#know more like . cope

[akanemnon]

Not only are you gonna fight a bunch of flowers, Susie. You're gonna fight a wedding bouquet!

FIRST - PREVIOUS - NEXT

MASTERPOST (for the full series / FAQ / reference sheets)

[katsinspats]

Tragic: Guy you based your entire villain backstory on doesn't even remember you

[breesperez139]

Dc x Dp Prompt #6

“I’m a twin”, Damian said one night. He could feel the narrowed eyes of his family drilling holes on his back in disbelief. Not that he could blame them. Damian had never so much as implied being raised with a companion, much less a sibling.

“I had a brother”. Damian paused to recollect himself. He had not said his brother’s name out loud in over 8 years.

“His name was… Danyal”. Damian hated the way his voice wavered, but he could not help it. Danyal was everything to him, his other half. Their heart beat as one and when one heart stopped beating, the other one died with it. At least until his family put his heart on metaphorical life support without ever realizing.

“Where is he now?” His father asked, voice filled with knowing grief and a hint of betrayal. It had in fact been 6 years since Damian first showed up on his doorstep.

“Up there”. All eyes shifted towards the specific star he was pointing to. “Right before he died, he promised me he’d guide me from the stars. Unfortunately, the stars are not visible in Gotham, so my brother is unable to be of much help unless I leave the city.”

“Your brother is Polaris, the North Star?” Tim questioned warily, most likely in attempts to not offend him. Damian was aware of how stupid it sounded, but Danyal had promised, and his brother never broke his promises.

“Yes. Danyal is with the stars now, just as he always wanted”

[poorly-drawn-mdzs]

Jaing Yanli's bad luck with sauce continues.

[a-compass-without-a-needle]

This is what happened after 3.1 isn't it?

[iliothermia]

Just want to do my semi-frequent thank you to everyone who's been so kind, patient and supportive during the past couple years of me losing my mind and trying to maintain passion for drawing / struggle with my art block through a hard mourning process and experiences IRL that have really messed me up.

I couldn't make stories for nearly a year at one point and I still struggle with it, drawing has become harder and harder, and the depression has made me slower in every way but I'm trying my best and the kindness means the world to me

[frosted-woods]

autumn time to be gay and totally fine and not miserable at all

[h0use-fly]

dumping recent art

[clumsypuppy]

(yes I know siffrins cloak grows sleeves when its convenient but I wanna play around with this)

[ecoterrorist-katara]

The tragedy of Katara’s parentification

Sokka and Katara were both parentified, and it’s a profoundly life-changing thing for both of them. One of the saddest things in ATLA, though, is how Sokka sort of got to outgrow parentification, but Katara never did.

Sokka’s told to be the man. The provider, the protector. He’s not so good at the former (his hunting failures are a consistent source of comic relief), and he takes failures of the latter very, very hard. He doesn’t manage to save Yue, and that wrecks him. After Yue, he becomes extremely protective of Suki in a way that’s borderline offensive to her. He’s willing to do anything to protect his friends and his family, including something as irresponsible as breaking into the Boiling Rock. I don’t think it’s a coincidence that Sokka is the only one of the Gaang who unambiguously kills. The rest of them may technically have clean hands because of cartoon logic, but Combustion Man is very dead, and Sokka is the one who killed him. We don’t know how he feels about it, because the show never goes there, but I have a pet theory that Sokka is so uncharacteristically (remember he was team “leave Zuko to freeze to death”) against Katara confronting Yon Rha in The Southern Raiders because he’s the only who knows what killing feels like and wants to protect Katara from it.

But by the end of the show, Sokka’s in a place where he can start to let go of his need to protect. Objectively, all his friends are unbelievably powerful and can take care of themselves, including his sister and his girlfriend. Suki is the one who saves him in the final battle, representing not only a reversal of his initial cartoonish misogyny, but also demonstrating that he is worthy of protection. And of course, he and his friends saved the world, so there isn’t really an enemy that he has to protect them from anymore. Sokka’s loved ones create the conditions under which his parentified behaviour is no longer necessary. Sokka would still have to take the first step to stop seeing himself as the one who has to lay his life on the line, but at least it’s possible for him.

But not Katara.

Katara had to take on the mom role after their mother was murdered, which meant she was responsible for domestic labour and emotional support. Sokka says in The Runaway that her role was to keep the family together. Unlike protection, that’s always a full time job regardless of the war. We see Katara spending more screen time than anybody cooking, getting food, mending, and generally doing women’s work. We see Katara giving everyone emotional support, including strangers and her enemy. We see Katara putting aside her own discomfort and her own hurt in The Desert because if she falls apart, they all die. Nobody ever showed her that she doesn’t need to be the only one who cooks, or that somebody else can be responsible for the emotional wellbeing of her friends, or that — god forbid — someone else can actually be responsible for her emotional wellbeing.

That’s why I never cared for the Ka/taang argument of “he teaches her to be a kid again!” Putting aside the fact that Katara ends up taking care of Aang a lot more as the series goes on, the whole tragedy of parentification is that you can never again be a child. That part of your childhood, your god-given right, is robbed from you. It is extremely precious and important to still be able to be a kid, but breaking free of parentification is not about seeing yourself as a kid. It’s about breaking free of being responsible for everyone’s feelings and behaviours.

For Katara, that responsibility is not problem of perception, but of reality. Unlike Sokka, who was told and shown that his loved ones are capable of protecting themselves, Katara has zero reason to believe that her loved ones are able to feed and clothe themselves and not fall apart emotionally. Between Toph and Sokka who emphatically don’t want to do this work, it all falls on Katara. Telling a parentified child that they just need to loosen up is akin to telling an overworked mother that she needs to just relax (“happy Mother’s Day! You get a break from chores, which you will catch up on tomorrow because nobody else is doing them”). It doesn’t accomplish anything if nobody creates the circumstances under which it’s possible to let go of responsibilities. A lot of Zutara fans, spanning all the way back to the early days of the fandom, like the “Momtara and Dadko” trope where Zuko also does chores. Why? Because even without the concept and language of parentification, many fans recognized that Katara’s performance of domestic and emotional labour is inequitable and probably very taxing.

Growing out of parentification is about more than just letting go of old expectations: it’s also about finding a new way to value yourself beyond the role you grew up with. I’ve said this before, but it’s very important to acknowledge that just because a kid is parentified doesn’t mean they’re actually good at being a parent. In fact, it’s probably a given that they’re not, because they’re kids performing roles that are developmentally inappropriate! Sokka remains a shit hunter; he becomes a decent fighter but he’s still miles behind his friends. A big part of healing from his parentification is finding another area — strategy, engineering, project management (what else do you call that schedule) — where he actually excels, to which he can dedicate his time and from which he can derive satisfaction and a sense of identity. For Katara, fighting for the oppressed and combat waterbending give her that. Crucially, however, Katara does not stop being a girl when she becomes a warrior. She’s still responsible for domestic and emotional labour. Unlike Sokka, whose protector duties were more or less relieved as the series went on and he found new ways to contribute to the group, Katara continued to perform her old role in addition to her new one (which is depressingly realistic btw, look up feminist theory around the concept of the second shift). Still, it’s important that she found these new ways to value herself and her contributions…

…which disappear in her adult life. Where’s adult Katara fighting for the oppressed? Where’s adult Katara enjoying her status as a master waterbender? Where’s Mighty Katara? Where’s the Painted Lady? Where’s the person who vanquished a whole Fire Lord?

What do we know about adult Katara? She’s no longer a rabblerouser or an ecoterrorist. She did not translate her desire to help the downtrodden into a political role, like being Chief or on the United Republic Council. She’s not known as the best waterbender in the world, only the best healer, even though her combat abilities are what she took the most pride in. Even as a healer, she established no hospitals, trained no widespread acolytes (except Korra, I guess?), and made no known contributions to the field.

What Katara is known for…is being a wife and a mother. The same role she was forced to take on at age 8. One which she performed for the next 80+ years.

[heyriel-art]

Today on self-care tips with Smii7Y: Feeling frustrated? Angry? Kinda pissed off? No biggie! Just ask your man for a kiss and it'll cheer you right up. 💕

[poorly-drawn-mdzs]

I want it back / I drag its dead weight forward.

[untitledgoosegay]

re last reblog I do see fanfic culture pushing/replicating a certain model of "what trauma looks like," "how trauma works"

this is a problem across all areas of society obviously, but transformative works are, well, transformative. they're about crafting and modifying narratives where the fan-creator sees a flaw or a lack -- often for the better! don't get me wrong, I've done my fair share of "I take a hammer and I fix the canon," it's the main thing that gets my creative gears spinning -- but what happens when that "flaw" is simply a narrative not conforming to popular expectations?

some people just don't get PTSD from events that sound obviously traumatic. they're not masking, and they're not coping; they just straight-up didn't get the permanently-locked stress-response that defines PTSD. they walk away from a horrible experience going "well, that sucked, but it's over now." some people do get PTSD from events most people wouldn't find traumatic. we don't really know why some people get PTSD and others don't. but fandom has an idea of events that must be traumatizing, of a "correct" way to portray trauma. you see the problems with this lack of understanding in e.g. fans pressuring the devs of Baldur's Gate 3 to add dialogue where the player character badgers Halsin about his own feelings on his abuse -- because he must be traumatized, and his trauma must fit a certain mold and presentation of sexual trauma, under the mistaken impression that anything outside that narrow window is somehow "wrong" and disrespectful or even harmful to survivors.

take, for another example, the very common trope of a traumatized character who hates touch or sex "learning" to like touch or sex as a part of their healing process. certainly that can be healing for some people; other people will never like, or want, touch or sex, because of trauma or because they just don't. the assumption that someone who doesn't want sex or doesn't like to be touched must be traumatized, must be suffering from this perceived lack, is seriously harmful -- to asexual people, to people with sensory issues around touch, and to people for whom healing from trauma means freedom to refuse sex or touch.

and there's a secondary trope, one that's slightly more thoughtful but ultimately repeats the problem -- that once someone has learned that their boundaries will be respected, they'll feel it's safe to soften those boundaries. once they feel safe refusing touch or sex, they'll feel comfortable allowing it on their own terms. but many people don't, and many people won't! many people will simply never want to be touched, and never want sex, and they are not suffering or broken or lacking because of it. the idea that proving you'll respect someone's boundaries entitles you to test those boundaries -- the paradox is obvious, and yet this is something i've seen hurt (re-traumatize) people i care for.

people are imperfect victims. people don't heal in the ways you expect. many people have positive memories of their abuse, of their abusers. many people hurt others in the course of their trauma, in ways that can't easily be unpacked in a 5k oneshot. very few narratives of trauma and recovery actually fit the ones put forward by popular children's media and romance novels -- which are the ones I most see replicated in fandom spaces, because they provide the clearest narrative and easiest catharsis, and so they're easy and soothing to reach for.

that's not necessarily a bad thing! i am not immune to goopy romance tropes. i am not immune to teary catharsis. not every fic has to grapple with ugly realities. but there's a problem when these narratives become predominant, when people think they're accurate and realistic depictions of trauma, when the truth of trauma is unpleasant and uncomfortable, and doesn't fit any single narrative, let alone one of comforting catharsis

[aq2003]

has anyone gotten the idea that odysseus' storyline in hades 2 is a depiction/exploration of trauma over his SA and how he's blaming himself for things that were out of his control? because that's the impression i'm getting from what i've seen. he talks about "goddesses" as his "greatest weakness" and that "he's not one to say no to them"...

when mel invites him to the bath, he brings up mortals having different standards for intimacy than gods and how it usually has a more romantic/sexual connotation. she then asks if he's uncomfortable and he has a startled reaction and brings up circe and calypso again (but never actually by name)

(this isn't ship/romance bait btw. odysseus knew mel as a kid and they're stated in-game to have a sibling/uncle-niece relationship)

also he grew apart from penelope after his return, but the game makes a point of showing that his love for penelope and telemachus is what drove him on at all so that element of his character isn't brought into question

[stardustedseas]

okay a couple more wintersentry things because i had more ideas but they didnt fit the vibe of my first post so

bucky showing bob one his favorite restaurant in town that has food to make your eyes roll back but never seems to be super busy or overwhelming. it has an old timey charm, ran by a couple almost as old as bucky himself with decore and vibes to match, it feels like a place suspended in time in the best way possible. okay maybe they dont officially call it a date but with the soft lighting, yummy food and livley but easy conversation all in a little bubble of their own, it sure seems like a date to anyone looking in.

ouuughhhh them both being so touch starved but unused to a soft hand, they easily slip into a routine of lounging around together in silence, just taking in the comfort of another human being. with bucky reading a book with his arm slung over bobs shoulders as he rests agaisnt buckys side and playing a random game, (inspired by this art which i love sm) it quickly becomes both of their fave way to decompress.

STOOOOOP imagine bucky taking bob out for a joy ride around the city on his motorcycle and giving bob his coat (the dream) because 'its chilly and yelena would have my head if you caught a cold',,,,, no other reason,,,,def not because bucky thinks he looks so handsome with wind swept hair, biggest grin and all bundled up in his leather jacket. ougggh or bob showing bucky some of his comfort games (idk how canon this is but i love how everyone seems to agree he enjoys games and would love sdv and animal crossing), even if bucky doesnt fully understand the apeal, he does enjoy watching how excited bob gets to explain the little virtual world he created. its kinda comforting in the way that its so mundane and inconsequential in comparison to their regular one wrong move and youre dead day to day.

bob thinking buckys metal arm is so cool and loving to just look at and touch it. maybe it even helps ground him by tracing along the golden lines, feeling the smooth texture, and focusing on the cold of the vibranium against his sweaty palms instead of the dark thoughts trying to take over. bucky feeling a little better about himself with that, knowing his arm isnt just a tool to harm but can be of help in more ways than lifting something heavy. even though hes killed and hurt many many people, the fact it brings comfort to bob is,,,, nice <3

sobssss them learning to take better care of themselves together, eating food not just because its a necessity but just because it tastes good, using better soaps on their hair to keep it from getting too tangled or greasy as fast, doing simple activities that dont realy have an end goal besides being fun, trying to get a sleep schedule that isnt pure ass, hanging out with people instead of brooding in loneliness.

bucky lowk highk feels bad because bob is so much younger than him with a lot less life experience, still coming into his own, but the connection they have is undeniable.

[kurara-black-blog]

Damn, Light legit thought people would find it ok to set up an explosive trap in your drawer just cuz you didn't want people reading your diary—