigami for convenience sake) was a scientist at amaterasu who studied forensics and thanatology instead of regenerative medicine. this also means that the pill she gives zombie yuma is not going to bring him back, but instead grant the zombie homunculi a peaceful, painless, but permanent death

speaking of zombie yuma, he's the homunculus now! yakou is 100% human and also doesnt have a forte. he's still number one, but instead of having a forte he's just that good at solving mysteries

yes this means makoto looks like yakou now. sorry makotoheads. i think he'd have really long, shaggy hair dyed to be like. idk. black or something. also he's more clean shaven bc stubble with a mask on is a sensory nightmare

yuma still cant cook. he subsists entirely on takeout, meat buns, black coffee, and beer. he's still in a lot of debt and under a lot of stress and his personality is essentially "what if canon number one just gave up"

he doesn't smoke though. he tried once and got into the worst coughing fit

imma say it right now. kurumi is not a love interest. yakou likely disguises himself as a faculty member instead (also i think one of the teachers gets a crush on fem yakou bc i just know she'd be hot)

ANYWAY what about chapter 4? im SO glad you asked! because here's where things get spicy!

so, lets start with the dead wife. shinigami catches onto huesca's inhumane research and she's just as adamant about bringing the truth to light as she always is. she blows the whistle, so he blows her up. yuma investigates, but they dont let him look any further, yada yada, yuma stews in his misery for five years

yomi sends in the evidence to motivate yuma to kill huesca, and makoto lets it happen because a dead huesca would be convenient. he even introduces the hitman, fully expecting yuma to make use of him

yuma doesnt. in fact, he wants to kill huesca with his own hands. and now that these detectives are here, he can do it and even return alive. the thing is, he doesn't want to put them in danger, so he chooses to do almost everything alone (sound familiar?)

his plan is simple:

ask desuhiko for a peacekeeper uniform. desuhiko trusts him enough to take "i want to investigate kanai ward's ultimate secret by infiltrating their ranks" as an answer. he does, however, let yakou know about this as an offhand comment before the mystery ever begins

hold fubuki's hand. it doesnt really matter how. she'll gladly allow it because she's fubuki. he stores her time powers and heads out the sub. yakou also learns this as an offhand comment played off as a joke (maybe fubuki affectionately comments about how she never expected the chief's hands to be so soft... idk. there has to be some way for yakou to have this as a future clue)

use his peacekeeper status to sneak into amaterasu HQ and demand a functioning ama-pal from that one creepy researcher

use ama-pal + fubuki's borrowed powers to bypass huesca's security. sneak the bot past the hard-of-hearing doctor and press the button to shut off security

this would probably alert huesca, but since the doctor never received a warning, yuma has enough time to rush in and stab him before he realizes what's going on

leave HQ while still in uniform, dispose of the disguise once he's safe, and return to the NDA like nothing happened. success!

soooo.... yakou, on that same day, decides to investigate amaterasu HQ with makoto

all the while, vivia has his suspicions about yuma's actions and keeps an eye on him in spectral mode. he... basically witnessed the whole thing, so he gets up off his ass and decides to follow yakou to the lab because he has a Very Bad Feeling about this

just like canon, he senses the death god and deduces that our protag has been killing off murderers, and so he wants to protect his chief as well as his peace and quiet (his dynamic with yuma would be the same as his dynamic with yakou, since it's entirely believable for yuma to treat vivia with the same kindness yakou did)

yakou tries to speak to huesca, but surprise! security is disabled and he's dead in the lab! no one else at amaterasu liked huesca enough to check on him, so yakou and makoto are the first ones at the scene of the crime. yakou, of course, decides to start investigating this murder

vivia somehow sneaks into the lab (dont ask me how) and confronts yakou, threatening him with his boxcutter and adamantly imploring him to stop pursuing this particular mystery in the same way he did yuma in canon. unfortunately, this attracts attention, and now they're in trouble (maybe even yomi's there to fetch his files). at this point, yakou has enough solution keys, so he panics and goes right into the labyrinth (and maybe others can enter for another reason that isnt coalescence idk)

so... they go in the labyrinth... vivia tries to stop him every step of the way, until the answer is right in front of them

yakou kills yuma with his own hands. there's no stab wounds or toxic gas to leave any doubt. yakou begins to question what good his justice really does. it doesnt even save them from their predicament, just like the other deaths. instead, makoto ex machina comes in to save them, and hands yakou a small black box

when they return to the agency, everyone is heartbroken over their chief, who seemingly died out of nowhere. fubuki tried rewinding time, but to no avail. halara tried everything to wake him up, knowing it's futile. desuhiko stood aside, feeling completely helpless. and yakou and vivia return looking like they just came back from hell

they barely get the chance for a funeral before the knockout gas trap activates... you know the rest

AAAAND SCENE! so that's my extremely long winded lore dump about this au. i thought about it Way Too Much but god it's so interesting to me. i love these characters and swapping them was immensely fun

[doberbutts]

I remember reading a post that men are the oppressor class so why would they bother to dismantle systemic patriarchy when they actively benefit from its existence? And as I read it, I thought, Damn, so an entire half of the population can never conceivably help us, and the people who love men in their lives are doomed. It wasn't a helpful post. It basically felt, here's some actual material analysis on feminism and said, That trying to educate and make men be part of feminism is fundamentally a flawed effort, because again, they are the oppressor class, why should they care about uplifting the oppressed?

And it made me think about this very good pamphlet I read, explaining how the white worker remained complacent for so long because at least they weren't a Black slave. And that the author theorized the reason labor movements never truly created exceptional, radical change is because of internal racism (which I find true) and failure to uplift black people. And the author listed common outlooks/approaches to this problem, and one of them was: "We should ignore the white folks entirely and hold solidarity with only other POC, and the countries in the Global South. Who needs those wishy-washy white fragile leftists who don't care about what we think or want?" (roughly paraphrased.)

And the author said, This sounds like the most leftist and radical position, but it's totally flawed because it absolves us of our responsibility to dismantle white supremacy for the sake of our fellow marginalized people, and we are basically ignoring the problem. And that blew me away because this is a position so many activists have, to just ignore the white folks and focus entirely on our own movements. I wish I knew the name of the actual pamphlet, so I could quote entire passages at you.

But I feel this is the same for men. Obviously, we should prioritize and have women-led and women-focused feminism. But saying that men are an oppressor class so they can't reliably be counted upon in feminist activism--it's such a huge oversimplification. And mainly, I'm a Muslim, and I've been treated with plenty of misogyny from Muslim men. And also plenty of misogyny from Muslim women. And I love my male friends, I want men to be part of the movement, and I dunno. Thinking about communities, movements, and the various ways we fail each other and what it means to be truly intersectional keeps me up at night.

I don't know the pamphlet you're talking about but I've read and been taught similar. There's a reason much of my anti-racism is so feminist and most of my feminism is anti-racist. Many people coming at this problem from a truly intersectional angle have seen that there is no freedom to be had without joining hands across the community. Not picking and choosing our allies based off of identity but off of behavior.

As used in a previous example, a white abled moderately wealthy man saying "wow Healthcare sucks in this country, why does this system suck so bad" should be told "hey, this system sucks so bad because it's built off of sexism, racism, classism, and ableism. You want to improve the system? Fix those things and it will be much better in the long run" and not "shut up you're a man. Healthcare is always going to be better for you". The second response doesn't fix that Healthcare is still a problem even if you are at the "top" of the privilege ladder. If we want true change, we have to dismantle the entire system at it's core and build it up without the yuck, otherwise you're gunna get to the top and realize this place sucks too.

Something something if the crabs worked together to hold each other up, they could all get out of the bucket and be free.

[churrochamp]

Let's talk about Merlin and lying. This isn't meant to be character bashing, but it might not be the most generous take either.

In All About Love, bel hooks writes: "In our culture privacy is often confused with secrecy. Open, honest, truth-telling individuals value privacy. We all need spaces where we can be alone with thoughts and feelings - where we can experience healthy psychological autonomy and can choose to share when we want to. Keeping secrets is usually about power, about hiding and concealing information."

(hooks has a lot more to say about the reasons why people lie in relationships, and our need for love and difficulty with love in general. Book is fantastic, highly recommend.)

The question is: was Merlin's years of lying about his magic, and all that he did in Arthur's defence, justified? Why'd he do it?

I've been trying to think through how the fandom generally interprets Merlin's character and choices in the show, and how this character makes me feel. It's really complicated and interesting (to me at least lol).

I often see the claim that Merlin lied about his magic for years out of fear for his safety, but it's never fully satisfied me as an explanation. Given that as a fandom we pretty much all agree that magic can be a metaphor for queerness, there's a natural alignment with the claim that queer people aren't ever obligated to come out, for any reason, but it's often said, especially if their physical safety might be jeopardized (which I agree with btw).

And it's true, given Camelot's genocidal laws, Merlin's life could be threatened if he revealed himself as a sorcerer. On the other hand, Merlin is basically all-powerful in the universe of the show, and I don't think the rest of Camelot could do much to him if he were prepared.

What's more convincing to me is the claim that Merlin's afraid of the potential emotional harm that could come from revealing himself. What if Arthur hates and rejects him? That's something his magic can't defend against.

I think Merlin's heart is in the right place. He believes all his work is done in service of Arthur and their joint destiny, which is the good of Albion. And he does save Arthur's life a whole dang lot.

The issue is, probably a good half of the show's major conflicts directly relate to Merlin's actions and inactions - usually, lies he's telling (Morgana, Mordred...). Conflicts that maybe could have been resolved with much less harm if Merlin, who often is the only one with crucial knowledge, had made different choices (and Gaius too oh my GOD). Dude is shooting himself in the foot. Merlin's lying isn't just about personal privacy and autonomy. It becomes a fundamental part, baked into his relationship with Arthur and his role in their prophecy (and the governing of a kingdom jeez).

In addition to plot SNAFUs, the way I see it, Merlin's lying has two major consequences for him:

His most important relationship, with Arthur, is deeply flawed and incomplete.

Merlin remains the most important, influential character in the show. His energies go to trying to keep the power for himself.

As bel hooks argues, there can't be true intimacy in a relationship if one or both parties withhold and deceive the other. This could look like lying to manipulate the other party to get what you want, or even lying to make the relationship go easier. Relationships built on untruth aren't fair to all parties - the deceived person can't make informed choices in the relationship, and the deceiving person robs themselves of the opportunity to be fully supported and loved for who they are. When Merlin lies to Arthur about magic, when he tells Arthur that magic is evil, even if it is for "his sake," he's taking choice away from Arthur often at crucial moments, for both their relationship and the well-being of the kingdom. Without knowledge of the truth about magic, and about Merlin, Arthur can't make fully informed choices as a king or a partner. Things go to shit, and it's terribly lonely for both of them, even if only one of them know about it. Merlin's reason for this might be fear of pain. However, when you don't give someone the opportunity to love or reject you for who you are, how can you feel held by that person? You deprive yourself of the chance.

Another reason to lie can be desire for power and control. By keeping the secret of his magic and their destiny, Merlin keeps all the responsibility and power to himself. This is the premise of the show: Merlin is the only person who can turn Arthur into a good king, save magic, secure Albion's future well-being--and he must do it all secretly. The show jokes about it, the characters joke about it. This premise is a kind of power-fantasy - being the secret power working from the shadows, using all your wit and guile to succeed despite the secrecy, risking life and limb for no recognition, but having the satisfaction of knowing that you are instrumental. It's very James Bond. Without the secrecy, what would be the point of Merlin? The secrecy might be part of what makes Merlin feel special, worthwhile.

As the years go by, the lies compound and the relationship becomes inseparable from them. The most significant on a personal level, probably Merlin's poisoning Morgana, Mordred, Ygraine, and Sophia.

Merlin can't control all the factors, he can't do it all by himself, he can't make Arthur into the ideal king and boyfriend of destiny, and from the start it's a doomed endeavour. Luckily Arthur loves him all on his own, and does get to see him at the very end, and they'll get a second chance.

So in summary, why does Merlin lie about his magic and his actions for so long? Fear, love, and power, is what I suggest. And ultimately it leads him and Arthur to ruin. It's not exactly exemplary behaviour, but it is very very human.

[sykestarot]

what's up in love and some advice pac

i do not own any of these images

1-2-3 (left to right)

hey babes, this is my first ever collective reading post, so I hope all the messages are accurate and good lol. if you enjoy this feel free to follow or reblog! I'm gonna try to post weekly :) thanks for stopping by!

Pile 1 

“Those chills that I knew, they were nothing without you” (King of Swords (rx); 8 of swords (rx); The Magician (rx); Knight of cups (rx); 5 of cups (rx); Knight of Pentacles) Okay pile one I’m sensing that you recently went through a pretty bad breakup or heartbreak. You and this person could’ve been friends in highschool or met through a mutual friend from highschool? You guys were an unlikely pair, or had many differences fundamentally and on the surface. Leading this relationship to not work. Although this was a painful break up you are doing a great job being positive about it. I hear you guys know your worth and have to keep it pushing. I see you are still trying to date casually but it's working against you and hurting you more than it should. Don't feel pressured to hook up with random people because you think that's what you should do. If that's hurting you then take time and space for you instead. When you have a better understanding of your emotional self the right person will appear. Albeit it seems that the appearance of someone new will take a while. I also kept hearing pick yourself up.  The advice for you is to continue to be optimistic and playful. You also have to be loyal to things you love doing and activities that remind you of the love you have to give. I see for this group friendship will be the biggest healer. (funny since you chose the sailor moon pic lol!) Go be with friends and let them heal you as well. You’re already doing a very good job on your own but sometimes the help of others can lift you up tenfold. Signs: boats, the ocean, water, bridges, the color orange, ctas, blue eyes, communication, lotus, tattoos, highschool, shared friend group, coworkers?, fish or fishing, champagne

Pile 2

“Haven’t had a dream in a long time” (Two of swords; 10 of pentacles (rx); 5 of pentacles (rx); The High Priestess; Ace of swords (rx); Justice) Pile two, your energy isn’t as free flowing as pile one’s was. You feel confused or at a loss. I feel like maybe you got fired or quit your job recently. Perhaps because of a relationship that turned sour? I feel pain behind my eyes so maybe it was a desk or office job that you work at. I feel like you were choosing to stay stagnant because of a relationship. Either you had better opportunities and they didn’t want to move with or for you. Or you held  yourself back from growing for their sake. Or maybe even someone had been leeching on you for money. Maybe you stopped practicing your spiritual or religious beliefs for this person? I see you not communicating any of your needs whether it was emotional or physical. Your energy is hard to get a straight message. I keep getting distracted, almost as if you don't want to admit these things. Maybe you’re still with this person and you know these are problems but don't want to say it outloud or admit it. I see that eventually justice will be served and the karma this person will face will be a heavy dose, however you have to choose to leave or that karma will affect you both. The advice for you is take the blindfold that you willingly have on off immediately. The only person you're hurting is yourself. I see that spirit is begging to work with you. I feel like you’ve been seeing repeating numbers a lot. Google what these numbers mean and how they fit into your life. I feel how somber your guides are that you won't hear them when you always have. It’s making my eyes water. I also see that you need to take things slowly and be in the present and not live in fantasyland anymore. You are worthy of so much more pile two. I only hope that you can at least feel the love you deserve within this message. Signs - crows, owls, bird in general, music, sea turtles, hawaii, snorkeling, planes/jets, pilots, Top Gun, traveling, military, marines, mother mary, rosary, catholic churches?, prayer, music music music, guitar or bass, M names?, 111

Pile 3

“You can drive all night, looking for the answers in the pouring rain” (The Star; 6  of swords (rx); Ace of swords; The Hermit; 7 of cups (rx); 5 of cups) Pile three, I feel you are a beautiful and necessary light in this world. You have such a big purpose in this world and I feel like you don’t see it. I’m talking about the things that you were put on this earth for will change the trajectory of things. Whether it's changing people's lives or discovering a new element. But youre so scared of starting the journey because you're afraid of the unknown. The way you speak is so eloquent and well thought out but I feel like you don’t like speaking to others very much because you feel like people misunderstand you due to lack of responses but people just love hearing you speak. You sound like the smartest person in the room when you speak. Perhaps you're an educated witty type and people find your well thought out jokes so funny, like they think about them later. But you feel without options. Perhaps you're doing things differently from your friends? And you feel behind because of that or without. However there are options that you don't even know about yet. You are so much more than what you think you are. Trust. Maybe you feel discouraged in love because no one satisfies your needs or everything falls apart.  Advice for you is to remember who you are. You must find who you are first to gain a relationship worth having or to find an equal. Remember that you are spiritually protected and guided and the strength that you possess is so great. Do not give up just yet continue to move forward. Whatever ideas you have you can bring them into your physical life. I also see the more gratitude you have for things it will help you better your perspective on your own life and goals. I kept on hearing you ill get there because you're you. Signs - Rhinos, lions, lion king, 5’s, microphones, theater, stages, stage lights. Angels, the color white, full moons, lizards, sagittarius moon?, the veiled lady?, fine arts, actor/actress, science, chemistry 

[alicentsgf]

Let's talk in depth about book Alicent. because even though i read the book 3 years ago I didn't engage online about it until the show's release and um. wow. some people have a very different interpretation of her to me. and also... some of those interpretations show a fundamental misunderstanding of the text, a tendency toward indulging the misogyny present in Fire and Blood, or both.

People are saying the writers changed Alicent's story to 'make her a victim'... they didn't. It was always possible to read the book and perceive that she was in many ways a victim. Honestly the biggest thing they changed was her age, probably to assist the interpretation they'd chosen, but the larger elements all stay the same; in both versions she's worked in service of the crown since she was young (as a type of companion either to Jaehaerys or Rhaenyra) and she and Rhaenyra initially have a good relationship (according to one source in F&B - this supposedly changes when Aegon was born and not named heir). So making it Rhaenyra we see her close with just makes the emotional tethers that might have been there anyway more visible. After all, Rhaenyra Does spare Alicent's life in F&B, and whilst she says it's for Viserys sake, Alicent at that point had been at the very least complicit in the deaths of most of Rhaenyra's children. Rhaenyra having such a strong former bond with Alicent is going to give this event in the show a lot more weight. It's not hard to see why they made this change, because it adds to the existing tragedy of the story.

The fact is everything we see of Alicent in F&B is up for debate to some extent. Like, for example, did she seduce Viserys? of course certain sources tell us yes, but Fire and Blood is brimming with asoiaf-typical misogyny; it all reminds me somewhat of the story of Anne Boleyn, her story molded into something unrecognisable by history in order to make her the instigator. In truth, we have no way of knowing if Alicent wanted Viserys or not, but we do know she probably didn't have to seduce him. She was widely regarded as being the most beautiful woman - it wouldn't have taken a lot for Viserys to notice her. People, characters and readers alike, assume that because she wasn't the best political match he must have been persuaded, but Viserys was a selfish man, (that is indisputable, we see it in many of his provable actions), so it fits with his character to choose a slightly unsuitable wife on the basis of his own lust. The age gap in the show only serves to demonstrate visually the power imbalance that was at least somewhat present in the book anyway. And yes, this like most things in the book is up for interpretation, but I will say this: I seriously do not respect people calling her 'evil'.

The text never presents Alicent as evil. Even in the worst of her actions she is never legitimately shown to revel in the pain and suffering of others. At most you could argue she was ambitious, but I don't even believe that on the basis of one specific thing: it was her, not Otto, who asked Viserys to betroth Aegon to Rhaenyra. This was not a crazy suggestion in the book, as it was presented in the show; they were only a decade apart, and it was the Valyrian custom that the eldest son would marry his eldest sister, as Aegon the conqueror married Visenya. Alicent wanted this without stipulating the expectation that Aegon would rule instead of Rhaenyra. Viserys reportedly dismissed Alicent on the basis of believing she only wanted Aegon a step closer to the throne, and it can be read that way, but personally I don't think so. I think she was exhausting options to try to protect him after she realised Viserys was never going to name him heir.

Ultimately, Alicent would have been stupid to ignore that her children's lives were at stake. Especially in Fire and Blood where she was much less familiar with Rhaenyra. Nothing in Rhaenyra's actions suggested she wouldn't be capable. She reportedly had no affection for her brothers where she was kid enough to Helaena, suggesting she already saw them as threats. She had demonstrated herself willing to accept physical harm to them in favour of her own sons. She was later thought to be at least complicit in the death of her husband Laenor, who had by all accounts been a good, kind husband to her… and then she married Daemon. Even before this he had been an obvious threat to Alicent's children; a violent man who'd always lusted after power, with a known hatred for Hightowers and who'd never been kind to his nephews by Alicent. Even if Alicent didn't believe Rhaenyra capable of murdering her sons, she would have been stupid not to believe Daemon able.

The truth is even in the book this crisis was set in motion by Viserys. Once he'd refused to marry Aegon to Rhaenyra the bomb was built and ticking away, it was only a matter of time. Even if Rhaenyra's heirs had been indisputably trueborn, Aegon and his brothers and any descendants they had would have been symbols for those who wanted to oppose the Crown to rally behind as soon as Rhaenyra or Jacaerys disappointed them, no matter if Alicent's sons had personally bent the knee. The situation only became more dire when it was clear that Rhaenyra's heir was not trueborn.

Fire and Blood isn't even really quiet about Rhaenyra's first three sons being bastards. To me it read like Rhaenys' Baratheon blood allowed those who wanted to believe otherwise to delude themselves, as Viserys does in both versions. After all, in the book Laenor being gay is an open secret. But the thing is… it doesn't even really matter if they were or not. With so many people believing they were bastards, they were pretty much as good as. Eventually, and most definitely after Rhaenyra's death, there would have been some form of conflict. Because if Jace, an assumed bastard, ascended the throne it would throw into question the claims of almost every lord in Westeros, many of whom would have older bastard brothers. and if a bastard who didn't even look targaryen could sit the highest seat in the realm over a trueborn silver-haired son of a king like Aegon, what's to stop the bastard brothers of any lord from laying claim to their seat? Aegon would have become a rallying point for that dispute whether he liked it or not, and Jace would have been forced to dispose of him if he wanted to maintain power.

In light of this, it's really no wonder Alicent repeatedly voices her animosity over Rhaenyra's sons questionable births. It's very telling that in F&B every cruel comment she reportedly makes about or to Rhaenyra references it. and I say "reportedly" because one of the worst of her quotes, her saying 'mayhaps the whore will die in childbirth' about Rhaenyra, people quote as fact… if you do this I will laugh in your face and ask if you read the book. because Alicent did not say that. or rather, if she did, Fire and Blood would not be able to tell us either way because the quote is attributed to her by Mushroom, one of Rhaenyra's supporters who (apart from being a famed liar) was with Rhaenyra on Dragonstone at the time.

The other two quotes used to argue her supposed evilness are from slightly less questionable sources, and honestly, yeah, it does seem likely to me Alicent implied to Rhaenyra her bastard sons' blood was worth less than that of her own trueborn sons'… but at that point, with the horror she'd experienced on account of Viserys upholding Rhaenyra and her sons' questionable claims, her reacting in this way is perhaps cruel and prejudiced, but not evil. And almost justifiably cruel in my opinon; for all she knows the woman she's talking to directly ordered for her six-year-old grandson to be brutally murdered in front of her, her daughter, and her other grandchildren, directly leading to her daughter's madness and later suicide. Was she going to be respectful? Is it fair to expect that from her? This focus on the term 'bastard blood' overshadows the rest of the quote: “Bastard blood shed at war. My son’s sons were innocent boys, cruelly murdered. How many more must die to slake your thirst for vengeance?” Why is Alicent being a bit of a bitch treated as a worse sin than Rhaenyra ordering the brutal murder of a toddler, or at the very least excusing it.

The last quote mentioned to back up claims of alicent's 'evilness' is her telling her granddaughter Jaehaera she should slit the throat of her husband Aegon III in his sleep. By this point it seemed to me Alicent was no doubt consumed by bitterness and would have attacked Aegon herself given the chance, but even without condoning her words or actions we can see how she became like that; all of Alicent's sons are dead and she wants all of Rhaenyra's gone too. Wasn't it "an eye for an eye, a son for a son"? - Rhaenyra's side set the precedent - the idea that it is justifiable to take one innocent life in exchange for another, no matter if its the life of a child who just happens to have been born on the other side of a war.

Alicent by the end of her life had certainly been driven to cruelty in her grief, twisted into something ugly by the world and locked away to rot.

And yet her final words weren't steeped in bitterness or violence. When the fever sets in she accepts death, even welcomes it. She speaks of seeing her children again, and King Jaehaerys. So doesn't that say she was never driven by hatred at all? That there was never any kind of innate evil nature? At least that's my interpretation. This is the same girl who spent her youth reading to a dying king for no clear reward, and felt such affection for him that she mentioned him at the end of her own life, perhaps pining for the time before her marriage. (No doubt in the show she will mention Rhaenyra instead). This is the woman whose daughter and grandchildren visited her with such reliable frequency her grandson's killers knew to wait in her rooms for them.

So what was so evil about her? That she quite understandably saw Rhaenyra and her sons as a threat, and preemptively acted to protect her own? As much as people like to project ideologies onto these characters, neither Alicent nor Rhaenyra's motivations were ideological, that much as clear.

I may have many reservations about House of the Dragon's execution of it, but the decision to present Alicent as a victim of the world she inhabits was not only the right choice, but also kind of the only choice. HotD is presented as objective truth, where F&B is a collection of biased accounts dripping in the misogyny of the men relating them, and so HotD had to be a critique of its own source material. I admit to having my own bias, and my analysis is at least slightly skewed in Alicent's favour because I'm responding to the most negative interpretations of her. And they are all just interpretations. But in my opinion, those adapting the text looked at Alicent and asked "what if this woman is misunderstood?", "what if this woman had no real choice?", "what if the men of this world just chose to ignore her complexity, because she was a woman?" and those were absoutely the questions to ask.

[swollenbabyfat]

How did you come to draw and paint the way you do? What inspirations do you pull from? All of your art oozes with some strange, almost ethereal emotion I've not quite seen anywhere else, something similar to what I'd like to capture with my own works.

I’ve always had a bit of a hard time answering this bc like…I honestly think aesthetic/inspirational/taste stuff is a library you build up over your whole life, or maybe a closet that you try things on to see what does and doesn’t work for you. My biggest advice to this kinda stuff is to experiment a lot and take in a lot of media in a purposeful way, and try to actively apply things you like about said medias to your work. And don’t just consume stuff within your field, I take inspiration from a ton of stuff that isn’t art. I also recommend having somewhere to keep a kind of reserve of inspo, wether it be on tumblr or Pinterest or what have you.

So with that being said I’ll try to sum up what I can about myself.

I’m a horror lover, have been since I was (too) young. I’ve consumed a ton of horror movies, read a lot of books, and certainly have digested a lot of art about it. I am a bit of a haunted person haha, and I’ve always really attached myself to horror, and with some exception to just purely cute stuff I truly am always thinking about it with my work. I am not really aiming to make people feel comfortable with my stuff, in fact often the opposite, but many feel understood anyways which feels nice. I don’t think horror for horrors sake is always as fufilling to me, it always pulls from something internal that I’ve been wrestling with or are afraid of myself.

I am classically trained in fine art due to the kind of art program my highschool had (magnet program if that means anything to anyone), it was incredibly good and I always feel so lucky I got to go there. Bc of this I learned a lot of techniques in painting as well as the fundamental of art. I don’t think my art would be the way it is without this training, but I also think with how the internet is now you can probably do the same thing at your own pace, just have to be dedicating a decent amount of time and mental energy into it.

Bc of my highschool training I also learned about art history, which had a big impact on me, particularly renaissance, baroque, and rococo. Religious imagery as well had a huge impact on me, particularly catholic (probs cause we learned about it it the most). I would say doing master studies with these would be a huge help.

I would say it’s important to me that each “full” illustration tells a story of sorts, I can’t really help it, I’m a story teller at heart. I use a lot of symbolic imagery, I pull a lot from religious imagery but also within fruit, flowers, personal objects… I think “what am I trying to say with this work” and kind of go from there with what I choose. Make your own personal symbolism language.

There’s like this certainty digital painting aesthetic I really enjoy by niche furry artist lol, many of them really nsfw so I don’t feel comfortable linking to them. It’s like…highly detailed well rendered pieces that they make with literally one brush that is often without any kind of pen pressure, just layering things with opacity. It’s crazy and yeah idk they’re definitely up there in inspo for me.

I really really care about fashion. Lolita was my first love in terms of clothing, and I pull a ton of inspiration from it, but also a lot of other street styles and runways stuff. I like drama and frills.

I play with my art and stories in a way that I don’t know how to describe other than childlike. It’s important for me to do so in my process, but basically, I let my imagination run wild, I talk to my characters, I listen to music and think about them. A lot of my bigger pieces take a lot of time of me thinking about them ahead a time, I draw in my head a lot. Sketchbooks are a huge help in this.

I thiiiiiink that’s all I have to say for now…I could probably list a million things but this feels like a good core to start with. I hope it’s not too vague, but I’m always good to keep answering stuff like this if you wanna know about one part in depth.

[dragonsinthedarkness]

"But I hear other voices. A chorus of voices. Multitudes. They reach back centuries. Men and women and children who lost their lives to men like you. Man and women and children forced to wear your chains. I must answer to them.

And this war, Flint’s war, my war, it will not be bargained away to avoid a fight. To save John Silver’s life, or his men’s, or mine.”

I’d like to start from this beautiful speech from Madi to explain why I think Madi is the war itself. Why she was exactly what Flint needed to start fighting it and why she couldn’t be further away from Silver as a person.

Just because I rewatched the final ep. today and I feel the need to honor the one who lost part of herself in this and to reason about the dynamics among the two persons who might have changed the world and the one who kicked that hope back into the dark corner of the untold.

As always, Flint and Silver’s conversation at the end of ep.XXXVIII made me think A LOT. First time I guess I was overwhelmed by emotions, but this time, between the bitterness of the betrayal and the desperation of Flint's loss, I think I started to see exactly what Silver couldn’t get about the war. Which basically is its meaning.

But let me begin with Flint, because is the character I think I know better by now and because I need to start from a warrior who is not the war itself.

Flint started by fighting a war, another one, an easier one, alongside Thomas. He found himself in that period of time, but he lost that war and the one he loved the most with it. Then he started to fight another kind of war, twisted himself in order to fit into its lines. That war was never about liberation, even if that was what he had been telling himself all along and maybe what he hoped he could eventually accomplish by fighting it: it was just about revenge and something to grab in order to stay afloat. It took him to lost every hope of happiness he had left (Miranda), the last possible meaning of his life and of the person he felt he really was deep inside to see the chance for yet another kind of war. A wider one, a harder one, a most fundamental one. It took him to meet Madi. Knowing her, someone completely different from anyone he had known and fought along in the past, someone who was somehow closer to him as a person than anyone he had ever known (except maybe Eleonor, I’m talking mainly about the pirates. Thomas and Miranda were close to him but not very similar in character I’d say and maybe this is why they got along together so well), he finally had the chance to understand that he was not alone in his misery. She had the courage to be what Flint didn’t even know he could become, the fight not for the fight’s sake but for the outcome, as much as he reputed himself already excluded from it, because however he couldn’t ever be part of anything again, not in the way he had been with Thomas and Miranda. But there’s a difference between fighting just to kill and fighting to save who the one you are killing would have been willing to kill, and Madi represented that change for him.

And the war represented the only meaning he was still able to give to his life.

He is defined by his past, absolutely and mainly, and this makes him both someone with valid reasons to fight and someone with reasons to stop fighting.

In the previous episode we see how Silver instead refuses to be defined by his past, which could be a good or a bad thing, depending on how one let that past influence themselves, but that in this specific situation is basically what makes him unable (just my point of view of course) to get the general meaning of that war.

He chooses to erase his experience in favor of the moment, of the future maybe, and this makes him unable (as much as he likes to affirm the contrary, which I had never agreed upon) to understand the minds of the ones who let that experience shape them. And even more, it makes him unable to understand the minds of the ones who don’t need to have cruel experiences behind them in order to feel the fight. That is, Madi.

To link with my previous post ( https://www.tumblr.com/dragonsinthedarkness/758840316125216768/from-the-moment-he-started-speaking-i-couldnt?source=share ), in that infamous conversation in the last ep. Silver confesses he felt the war only (or especially, but I’d say only) when he lost Madi, because he felt the need to honor her sacrifice, avenge her lost and everything Flint had been doing for years, and the point is that that war was EXACTLY that. It was answering to the multitudes of voices who had undergone all that suffering and that demanded justice for it. It was trying to accomplish that as few others as possible could undergo that same fate.

And the point I want to make is that Madi was not only a warrior but the war itself because she felt those voices and the need to answer to them EVEN IF she had never personally experienced such tragedies. She was raised with the Guthries, then in the camp, she had probably even had the chance to be happy in her childhood, but this didn’t prevent her from developing the knowledge of that evil or the responsibility to fight it as leader of her community and as sisters of all the ones who had suffered before and may suffer again.

She wasn’t defined by her own past, but she brought on her shoulders the most painful and important legacy and decided to honor it.

And one may ask for justice for what happened in their own lifetime with a single chance of succeeding, that can make a great warrior of them, but those voices REACHED BACK CENTURIES, as she said. Her justice, their justice, would have been hopeless as long as something bigger as that war started to change things, and this is exactly what Silver couldn’t understand.

Now of course I know changes don’t happen overnight because “the world is too strong for that”, but I’m talking about their reality in that age right now and I think that as much as a war couldn’t have probably changed things, it would have been a beginning at least. A scream echoing in the night of their existences who would have maybe be heard, and as long as even a single person was able to gain goodness from it, it wouldn’t have been in vain.

As I believe all their efforts had not been in vain, despite the outcome.

For one hour, a month or a year (to improperly quote Silver) of freedom.

For one single moment of victory, of light in the dark.

[sunnybearvampire]

hold on something just occurred to me while freaking out in the tags of another post. this post is for a very specific section of the go fandom that also watches dropout. hear me out.

there was a quote that suddenly came to mind when i was thinking about the breakup scene in good omens (the last one. i know there's been several.).

"does he love me more than being major?" - delloso de la rue (a court of fey and flowers)

and i kept thinking about how crowley knows aziraphale loves him when he confesses. he says We when talking about pretending. he knows. but he's still worried aziraphale won't reciprocate in the way he wants him to. and by the end of the episode, crowley believes that aziraphale chose heaven over him - belonging to the "good" side. that aziraphale wouldn't want him as he is, would jump at the first chance of changing him - to be deserving, to be forgivable, forgiven.

rue is always the more radical between hob and them. they call for the dissolution of courts - like crowley, they don't believe in sides anymore. this question is the vocalisation of their fear at the end of acofaf - yes, hob loves me, but will he choose me over the only place he's called home, even if he never truly felt like he belonged?

and let's be honest - aziraphale fucking hates being in heaven. he doesn't belong there, doesn't feel good there. he is mocked and put down repeatedly (much like hob, standing out in the goblin court, being fundamentally different from other goblins and wanting to change that - 'that was very honorable and brave' 'i know, i'm working on it')

yet, hob's loyalty to the goblin court persists until the final moments of acofaf - much like we see in season one of good omens with aziraphale. but both ultimately make the decision to follow their hearts and save the world for the sake of their love and happiness (and found family).

but while the romance between hob and rue is wrapped up with a confession and a marriage proposal (see me crying about 'you will never know a lonely day again, as long as i draw breath'), crowley and aziraphale don't fucking talk to each other. ever.

so crowley broke apart when he thought azira died and protected him again and again from heaven and azira threw a ball just to have an excuse to touch crowley and they don't know. they don't have all the facts. so we have a crisis that was resolved very quickly between hob and rue that is still plaguing them.

tl;dr: i make up parallels between my favourite queer couples. am sad.

[lord-squiggletits]

unpopular opinions meme: anything on Earthspark?

(Haven't watched Season 1 part two yet so take this with a grain of salt)

I avoid looking at fandom tags generally since I tend to not like a lot of popular takes in general, but people's takes about Optimus being brainwashed/shadowplayed/replaced by a clone in Earthspark really annoy me because it demonstrates a couple troublesome things about self-professed Optimus fans (or anyone really interested in OP in general):

People can't handle the fact that Optimus might make mistakes

Because of this, they then rush to remove agency from him (to make the bad things that happen not his fault)

In doing this, they completely erase, downplay, or even lambast as flaws the very traits that make Optimus who he is.

To take this from the top, Optimus "freedom is the right of all sentient beings" is, and has always been, a person who cares deeply about the rights of other species. This is a trait he's had in EVERY continuity: he values all lives, even small and fleeting ones, as equal to Cybertronian life, and he strives to protect uninvolved aliens from the horrific consequences of the Autobot-Decepticon war. This is one of his primary traits. This is a GOOD TRAIT OF HIS and it's LITERALLY ONE OF THE FUNDAMENTAL PARTS OF HIS PERSONALITY.

In Earthspark, we specifically hear Optimus say "we are guests on this planet" with regards to living peacefully alongside humans. GHOST is a suspicious organization and not only do we see this as the viewers, OPTIMUS HIMSELF acknowledges this by choosing to hide the Terrans from GHOST and openly saying that he doesn't know if GHOST is trustworthy, but it's currently the best option they have and he's trying to find another way.

Earthspark Optimus has no shortage of nuance. He's not a dunce; he acknowledges on multiple occasions that he doesn't completely trust GHOST, that he's willing to hide things from them, and that he would do something else to live peacefully with humans if he knew of a way to do so.

But the fandom seems to get one whiff of anything "problematic" happening due to Optimus (not just Optimus, literally every Autobot and even Megatron collaborates with them too, but for some reason blame for working with GHOST only ever falls on Optimus) and they immediately jump to this bizarre headcanon they have that Optimus is a total idiot and couldn't possibly be aware of any negative consequences of working with GHOST. People seem to think that if anything bad happens because of Optimus working with GHOST, it HAS to be because he was literally brainwashed into working with them.

Optimus believing in the rights of all sentient beings? Optimus being willing to make compromises for the sake of other species besides his own? Optimus knowing that he's making morally gray choices/questionable allies and doing it anyways because he thinks it's his best option? Nope. Nope, clearly he has to be brainwashed or a clone or something.

It's really frustrating because people jump to this black-and-white view of Earthspark's plot where they're like, "GHOST is evil and this clearly means that Optimus is an idiot for even attempting to work with them." But like. What else is he supposed to do? Just let the Decepticons run around stealing from humans, damaging their property, and killing them? Is Optimus supposed to grab a random piece of human land and go "this is mine now, me and all my people are gonna live here now." That would be literal colonialism, and keep in mind that humans had nothing to do with the war to start with-- Earth is just the unfortunate planet that the war happened to land on, dragging humans into a Cybertronian conflict.

It's just.... so fucking frustrating as an Optimus fan lmao. It's gotten to the point that I don't even look at Optimus content made by other Optimus fans because too many of them have this idea that Optimus can't be a normal person who makes bad choices (knowingly or unknowingly), he has to be an eternal paragon of goodness and this means that in order for him to be Good (TM), he can't be responsible for anything Bad And Evil, which means that if anything Bad happens (inevitable in any plot involving conflict, drama, or conspiracy), we have to swoop and take away Optimus' culpability for the situation. Because having Optimus be responsible for bad things happening would make him Not The Perfect Good Guy, and if Optimus isn't The Perfect Good Guy then we don't care about him and we hate/ignore him (which is exactly what people do with IDW OP btw: throwing out a perfectly good/interesting character who's no more bad or good than anyone else in the story because Optimus Has To Be Good).

Another example of people taking away Optimus' agency is the all-too-common TFP/Aligned headcanon in which people like to say that the Matrix literally turned Orion into a different person, Optimus, therefore none of the decisions OP made as Prime were "actually him" and it was just Primus imposing his will on him or something. Really annoying! Ideas like this don't make Optimus any more interesting, they just make him a helpless victim to forces outside of his control who manipulate his every action!

TLDR: Earthspark Optimus is fine actually, people just refuse to take his perspective and instead default to "Optimus is stupid/brainwashed for working with GHOST" instead of coming to the rational conclusion that maybe OP is doing the best he can in a bad situation.

[kellodrawsalot]

In most stories, a company, kingdom or any form of system is fixed by placing a ''good' person in charge of said system. While various queer media, not only questions this but POINTS out it's not the one in a charge that is the problem but the system itself

Not saying heteronormative stories don't do this as well, i'm sure they do but most of them have the black/white mentally and the system can be fixed by removing said ''evil king with a good king'' instead of asking wherever or not monarchy is a good thing in the first place. I feel queer stories tend to go differently because queer themes characters and relationships are already ''different' from the order, they don't fit the system. Which is why they can point out these problems more clearry.

Revolutionary Girl Utena deals with the issue of Princes saving Princesses, and how princesses (girls, women) suffer under it. Especially under an abusive prince like (Akio)

But you don't fix that system by making girls the prince and being put into that role. The traditional system of patriarchy is the one's that broken, not just the prince. That is what needs to be abolished. Utena saves Anthy but not playing the prince and defeating the bad guy but opening Anthy's door. Giving Anthy the strength to save herself and walk away from the system that has tortured her so.

NIMONA has the Institute guarding the Citadel city is citing fear of the unknown into its public, resisting change for this is what they have done for centuries, the knights are symbolic for ''cops' where even Good cops like Balister are willing to keep playing by the system rules even if it harmed them for the sake of upholding said system (which is fundamentally broken in the first place). He believes this can all be fixed by removing the bad person in charge, but Nimona points out that won't fix it.

In Good Omens season 2, the finale plays with this as well as Aziraphale believes Heaven was never that bad it's just got the wrong people in charge (Gabriel and the other angels) and that with him and Crowley in charge they can be the ''real' ''better'' good guys. Crowley being a demon and being a former angel and who has saw what heaven was willing to do, to punish Aziraphale in the first season, knows this won't work. He knows Heaven is just as flawed as Hell. Heaven cast him out for just asking questions, heaven is willing to destroy the earth just as much as Hell does. He refuses to play by the system of being an angel for heaven or for being a demon for hell, he doesn't want to be a part of the system that has abused Aziraphale and him so much.

That's why i believe in Good Omens season 3, there is strong indication that both Crowley and Aziraphale will reject the system together to choose one another or (since Neil Gaiman mentioned season 3 will be a way much bigger story) Crowley and Aziraphale will find a way to abolish the system of both heaven and hell.

[islandoforder]

okay before the finale the dynamic i really want to get into is karna and colin.

bc initially you see colin and deli as potential foils, like they’re set up as a duo and deli wants to gain power and renown for the meat lands and you know colin was involved in a coup so you think he must have wanted that once too but now he’s on the other side of how a failed grab for power can treat you, and they seem to compliment each other so well and then you hit fracture point. they divorce.

colin explains that he was never trying to gain power and simultaneously karna steps into colin’s shoes and is literally granted his old position, and you realise the real foils are colin and karna.

they both are tools from a young age who expect to be disposable, who don’t trust the adult figures in their lives, who have lived on the streets in fear and refuse to do so again, and you realise that colin is old and experienced d enough to know that another grab for power isn’t going to get him the safety and security he craves, he saw his father burn for that, but karna is still young and devoted enough that she’s sure if she can just make herself invaluable enough then she’ll be safe and she’ll wanted on her own merit and not just for what she can do for others.

they’re not just foils because they’re both skalds but because they both know the value of their own loyalty and lives, and are consciously choosing what to do with that throughout, but karna is choosing to accumulate power for deli and colin has already decided to reject any leader that wants power for power’s sake. it’s also why they have good reason to not get along and yet actually treat each other with a level of gentleness and understanding that they don’t tend to show to the others, in the offer of water, in the promise to play chess, even in those tense discussions around magic. fundamentally they may not always agree but they understand each other. like recognises like.

[wen-kexing-apologist]

7 Days Before Valentine Ep 6: Stray Thoughts

Sunshine

First of all, Sunshine, @respectthepetty and I are on the way, we've got bats with your name carved in them, so I'd advise you to start running.

Sunshine is one of the characters I hate the most this year, especially as a main character/protagonist. But I do think they are doing an incredible job with his characterization in that this is a man with no one in his life, he doesn't interact with his parents, he has no friends, and based off the way he behaves you can tell exactly why. This is the most impulsive, self-absorbed man I've seen in quite some time.

Sunshine reminds me of the guys in my life I've known who are deeply in need of help, but turn everything in to a joke and absolutely, willfully refuse to talk about anything real. Sunshine absolutely, willfully refuses to pause for long enough to actually think about how terrible of a person he is and how much he is harming those around him as a result of that.

I don't even think Sunshine knows what he wants. He had a chance in his previous wish to just completely try again, in the best possible scenario where marriage equality has been passed and Rain doesn't know who he is, Sunshine has a clean slate, but that isn't good enough, so he ruins society, and that doesn't work, so he hurts Rain in the most fundamentally cruel way by removing his best friend from existence. Sunshine is hurting Rain so that he can be in a relationship with Rain, which is all I need to know to decide that Rain and Sunshine better not fucking end up together in this.

The Flowers

gif by @save-the-data

Okay, I don't know why, but the way Jared talks about his flowers is making me this of this book I read years ago called Daughter of Smoke and Bone where the main character is like living in the real world but has connections to this other fantasy world, and she goes to her friend to make wishes (for example, she wishes that her hair would naturally grow blue) and she only learns way later that every time she makes a wish the wish is paid for with (I think?) someone's tooth. And she realized that people, creatures, etc had died or been tortured to have their teeth removed so that she could make silly little wishes.

I don't know that I want this, I don't know what it would do or what it would say, but for some reason I cannot get it out of my head that these flowers with names that Jared talks about so lovingly are actual people's souls. Especially after that one rose fucking screamed when Sunshine dropped it.

Metaphors

gif by @save-the-data

The back half of last episode and the first half of this episode were really heavy on the theme of conformity. And I don't think I have a lot of words for it right now, but it is feeling very much like metaphors for externalized/internalized homophobia and the closet. Like how the little girl draws this picture of herself in a pink dress and writes SOS, while walking neatly in a line, in the same boring uniform as all the rest of the kids. Like the vibrant ecclectically dressed property manager, also choosing to conform when she goes out in public because she doesn't want to be stared at. Like the busker getting hauled away/punished by the police for breaking free from society's order. Like Jared, bright, happily, bubbly, and (in my opinion) visibly queer man being terrified of being hauled away to be "corrected". And this is all stemming from snap decisions Sunshine is making out of petty bullshit with almost zero intelligent thought behind his wishes.

How I want this to end

gif by @pharawee

I think I want Sunshine to wish Q away from existence. Q's job is very clearly weighing on him, and he deserves rest. For fuck's sake, his clothing gets darker every episode Sunshine needs to accept that Rain is gone from him, that he fucked up and can't go back, and I do not want Rain getting together with someone that really seems to disregard the harm he is causing.

Anyway, I am really enjoying this show, but it is slow as fuck and if it wasn't filmed, written, and structured like a play I don't think I would have had as high a tolerance for it's pacing.

[lilundertale-asatreat]

So I'm making this post because I saw a YouTube video the other day where the YouTuber made an offhand comment poking fun at people who don't think Chara is evil, and that was enough to annoy me, but also, it inadvertently brought up a good point for me personally.

I was originally firmly in the camp that Chara was maybe not the best person, but they weren't evil, and the Genocide route is an outlier, and I was upset because I didn't feel like they were considering any of the other routes at all (which they weren't), but it made me realize I was also completely discounting the Genocide route, and I can't just do that for the sake of an easier analysis because it's there for a reason. And I certainly can't get mad at this person for doing the exact same thing I was doing. So here is a hopefully as objective of an analysis of Chara as whole as I can get.

At first I tried marrying the two versions of Chara that we see in the game: the traumatized and suicidal child who wanted to sacrifice themself for the sake of freeing monsterkind and getting revenge on humanity which left them hurt on a fundamental level and wasn't really the best to Asriel, probably because they still hadn't unlearned mimicking the way they were treated and then never got the chance to, with the kid who actively encouraged the slaughter of all of the monsters in the Underground and then destroyed the world after killing Frisk themself and seeing what the connection was. And to be honest, I didn't really find anything.

Then I started thinking about Frisk instead because it was late and I couldn't keep my focus, but that turned out to be really helpful because, while Frisk is a player stand in most of the time despite being revealed to be their own person, there are things that they do by themself, either implicitly or explicitly, and if you try to analyze them to figure out what kind of person they are, you also get two wildly contradicting versions of them. And which version you get is entirely dependent on how you choose to play the game.

Because your choices have a lot of weight to determining what happens in the game, not only does it affect which ending you get, but it also effects how you get there and how you choose to tell the story. You get to choose what kind of story you want, and with that choice comes whatever characterization of Frisk would fit the most for whatever you are doing.

If you play pacifist or neutral without starting off with a genocide, when you first encounter Sans, it's implied Frisk laughs or at least has some sort of reaction, no matter how many neutral runs you have done without true resetting beforehand. Frisk sits through and humors Papyrus in all of his puzzles and japes even if they've heard the same joke or solved the same puzzle a thousand times beforehand. Mettaton comments on them looking bored at the beginning of the musical if it's not your first playthrough after true resetting, and he gives you the option to skip it, but he doesn't say Frisk looks hostile or anything, and in the fight against him, you have the option of just calmly flipping his switch to just get the fight over with. Sans implies either Frisk looks like they're really thinking about what they did on a first neutral run or they look bored and not particularly bothered in subsequent runs after that unless you do pacifist which he then comments on the fact that they were exceptionally kind to everyone and even when they ran away, they were smiling the whole time.

But if you do a genocide run or start off with a genocide run, Frisk doesn't react at all to Sans' handshake joke, they don't sit through any of the puzzles Papyrus has and they don't acknowledge him at all, they give you the option to just keep taking and taking snowman pieces until the snowman is dead, and they move on their own to walk toward whichever area boss you're up to at the time in a threatening manner and even move toward Monster Kid on their own to intimidate them. They're really into the killing people thing in these routes while in the other routes, they're a lot more into engaging with people or at least giving you a better prompt of being willing to spare them.

So if it's true that Frisk has wildly different personalities and goals depending on how you play the game, it must be true with Chara too. For the majority of the time, Chara was just a kid who loved monsters and loved their family and felt extremely guilty for accidentally poisoning their dad and didn't know how to handle it and probably guilty and unworthy of their love because they were human and weren't used to receiving that kind of care in the first place. But if you choose to play the game where another human who falls down and decides to kill as many monsters as possible, Chara will be another human who hates monsters, or at least, grew to hate monsters and was only concerned with getting more and more power as they woke up because that's the thematically appropriate characterization of them for that route and way of playing.

So they're both not evil and evil, but which one you get is entirely dependent on you.

[burst-of-iridescent]

I recently saw a post that paired a quote from The Hunger Games: “That what I need to survive is not Gale's fire, kindled with rage and hatred. I have plenty of fire myself. What I need is the dandelion in the spring. The bright yellow that means rebirth instead of destruction. The promise that life can go on, no matter how bad our losses. That it can be good again. And only Peeta can give me that.” With a Zutara vs. Kataang comparison, Zuko being the Gale in this quote and Aang being the Peeta. I’d be interested to hear your thoughts on this take.

i think this is an extremely shallow interpretation of the hunger games, atla, or both.

the implication of comparing gale and peeta to zuko and aang suggests to me that there is a fundamental misunderstanding of the point suzanne collins is trying to make about gale and peeta. the difference between the two is not that gale is angry while peeta is all about #kumbaya, but that gale has allowed his anger to blind him, while peeta, though just as furious, keeps his anger where it rightfully should be.

the love triangle in the hunger games begins to be set up in book 2, the same book that repeatedly warns katniss to "remember who your real enemy is". what katniss comes to realize over the course of the series is what peeta has known from the start: that the real enemy is president snow and the capitol elite who support him, not the other tributes or the innocent civilians caught in the crossfire, something that gale is simply unable or unwilling to understand. 

that is why gale unhesitatingly reduces the other tributes in the games to mere prey to be hunted while peeta refuses to strip them of their humanity, why gale abides the mistreatment of katniss' makeup team in district 13 and is surprised by her horror, and why he ultimately ends up being complicit in the loss of innocent lives in his course for justice and revenge.

peeta is fundamentally kind and empathetic in a way that gale is no longer able or willing to be, and it is this kindness that he shares with zuko: the boy who risked his own life to save the man who tried to kill him, who put himself in danger to protect an enemy village, who reached out to a girl on the opposite side of the war simply because he saw a child like himself in need of comfort.

it's true that zuko in book 1 does have fire "kindled with rage and hatred" but his anger is a trauma response, and part of his healing from that trauma is realizing that he cannot use his anger as a crutch, or let it fuel him. that is why there is an entire episode centered around him losing his bending and actively choosing another path ("i don't want to rely on hate and anger anymore. there has to be another way"), one where his fire is fuelled by life and warmth. that is why zuko is foiled with jet (the actual closest gale figure in atla, a revolutionary who is blinded by rage and goes too far in his pursuit of righteousness), because jet symbolizes the person zuko could have become if he didn't learn to master his anger. zuko does what gale (and jet) are never able to do, and that is the reason he ends the show as a hero while they bring about their own downfalls.

as for aang being peeta, i can see the surface level comparison of "sweet sunshine guy" but what differentiates them is that peeta is always willing to do what needs to be done. he does not remain willfully ignorant of the horrors around him, and he does not risk the lives of others for the sake of his own selfish moral purity.

the actual comparison would probably be peeta and katara (someone who chooses kindness and hope, but does not blind themselves to the realities of the world), and zuko and katniss (someone who starts off closed off, distant and angry, but eventually chooses love and peace over rage and war), but if we're just comparing the two boys: zuko is far more peeta than gale, and anyone who says otherwise should really watch the show all the way to the end this time.

[mintyfrostyart]

HELLO EVERYONE

Oh boy you know who it is my favourite boy <33 I've gone into detail about his character below the cut >:}

Reginald strikes me as an odd character since his personality is formed around insecurity; the slave of his own mind, and that of his own people.

You see, royalty is a special case in this universe. Despite the name being “medieval AU”, its more magical and foreign. The Copperbottom family is a line formed from two royal houses, and has prospered for 5 generations. What makes royalty so special is that they’re gifted in many ways.

Magic

Magic is an odd case study, since its formed, quite literally, in the blood stream. If a royal had a cut, their blood would be speckled with magic. The colour of said magic is also visible within the lower half iris on a royal’s eye, and all magic casted by a royal will be of that colour. However, royals are only hosted to one power each. These powers are special, however. They usually consist as the ability to conquer a specific object, or set of objects, out of magic. King Galeforce, for example, posses magic in the shade of green, and has the ability to create any weapon of his choosing. Prince Jullian (an OC) posses magic in the shade of pink, and has the ability to create mirrors that can reflect either the true, best, or worst version of people.

These powers are said to be a gift from the stars, and can only be matured through the greatest pleasure in life: laughter.

For most royals, this is not a problem. As babies, there is a lot to laugh about, is there not? Most royals develop magic very easily from a young age.

2. Height and Strength

Royals have more power than your average citizen. Most royals range in height from 6’2-7’. They’re usually built (and trained) to handle any kind of weaponry, with their body type usually reflecting whatever magic they happen to possess. This, perhaps, is how they were able to get themselves into power; for who could take down someone who had the strength of 10 men?

..

The Copperbottom has a long history of strong, powerful rulers who have never been apposed, even when facing war. Hense, what made Reginald’s life so, er, fundamental.

He was the last of the Copperbottoms to survive. His parents met a tragic fate when he was a young boy, and he is the last left. But that was the thing about it, he wasn’t a traditional royal. At his full height as an adult, he barely reached 5’1, and he had not a scrap of magic to his name. Believe me, ladies in waiting and carers for the prince when his parents passed did everything they could think of, but nothing came to light. People speculated that the passing of his parents didn’t allow his magic to develop correctly, but nobody knew. Reginald was simply a quiet child who never spoke a word.

He wasn’t like other royals, he was *different*. Terrifying, I know.

Reginald was taken under the care of Admiral Dmitri Johannes Petrov, who very much cared for the boy as his own son. Dmitri had lost his wife and son in childbirth (eyup bi-Dmitri lets gooo). The kingdom didn’t have a ruler at the moment, and since Dmitri was indeed admiral, he offered to take care of him until he was of proper age to rise to the throne.

In the current day, Reginald is 25, and very mysterious as it is. Terrence was his parent’s regent, and he accepted taking the throne in their late becomings. Terrence’s character is a whole other can of worms to get into, and I’m going to go into heavy detail of his origins in another post, but for now, Terrence remains the king as of now.

But why? Well, its half Terrence’s fault and Reginald himself. For the sake of brevity, I’ll simply talk about Reg here.

Reg is 5’1 and powerless (and a Twink). The two things that make royals, well, royal, he doesn’t have. No one *knows* why, that’s just the way he is. Reginald’s quiet, he had a stutter growing up, and he’s freckled across his face. Royals are a simple of good manners and good behaviour, and for a royal who can’t speak nor represent his family, then who even is he?

But at the same time, the castle is terrified. Reginald is the *last* of his family, and everyone who lives and serves the Copperbottom family wants to keep him safe. The walls around the castle were put In place to ensure no harm could come to the prince. Terrence is an easily swayed man, and if someone gave him a reason to tear down those walls, he would. But no one has. No one wants to risk him getting hurt. 

From Reginald’s perspective, he feels unworthy of the throne. Reginald feels as though he must do everything in his power to make up for himself. He is the last of his family, and he’s a *dud*. He’s a royal that lacks anything royal looking, and so he feels eternally guilty. His unhealthy habits of drilling himself into work are of his own poison; he believes it owes it someone. He believes he had to put in more work than anyone at the castle because of the mess he has made of his family.

For if he is powerless and lacking of power, then he had to make up for it somehow, right?

Reginald does not have resentment for his upbringing; its been told to him about what he *should* have been, but he just isn't. He is a quiet fellow, but kind. Not many can form an opinion about him since he's a mystery. He's either doing work or out in his gardens where he's usually lost in thought. But in conversation, he does try his best to please crowds.

For someone who has never been outside, no one knows his face, only his name. A lot of commoners assume he is powerful, and that the castle was hiding him for his protection. Commoners are scared of him; if he is such a mystery, then he must be greatly powerful, yes?

..

Reginald’s character is complicated. He’s genuinely a very kind and sweet soul, but it’s very overshadowed by his crumpling self-image, but he sincerely tries to make up for it by pushing himself to the very limits. His first action of doing something for himself was making an escape from the palace, which is the beginning of the main series.

What I adore about Medieval Copperright is that Right teaches Reg that indeed has to learn to love himself. Right sees beauty in every single feature he has, and Reginald is blind to it. Right drills in the fact that Reginald doesn’t owe anyone anything for simply being himself. Their relationship is really slow, and I love that, because Reginald learns to love himself and love the things about himself through someone who views him as him. It's only when Reginald learns to care about himself that he begins to develop feelings about Right, as he can finally see himself as worth being in someone else's life.

The first person that sees Reginald as himself makes him realise that he isn’t simply an object for the throne, but as someone with a dream to be alive.

Right again is another story entirely, but I hope you’ve enjoyed this ramble !! <33

If you guys have any questions, please hit me up! I would love to go into more detail :D