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writtenbythe-stars · 2 years ago

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You haven't been active for a while, I hope everything is okay and you're okay<3<3<3 If you become active again, shawn, can you read what happened between sabrina and camila? shawn was dating sabrina at the beginning of the year, shortly after, he started dating camila and now he's back with sabrina the situation is still It's a bit complicated anyways thank you and take care

thank you for your concern!! i'm doing well, just needed some time, but i had a lot of fun figuring out how to do a spread on this situation, because, as you said, it's a bit complicated. so, this is a spread i haven't used before, it's a 'love triangle' spread, with the love triangle bit in quotes because it's not specifically romantic, just used to understand the relationship dynamics in a situation involving three people. (i'll take this moment to highlight that i do try to use spreads that work for any kind of connection between people - platonic, romantic, business, whatever - since often we don't really know, so feel free to request non-romantic relationships too). i had a lot of fun with it and it allows for and encourages a lot of connections to be made between the cards (my favorite!). so, thanks for this request, hope you enjoy!

shawn mendes, camila cabello, sabrina carpenter, 11.2.23

querent: shawn mendes, significator: knight of wands

so, since shawn is the apparent center of this triangle, i chose to read with him as the querent. he's a leo sun (so it's actually in its rulership too), and fire slightly dominates in his chart, so the knight of wands felt like a fitting significator.

how SM sees himself in the situation: VII of pentacles

this spread is heavily based on triangles, and so first we start with a set of three cards representing each of the points of the triangle so to speak, and how they see themselves / their role in the situation. starting with shawn, i pulled the VII of pentacles. so, sevens connect to victory, and specifically this kind of victory through willpower energy of the Chariot (the seventh card of the major arcana), and in pentacles this is expressed as meaningful work, of being able to look back with satisfaction on something accomplished. whatever has been built up has reached a point where it can stand and grow on its own, and has led to growth and benefits for the laborer as well. i've made this point a lot, i'll probably make it again, but while a lot of people read pentacles to be about money, that's an oversimplification of the suit. pentacles is about the material, the worldly - so, yes, money and materialism, but also connection to nature, the home, and physical pleasures and comforts. i actually pulled the Empress later in this reading, and i think that card makes this point really clearly. but just a reminder up front.

so, then, that suggests that shawn feels a sense of accomplishment in the situation, a sense that whatever's been going on he's put work and effort into it and feels like he's grown through the situation and it's in a good place. with pentacles, of course this could be a material situation, like a career, but like i called out above, pentacles are also tied to domesticity and physical pleasures, so this could be work into a relationship as well. it could even be work into himself - often, what's really at the heart of relationship issues or messy situationships is something going on internally, something with ourself we need to work out before we can move forward in a healthy relationship, no matter who it's with.

how CC sees herself in the situation: IX of cups

next we look at how camila sees herself in the situation, and i pulled the IX of cups. so, the nines all connect to the Hermit and signify the compromises we make in life as we move towards achievement. as nines, they also tend to point to cycles approaching a close. here, in cups, we see comfort and abundance, with the richly dressed figure and all of the upright cups arrayed behind him, but this represents the compromise of avoiding real issues and worries by focusing on ordinary pleasures. specifically, after the difficulties of the cups journey, the nine shows satisfaction and indulgence. but the figure on the IX of cups, like all of the nines, is alone (again, emphasizing that connection to the Hermit) and in cups especially true joy and happiness comes from connection with others. we also see that the seated figure has his arms crossed over his chest, blocking off his heart. so - there's a sense of indulgence and enjoyment in this card, particularly after difficulties, but in a way that lacks connection and is a bit more superficial. it's kind of got the vibes of going out and partying after a bad week at work or a breakup - it's not actually touching on the deeper emotional issues, but you're having a good time, forgetting your worries and enjoying yourself.

this suggests that camila is like the figure in the IX of cups - enjoying the shallower pleasures of life, having a good time, experiencing a lot of joy and fun - but the deeper elements are missing - there's no real connection to others, a sense of being blocked off and a bit alone, a suggestion of avoiding deeper issues or worries by instead concentrating on what's happy and fun and light.

how SC sees herself in the situation: X of wands reversed

finally, the last point of the triangle, we look at how sabrina sees herself in the situation. here, i pulled the X of wands reversed. the tens symbolize the end of cycles, and in wands we see the conclusion of the wands problem of action. the figure in the ten is struggling under the weight of all their wands, overburdened. reversed, the burden has grown too much to bear. in relationships, these can often be the burdens in the relationship - indicating someone who takes all the problems on a relationship onto themselves, who's constantly trying to fix everything to keep the relationship going, sometimes even without the other person knowing or realizing. once we get this breaking point shown in the X of wands reversed, the situation can unfold in a few ways, but it will unfold - it's unsustainable. so either the figure collapses under the burdens, or they put them down. but in putting them down, it could be deliberate - an understanding that something has to change - or it could be throwing them down in frustration or anger. and it could be throwing them ahead of you - meaning you haven't actually changed the situation, you'll just pick it right back up again - or behind you - clearing the way to do something different.

so obviously there are a lot of potential threads of interpretation here, but they largely branch from a core that's pretty clear. so - sabrina sees herself as at a breaking point of some kind, with this energy of one kind of cycle coming to an end with the ten. and specifically, she sees herself within this cycle as overburdened, as having taken too much onto herself and she can't keep carrying it. not always, but often, this means in relationships that she's taken problems onto herself, maybe suggesting that she's kept trying to make this happen, to make things work, and taken the burden of solving or avoiding problems onto herself. like i mentioned above, this doesn't mean that it's been deliberate on shawn's part, to put problems onto sabrina - as a recovering people pleaser, i can definitely attest to the fact that sometimes people are actually trying to hide the problems they're solving, even if in reality they would get help if they were more open. and also, sometimes, one person just wants the relationship to work more than the other.

how SM sees CC: III of swords reversed

after that we have two more sets of three, looking at how each point of this triangle sees the others. so, we start with how shawn sees camila, and here i pulled the III of swords reversed. the three of swords is traditionally expressed as sorrow and heartbreak, but it also shows us how to go past that heartbreak, by accepting the pain in our hearts and moving forward. reversed, waite's formula is 'mental alienation, disorder, confusion' - fighting acceptance, unable to heal, we try to avoid feeling the pain of the iii of swords upright and instead we get stuck in it mentally.

especially given the context of shawn and camila's publicly messy and long relationship, i think this card pretty strongly indicates that that one (or both of them) is struggling with moving on from their relationship. the iii of swords suggests true pain and heartbreak, so it's not necessarily a struggle to move on in the sense that there are still feelings there (not saying one way or another, just saying that's not what this card is really indicating) - instead, it's more focused on the pain. even a breakup that you want or that you know is the right choice can hurt, especially when it's been a long relationship, and it's the hurt that the iii of swords indicates. one interpretation would be that in this position the feelings belong to shawn - that he sees her as this source of pain that he's struggling to accept and move past. alternately, in this position it could mean that he sees her as relating to this card, so she would be the one struggling to move past this pain. the ix of cups, while a happier card, can also indicate an avoidance of problems or difficulties in the same way that the iii of swords reversed does, which may strengthen the interpretation that it's camila's feelings we're talking about here. but it's also worth noting the different perspectives - the ix of cups is how camila sees herself - with its emphasis on fun, enjoyment, indulgence after difficulties, even if there is avoidance - and the iii of swords - with its emphasis on pain and sorrow - is how shawn sees camila.

how CC sees SC: The Moon

we look down the next side of the triangle and look at how camila sees sabrina. (honestly, these legs of the triangle were fun, whether or not there's a real love triangle here, i feel like we rarely talk or think about this aspect, how the two people who are connected by the center of the triangle think and feel about each other). here i pulled The Moon. The Moon comes in the major arcana, and is one of the more difficult (imo) cards in the tarot. The Moon represents our unconscious, unmediated by human experience - there is no human figure on this card. so, there is a deep intuition connected to The Moon, but also fears and illusions. The Moon reminds me most of dreams - often connected to these deep truths about our emotions and our intuition about our life, with a lot of potential wisdom, but often shown in these confusing and sometimes scary ways, with a lot of room for misinterpretation and misunderstanding. The Moon often indicates that there's something going on underneath the surface of a situation, that the way things appear may just be an illusion or misleading, often driven by fear.

so, The Moon is one of those cards that i definitely feel is hard to draw a clear interpretation from without a querent here to speak to it. essentially, this is saying that however camila thinks she feels about sabrina, there's actually something more going on beneath the surface, that there's work to be done figuring out what's actually underlying the surface feelings - but not actually telling us much about the feelings themselves, either the surface ones or the truer, deeper issues. potentially, the moon suggests that these issues are related to some deeper fear or illusion camila holds about the situation, the world, herself. the unconscious represented by the Moon connects to water - which represents the unconscious, deep emotion, and intuition throughout the tarot and in particular in the suit of cups - so one potential interpretation here connects this to the ix of cups, which, as i've discussed, does have this energy of avoiding real problems or worries, of indulgence but closing oneself off, again suggesting that the deeper issues aren't being confronted. but like i said, the Moon basically says, things aren't what they seem, look deeper - so it feels a little silly to then try to say what things seem.

how SC sees SM: The Fool reversed

and, completing the last line of this triangle, we look to see how sabrina feels about shawn. here, i pulled The Fool reversed. The Fool is the first card of the major arcana, associated with the number 0, and is a card of transitions. Upright, the Fool symbolizes beginnings, taking a leap into new beginnings, usually from some deep gut feeling rather than careful planning. Reversed, we see this energy blocked, channeled, distorted, in a number of potential ways. In the first, most simply - a failure to trust your gut, a failure to make that leap - potentially losing out on some chance or opportunity by failing to act, relying too much on planning or practical concerns. Alternately - recklessness, crazy schemes - again, though, out of a failure to trust one's gut, but instead of that uncertainty leading to a fear to act, it leads to a fear of not acting, so you just act, doing whatever feels like action without that link to inner certainty, to deliberate direction and confidence.

so, then, sabrina sees in shawn this disconnect between emotion and action, this failure to trust his gut. like i said above, that could mean that she thinks he's failing to take an opportunity, holding back out of fear, not jumping in - into a new relationship, maybe, or a new kind of phase of one, maybe - or alternatively that he's acting recklessly, acting without a real connection to his gut and certainty. in either case, the appearance of the Fool, the card of transitions and new beginnings, fits particularly well with the X of wands reversed in the position of how sabrina views herself in the situation. she's done with this cycle, with the way things are - she feels overburdened, at the end of things, ready for a change - and she sees shawn as in some way not truly committed to this jump - either he's hesitating and not making the leap, or he's jumping in but she feels like his heart isn't in it.

how CC sees SM: The Empress

now, same points, different angle, starting with how camila sees shawn. in this position, i pulled The Empress. The Empress is the connected to the number 3 and is tied to passion, motherhood (gender neutral, again), nature, material and pleasure - where the High Priestess is most closely connected to water and the cups, the Empress is most closely connected to earth and the pentacles. in readings, The Empress represents a time of passion, of experiencing life through pleasures and emotions. in particular, this emotion is in contrast to logic and rationality, to thought. the Empress as mother is also a good reminder that passion and pleasure and feeling are not necessarily sexual - the fierce passion of a mother's love is similarly irrational, similarly based on pure feeling.

so, a couple of potential interpretations, as always not mutually exclusive. in this position, the interpretation i lean towards is that camila sees shawn as like the Empress - as someone who is directing their life primarily through passions and emotions, not rationality or thoughts. another potential interpretation would be that she views shawn as connected to a period of time characterized by passion and pleasure, emotion above rationality. this could potentially be connected to the ix of cups, hitting again those themes of a time of pleasure and indulgence - though there, we have the sense of avoiding problems, of the shallowness of the fun and pleasures, suggesting potentially a point of difference in how she sees them both, that she sees an avoidance of issues in herself that isn't there in him.

how SM sees SC: VI of swords reversed

moving along the triangle to how shawn sees sabrina, i pulled the VI of swords reversed. the sixes all represent communication and rebalancing, transition, connected to the Lovers. in swords, upright we see a quiet journey through a difficult time - the silent figures with their heads down as the boatman ferries them across waters. though they carry this sense of sorrow and difficulty in the swords, the figures have adapted, and it primarily means quietly functioning in a difficult time, or simply a quiet transition. definitely a strong energy of not rocking the boat. reversed, this quiet functioning is disturbed, disrupted. this disruption isn't necessarily a bad thing, though - the upright vi of swords has this energy of a difficult situation that you learn to function in, but sometimes you do need to rock the boat in order to make a situation better. so there's this element of disturbing some long-established situation or circumstances to try to change and make them better, with an emphasis on communication (very present here from both the six and the swords) as one of the potential means for changing the circumstances.

again, a couple of potential interrelated interpretations here, based on this positioning. so, in the position of how shawn sees sabrina, one way of looking at this is that shawn sees sabrina as this disruptive figure, this person who is coming into a long-standing, difficult situation and changing it, especially through communicating, coming in and actually talking about what's going on. and, though the variations are slight, this could be that she's disrupting a situation going on with shawn - given that this is a love triangle spread and we have, from their public lives, this sense of a long, messy relationship between shawn and camila, and sabrina as a new figure, potentially a new romantic interest, i think this situation obviously leaps out as a potential interpretation. but it could also be some other situation that she's disrupting, maybe something more internal to shawn or to their relationship, something we wouldn't see publicly - maybe even some understanding shawn has of himself, some set of circumstances he's resigned himself to. it could also be a situation that sabrina is in that she's disrupting - and of course, maybe that resonates with shawn and particularly shapes his perception of her because of his own situations. it's also worth noting that while he sees sabrina as tied to or embodying this disruption, it could be in a more active or a more passive manner - so maybe she's not doing anything to actively disrupt the situation, but her presence is shaking things up. alternately, and again tying into the heavy communication elements, maybe she is actively changing things, likely through communicating.

i do lean towards sabrina as a more active changing force here, because in the cards so far (and more later), there's this really prevalent theme and energy of change, of disruption. the x of wands reversed - the end of a cycle, needing things to change - her seeing shawn as The Fool reversed, with this potential interpretation of someone not making a leap, someone not changing or taking action when it's necessary - and now the VI of swords reversed, shawn seeing her as someone who is disrupting this long-standing situation. there's a sense in the vi of swords (recall, from shawn's perspective) that this disuption is a good thing, but change is difficult and throughout these cards you can sense a kind of difficulty from shawn and an impatience from sabrina.

how SC sees CC: Death

and next, how sabrina sees camila. here i pulled Death, number 13 in the major arcana. i've discussed Death at least once before (a while ago, in my taylor and joe reading), but while to most people it's one of the scarier cards to draw, i actually love the Death card. this card signifies a time of change, and in particularly the moment when we psychologically accept the the need for the end (or the death) of what has been, the past, whatever it is that needs to change, so that something new can emerge. with this awareness of the need for change, we also get the emotions that can come with that - in the best aspects, acceptance, the ability for something new to grow, and in the worst aspects, fear.

i think there's a potentially quite obvious interpretation here, which i'll just be blunt about - it is speculation, but if there is a love triangle aspect to what's going on here, then i think it's pretty reasonable for sabrina to see camila as embodying this energy of a time for things to change, for things to end, so that something new can begin and all of those feelings, so - that's a pretty obvious story you can tell from the energy in this card (as well as the other cards, particularly sabrina's). but that's just one interpretation - it could be that maybe camila has actually come to this understanding, that it's time to change, and sabrina sees that in her. i don't get that kind of vibe from camila's other cards, but it's possible. it could also speak to something about or to do with camila representing change more broadly for sabrina, as almost representative of the change in her own life.

relationship bw SM & CC: VIII of wands reversed

finally, a card for the relationship between each, starting with between shawn and camila. here, i pulled the viii of wands reversed. eights all relate to movement and Strength, and in wands we see a journey coming to an end, completed, the wands landing. in romantic situations, they're sometimes called the 'arrows of love', suggesting action taken in a love affair, or some next step completed. reversed, however, the end doesn't come, even when it's desired. a situation just seems to go on and on, without any conclusion in sight - sometimes that's because it just can't be avoided, but more often, especially with emotional situations, we expect things to remain unresolved and so keep them that way. if the narrative in my head is that i'll never get over my ex, then i'll never do the necessary moving on to actually get over my ex. and so yes - in love, the arrows hurt - they can mean jealousy, argument, conflict, but especially uncertainty and confusion. the arrows are stuck, as is the person.

so, i think this card is both fairly straightforward to interpret in this position and also very much in line with the other cards, which just strengthens that interpretation. there's a lot of confusion and uncertainty in the relationship between shawn and camila, a sense of conflict and discord, and this energy of a situation that keeps going on and on, that won't end even when the parties want it to, a kind of stuck energy. this really echoes the III of swords reversed that we saw in how shawn sees camila, suggesting that maybe she's the more 'stuck' one - but it takes two to tango, and The Fool reversed, how sabrina sees shawn, also is very in line with this energy, suggesting that maybe he's contributing more to the situation than he realizes. sabrina seems the most aware of this need to bring things to an end or the need to act / change more generally. it's seen in practically all of the cards relating to her - the X of wands reversed, the Fool reversed, Death.

relationship bw CC & SC: Justice reversed

next, the relationship between camila and sabrina. here, i pulled Justice reversed. so, Justice is the eleventh card of the major arcana. it has the straightforward meanings of honesty, fairness, justice, but on a deeper level refers to karmic justice - the sense that our actions contributed to the way things are working out, that we get what we deserve, being honest with ourselves. reversed, then, we see injustice or unfairness, but also a failure to see that karmic justice, a dishonesty with ourselves, missing an opportunity for a greater understanding of ourselves and our lives.

again, i think this card makes a lot of sense in this position and with the other cards around it. on the surface, there's a sense of unfairness in their relationship - they might feel that the situation they're in is unfair, think that one or both is acting dishonestly or unfairly. but there's also, on a deeper level, a sense of missing their own role in things, a sense of maybe believing the situation or the other person is unfair and missing their own role in things that sense of needing to look deeper is also seen in The Moon, suggesting that camila may be the one whose understanding is more clouded. that might reinforce the interpretation above, where camila is the more 'stuck' between her and shawn, too.

relationship bw SC & SM: queen of swords reversed

finally, the relationship between shawn and sabrina, and i pulled the queen of swords reversed. upright, the queen represents the understanding that comes through experience. particularly from the suit of swords, there's an emphasis on the experience as some kind of pain or sorrow, and then the wisdom gained through sorrow - her sword points straight upright for true clarity, rather than tilting towards action as does the king's. reversed, the weight of the card shifts from the wisdom to the sorrow and pain. this queen either dwells too much in sorrow and so fails to learn the lessons the upright figure represents, or has turned mean in response to these external pressures and pains - like i've said before about the swords, they're double-edged - like words, like the truth, it's all about how you use it, and the queen of swords reversed can use hers to hurt, possibly forcing her ideas on others.

so, as with all the court cards, there's a potential for this to represent an external influence - the negative influence of some figure represented by the queen of swords on the relationship. in a love triangle situation, that influence could very well belong to the third person in the situation - in this case, camila. there are some connections between the cards that could strengthen this interpretation - the iii of swords reversed, for example, speaks to the same kind of failure to accept pain and sorrow and move past it, and the card right above this, Justice reversed, echoes the imagery of figure holding the sword of truth reversed - again, tying in this sense of unfairness, of feeling like your pain is because of other people and failing to see the truth of your own role in it. so, that's one interpretation, where camila is this external influence dominating the relationship between shawn and sabrina, but i do think this is just one interpretation, though it's the one i find strongest. the other main line of interpretation i see is that the queen of swords reversed figure represents one of the figures in the relationship. of the two, i find sabrina the more likely interpretation, in part because of the relation to Justice reversed like i pointed out above, which represented the relationship between sabrina and camila - suggesting more that perhaps under the pressure of the situation, the pain she's feeling - recall the burden of the X of wands reversed - she's grown bitter, lashing out, failing to see her own role and thinking of things as unfair, again tying to that Justice reversed. and, as always, these aren't mutually exclusive interpretations - both parties could be lashing out in this way, but the relationship that is primarily impacted is the one between shawn and sabrina.

overall direction: IX of pentacles

finally, we look at an overall direction for the situation, and here i pulled the ix of pentacles. as with all the 9s, we see the compromises and sacrifices made in the suit. in pentacles, we see both success - not only or even principally materially success, but more a sense of success in creating the life that we want, understanding what's really important to us and having achieved it. there's a deep sense of self-awareness to this card. but as with all the nines, there's a sense of solitude and especially of discipline, as one of those compromises necessary for the success we see.

zooming out, as this position calls us to do, suggests that while this all looks and feels messy, it's moving towards this place of self-awareness, of disciplined success, of figuring out what really matters. i think this speaks to the situation overall, but i think it ties more strongly to camila and shawn - suggesting a transmutation of the ix of cups, but also connected to the Empress (who closely resembles the figure on the ix of pentacles) - which represented how camila saw shawn, and may suggest bringing a discipline and an understanding to that passion, something we may have already seen in shawn in the vii of pentacles. i do think that this energy doesn't resonate as strongly with sabrina, suggesting that her role may have been more of a catalyst in bringing about this understanding - similar to the energy we see in the vi of swords reversed, reinforced by the prevalence of ending/conclusion energy in her cards that isn't present in the others. sometimes people aren't moving in the same cycles, or at the same pace. and i think it's worth pointing out that ending on this card really feels to me like ultimately, these three's paths are separating - that what they're looking for isn't going to found with any of the others. the ix of pentacles, especially in a romantic situation, really has that energy of like, taking time for yourself and focusing energy on yourself and what's important to you, outside of a relationship. and i do think that this jibes with what i've seen in terms of recent news about these three.

#tarot #celebrity tarot reading #tarot reading #celebrity tarot #shawn mendes #camila cabello #sabrina carpenter

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youngmasterwisdomperson · 2 years ago

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I’d like ask you about your book. I would also like to say I sought you out after seeing your response to the writing prompt about the Dark Lord. Now I’m excited to find out there’s a book (possibly)

Thanks for asking! That said, if you’re expecting my book to be about Maximus the Dark Lord, I’m afraid you’ll be disappointed. I have a fondness for that character and his story, sure, and if you’re looking for another part to his story I’d be happy to build a little more on what I’ve already written for that, but I don’t really know if the story as it stands is what I would consider Novel material. The pacing is much too quick to take up that many pages, and the format is much more conducive to a series of short stories than a full-length book. To adapt Maximus’s story into a novel, I’d need to start from scratch, take my time, flesh things out and slow the pacing down quite a bit.

As for what my book is actually about, it does share a genre with Maximus’s story (high fantasy), but it’s a lot less rooted in toying with the classic tropes and dynamics between fantasy princesses and heroes and dark lords. Instead, my goal in writing it was to create a fantasy story where the main male protagonist not only doesn’t solve problems with violence, but physically couldn’t if he tried.

The working title is Pathos. It’s a story about a boy named Gideon who was born with the ability to feel the full-force sum total of all the pain and emotions felt by people around him within a large radius, at all times. It’s kind of a passive ability for him, and he can’t turn it off, so it creates an interesting limitation as he learns to apply the magic system over the course of the story. Gideon literally cannot help but empathize with the enemy, and he physically *feels* any and all pain he inflicts, so physically fighting to win is a recipe for failure on his part. For plot reasons, Gideon washes up on shore in the jungle on the coast of the nation of Revel, and it’s in this jungle that he meets a boy his age named Axel, who is secretly the Crown Prince of Revel, and who Gideon can tell from use of his powers and context clues is being led by his bodyguards straight into a trap. Gideon foils the assassination attempt, and the story progresses from there, featuring mystery, magic, and political intrigue, as the two boys try their best to prevent conspirators in the court from sparking a war with the people of Chimera Desert (and slowly develop feelings for each other of the queer-platonic variety along the way).

That’s a bit of an oversimplification of the plot in my opinion. There are other main cast members and plot lines as well, such as a magical murder mystery featuring Anna, a girl with the power to turn into any species of spider she’s familiar with at will. Unfortunately, she can’t turn her powers off entirely, so she’s always at least partially transformed at any given moment. Her plotline starts out fairly separate from Gideons but the two stories will merge before the story’s end.

Anyway that’s my pitch of the story of my book as it stands right now. If it sounds interesting to you that’s cool. If you’re just here for Maximus the dark lord that’s fine too. Thanks for leaving an ask! I love talking to people about the things I write.

#asks #Maximus the dark lord #my book #genuinely thrilled to receive an ask. y’all should ask me stuff more often

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professionallydeadinside · 2 years ago

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Thinking more about human good omens and. I think i figured a bit out. So like yknow the whole plot where Beelzebub was dating Gabriel but then he vanished and then they meet Jim, his brother he never told them about and then kinda accidentally dates Jim because they think it’s just a really weird Gabriel (jim goes along with it because he thinks Beelzebub is being nice and has absolutely no understanding of social anything and thinks the hand holding and romantic gestures are just them being such a good friend!!) and anyway i think i figured the family dynamic and might write something of it.

Gabriel and Jim are brothers who are not related to Aziraphale or Crowley at all but when they were teens Jim got a job at the bookshop and just kinda. Got adopted. Crowleys a bit mean to him sometimes but in a way where he doesn’t know how to show affection very well and they do have nice moments. Jim lives in one of the rooms above the shop because Aziraphale unfortunately grew fond of the constant company and they’re a little nervous he’s too naïve and might be taken advantage of. They hate Gabriel and he hates them.

Muriel is of course a little fellow they also adopted because look at them Aziraphale. Look at them. We have to keep them. Muriel gets adopted pretty young and Crowley adores them.

Warlock meets Crowley when he’s his nanny and when mr and mrs dowling mysteriously disappear and croak, Crowley takes in Warlock after receiving a very distressed phone call.

Adam is still raised by the Youngs and he loves his parents so much and they love him but he’s basically got a second home at the bookshop for how often he’s there. (Tadfield isn’t really a town in England, and was filmed in Hambleden, and from Soho to Hambleden is a three hour bike ride so he could stay the weekend. It’s even shorter if he drives or uses public transportation). I might have a reason for him and the Them being there a lot but i also might follow sitcom rules where he’s just. There.

Anyway Aziraphale still leaves Crowley but this time they have kids and he abandons them too (gross oversimplification of what happened in the show but you saw it you get what i mean) and they all stay with Crowley in the divorce and the story would largely be Crowley learning to live without Aziraphale and run the shop himself and realising that he’s still loved and has more love to give. That this sucks but by someone he’s strong enough to keep going, even if just to see his kids smile.

Sandman characters show up too as little cameos, and there’ll be some discworld allusions because that was so fun to read.

Then Aziraphale shows up with a baby named Jesús who’s a bit too sweet and kind to be fully human, if you ask Crowley.

Okay Silas I love this so much and I love Aziraphale just adopting people but you killing off the Dowlings is very funny wkakkdmdms

#I LOVE THIS AU SM #answered

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halleehalfgallon · 2 years ago

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so i'm curious what you think a Trad wife is.. because literally I feel like it's anyone who has a child with their husband. there is nothing anti feminist about that, simply put as a tradwife myself I feel like we should have it in common that when someone doesn't want to claim being a feminist it's because of extreme people who are NOT for true equality. it's been used so much to hurt men now, and in some cases even biological women.

oof, that last bit has terf energy so I’m probably not going to get anywhere here.

first, that definition is really lacking. that’s not what the word means. tradwives are a whole lot more than that.

no, there’s nothing anti-feminist about having children with your husband. of course not. feminism is about choice. getting married, keeping a home, having children, staying at that home with those children, those are all choices. and if you look at my blog, they are clearly choices that I’ve made!

choice is key. show me that the majority of tradwives are for choice and we‘re golden. I have yet to see one who does not actively advocate for the oppression of their own sex and for the oppression of LGBTQIA+ folks.

time and time again my content is being reblogged alongside nauseating statements about the way women ought to behave toward men, commanding women’s obedience to men solely based on biology.

I don’t care if you have 5 kids and your husband works a 9-5 and comes home to dinner on the table. if that’s the dynamic that genuinely works for both of you and that’s a life you are actively choosing and getting fulfillment from, I’m glad for you. side note: housework, child rearing, homemaking is valid work.

if you have 5 kids and your husband works a 9-5 and comes home to dinner on the table and you tell me it’s my duty to do the same out of respect for my husband, and that my husband is weak for not asserting himself as the head of our household, and that all of this is what is wrong with society, and on and on and on… you see where I’m going with this?

the feminism I subscribe to doesn’t hurt men, it holds them accountable. it advocates for them, even! and of course there are shitty feminists out there who cast judgment toward those of us who do choose to get married and have children, but that is also wrong. it’s an over-correction. it’s a shame. it’s something I feel strongly about and you’ll see that I talk about that plenty here too.

but let’s not act like tradwives are just married mothers. that’s a gross oversimplification. if you really don’t know what I’m talking about, tumblr is riddled with the slime I’m referring to. it’s often thinly veiled and romanticized as cottagecore and over glamorization of rural living.

#tradwife #tradfem #feminist homemaking #feminism #feminist parents #parenting #gender roles #ask #anon #sahm #stay at home mom #cottagecore #apronstyle #rural living #rural life

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yurimother · 4 years ago

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LGBTQ Manga Review — I'm in Love with the Villainess Vol. 1 (Manga)

A New Look on a Compelling and Innovative Series

A manga adaptation of one of the best and queerest Yuri light novels I have ever seen, what is not to love! As a massive proponent of the light novels, I eagerly followed I'm in Love with the Villainess began serialization in Comic Yuri Hime last year. I am thrilled to get my hands on the first English volume, and now that it is finally out (digitally at the time of writing), I am equally delighted to read over the start of Rae and Claire's journey once again. Getting to see my favorite isekai protagonist and her bratty noble crush in full illustrations is terrific. However, it does not make for a completely flawless work.

I'm in Love with the Villainess follows Rei Ohashi, an avid otome gamer who dies and is reincarnated as Rae Taylor in her favorite game, "Revolution." Rather than chase any of the game's handsome bachelors, all students at the Royal Academy in the European-inspired fantasy world, Rae heads straight for her favorite character, the game's villainess! Rae begins to relentlessly tease the bratty and elitist Claire, much to the latter's frustration. Soon a rivalry forms between the two girls, but despite Claire's taunts and coldness, Rae is determined to stay by her side and protect her.

The increased focus provided to Claire and Rae's early relationship will be noticeable to light novel readers. While Inori's writing focuses mainly on world-building in the first several chapters, the manga makes the wise choice to condense much of this information for the sake of reading. Blocks of exposition work poorly in the manga compared to prose. However, establishing a setting is not completely thrown out the window. There are several small conversations and explanations of key aspects of the world. After quickly setting the story, the characters are left with room to explore.

Claire and Rae are the most enjoyable part of this manga. Rae is eager and doting, with a touch of masochistic. On the other hand, Claire is more arrogant, often looking down on peasants like Rae, and is continuously infuriated by her affection. A hilarious rivalry starts to spring up between the two, with Claire pranking or mocking Rae and then getting outraged when she revels in the attention and teases Claire by expressing her undying affection.

These interactions also further the story. They establish the dynamic between our two heroines and add more detail to the political situation and tensions between the commoners and nobility, the series’ main plotline. Interestingly, while Claire may believe commoners inferior, she also sees it as her responsibility to protect and instruct them in her very elitist way. Noticeably none of the torments she subjects Rea could ever cause permanent harm or damage. It is a fascinating insight into this character's mental state, and even in the first volume seeing her start to change and become more aware slowly is fascinating.

Much of the rivalry is comedy and often plays out as such. However, some readers may find it slightly off-putting and understandably see the dynamic as Rae sexually harassing Claire. I strongly encourage you to give this series a chance. This book will undoubtedly be the worst volume of an incredible series. Once I'm in Love with the Villainess breaks into its stride of exploring queer and socioeconomic issues, some point in the next volume based on reading the serialized chapters, I promise it will become a quick favorite. If you know you may not be able to overlook its immediate faults during the wait, consider holding off on the mage until after the second book is out and get them together.

Much of the previously mentioned content is the same or strongly similar to the light novels, perhaps a touch more emphasis on Claire's early hostilities; however, there are some significant points unique to the manga to consider. For one, Aonoshimo's artwork is fantastic! The characters and backgrounds are distinct, with only slight adjustments for the more comedic or dramatic stylistic choices. No matter the panel's tone, though, it is always easy to read without oversimplification. Aonoshimo also relies on very standard square or rectangle panels during most of the manga, but occasionally produces more dynamic boundaries and layouts for action and service scenes. Lastly, all the characters are on full display. It suddenly becomes a lot easier for light novel readers to picture their favorite moments. It is a lovely treat for returning readers as the visuals aid the characters, allowing us to clearly see Rod as the strong-willed if slightly aloof prince and understand how Maximillion Pegasus-cosplayer Thane is the most unpopular character in the fictional otome game when they are displayed visually.

There are some other vital factors to consider when reading the manga. For one, every character's personality was dialed up a few points, with Rae being a touch more physically affectionate and masochistic and Claire more easily exacerbated. However, the manga and the English translation takes many quirks and exaggerates them further, reducing the series’ performance. For example, while Claire's actions show the complicated relationship to commoners described above, her dialogue contains a surprising amount of vitriol and vulgarity that stands out notably.

Additionally, while Rod is usually the perfect if slightly detached prince acting as the occasional voice of reason in early chapters, his dialogue here appears laughable indifferent and meanspirited. As I'm in Love with the Villainess is one of a very few series that I follow the monthly serializations of in magazines, I was surprised to see this dialogue, as it did not stand out to me in the Japanese version (admittedly, the manga did overblow everyone's personality to some extent for comedic effect). I feel it changes the characters for the worse — do not get me wrong here, calls for "literal translation" are as unfavorable as they are uninformed. Still, the work feels careless at times.

Finally, there is the service. While the first volume contains virtually no romantic caresses or sweeping panels of scenery we associate with Yuri, there is a fair amount of salacious content. Of course, there are Rae's desperate and overblown expressions of admiration for Claire and her slight case of masochism. However, towards the end of the volume, Aonoshimo shows some skin. In one scene, Rae helps Claire get dressed and very openly admires her body, accompanied by some close-up panels of her back, stomach, and butt. There is also a very exposed bathing scene, although light covers the most explicate bits. It is obviously garish, though it tonally fits with Inori and Aonoshimo's more comedic manga interpritation and even includes some wholesome interactions with Claire and Rae alongside the sexualized comedy. Reader's millage will vary here, but I enjoyed it.

This first outing of Aonoshimo's I'm in Love with the Villainess manga adaptation is very likely to be the weakest entry in a phenomenal series to follow. The manga does a fantastic job of bringing the original light novels to life in a new visual format. The artwork is excellent, and the story condensed with a slightly different focus that maintains the feel of the original while providing manga audiences with entertainment that does not feel constrained or lacking. However, the gradual pacing of the plot and the main characters' relationship means that the volume leaves off before showcasing the meat of the series and most of its best features. There is a little bit of the stumble out of the gate, and both the publisher and the manga will likely have to course correct in future volumes or else risk destroying the development and voice of the series remarkable characters. I still recommend the series, but unless you are a diehard fan of the original like you, you might wait a year or so until we have the second volume and can enjoy a more complete vision of Inori's intricate and groundbreaking story.

Ratings: Story – 8 Characters – 7 Art – 9 LGBTQ – 9 Sexual Content – 6 Final – 8

Check out I'm in Love with the Villainess (Manga) Vol. 1 today: https://amzn.to/3wTSJ9R

Thanks to Joshua Hardy, Courtney Williams, Peter Adrian Behravesh, and the rest of the team at Seven Seas for their hard work.

Help support future Yuri news and reviews, and get access to exclusive content by subscribing to the YuriMother Patreon

#yuri #lgbt #reviews #lgbtq #lgbtq+#queer #gay #romance #art #manga #anime #i favor the villainess #i'm in love with the villainess #wlw #girls love #gl

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carpisuns · 4 years ago

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New anon, but I saw the last one and I have some thoughts. Specifically, I have been obsessing over ml for the last month or so, and I’ve only seen three episodes, and they were the three released before crocoduel. And you know what? I wasn’t that into it, it wasn’t bad it just wasn’t half as engaging as fanon and fanworks have been for me.

I’ve also done this with the Magicians, Supernatural, and a couple others. I think the reason that this works, for some people, is because it is a more familiar and in many ways, easier way to discover and become attached to new material and new characters. Fan writers and artists are coming from a place of love for their source material (no matter what issues they may have with it) and that bleeds out into their work. Time is spent developing the characters and their feelings, their relationships, in ways that canon so often can’t or isn’t allowed to, and reading that, it’s very easy to fall in love with new characters very quickly. There’s also common AUs and dynamics that make it much easier to start something new.

And also: comfort characters. So many fans find common ground with characters and further project onto them, particularly in fanfic. And because of that it’s often easier to identify with a fan’s interpretation of a character than it is to identify with the canon’s, since you have these more deeply explored feelings and relationships based on a combination of canon and the personal experiences of the fan writer. Also, with these kinds of fics it’s extremely emotionally affirming since for someone who doesn’t have much of any connection with the source material, it feels like the original, even if you’re reading a large body of work by a lot of different people. And I’m so used to fanfic as a substitute for the emotional work and character development that shows/movies/books don’t have room for or aren’t willing to get into, that approaching a fandom as it’s own original piece of media in a way, feels very comforting.

That’s my perspective on it anyways, and why I do this. I do think it is a good thing to engage with the canon to an extent, even if it’s just watching a few clips (how I found ml) but I also don’t think you need any real connection or knowledge of it to be deeply invested in the fandom. Sorry, this got very long.

you know, i totally get being on, like, the fringe of fandoms and interacting with fanon to an extent without a proper investment in canon (I have a couple fandoms like that), but i honestly just can't imagine becoming super invested in a fandom when I am not invested in the source material...maybe that's just a difference between you and me, idk.

but also, i gotta admit that i'm struggling a bit to understand the reason. you yourself pointed out that fan work is enjoyable because the creator's love for canon bleeds into it. and isn't that the reason that you would want to give canon a real chance? obviously there is fan content made out of spite lol (and sadly a fair amount in this fandom), but to me most fan content is like a love letter to canon. like, "i adore this thing so much that it inspired me to create and share with other people who adore it." and what better recommendation is there than that?? i would think people would wanna familiarize themselves with canon in order to better enjoy fanon(?)

i completely understand your point about fan content delving further into characterization and relationships where canon hasn't/can't, and that is such a big appeal of fanfic/fanart. but i don't feel like that's a reason to not engage with canon? on the contrary, i feel like you are missing something important in your understanding and appreciation of that wonderful exploration if you haven't experienced firsthand the foundation that canon set. and maybe that missing thing is just your personal interpretation of a character/dynamic.

for example, i could say, "adrien agreste is this, this, and this and he would do this but not this." and of course i will think im right because my characterization is always perfect 😌sakjdfaldjks but someone else might have a slightly different interpretation, and someone else will have another interpretation, and when you mush all those individual takes on a character together, you will get a good sense of who they are, but you still don't have the Original™️ to draw your own interpretation from. idk, to me it sounds like basing your opinion of chocolate ice cream on what other people are saying about it without ever trying it yourself? ajsldakljf maybe that's an oversimplification but i do think that without experiencing it for yourself, your understanding will always be kind of incomplete.

idk, i big agree with everything you said about why fan content is special, but everything that is a point in fanon's favor is not a knock on canon. to me fan content feels pretty inseparable from canon, so it just doesn't compute to me to take canon out of the equation? then we would have nothing.

i feel like it's almost kinda trendy nowadays to be like, "oh this show actually sucks lmao but the fanon and AUs are good." like it's shameful to actually...enjoy source material? 😭 i mean i completely understand that miraculous ladybug is not gonna be everyone's cup of tea and that's fine! but if you truly enjoy the fan content that much i encourage you to give canon a real shot. it's not that surprising to me that you watched 3 recent episodes and didn't vibe that much, since you haven't seen the 3 seasons of buildup that lead to them. miraculous has a neat way of tying a bunch of things together so if you aren't familiar with all of it, you're probably missing out.

personally my love for miraculous was kind of a slowburn at first. i only started watching the show because my sister and i made a deal that forced me to watch the first few eps lol. and i didn't really vibe either. but there must have been enough of a spark there for me to keep watching bc for some reason i did and the more i watched the more i fell in love with it until it became the thing that occupies my brain more than anything else. i started with canon and then got into fanon, but it could easily go the other way too. and if you're already invested in the story and characters, i have to imagine it would be much easier to push past the initial cringe of "this is a show about a couple of teen furries rated TV-Y7 on netflix" lol and give anything you don't vibe with the benefit of the doubt.

again, to be clear, i'm not trying to judge or gatekeep here! i'm just saying this because i genuinely LOVE miraculous. it's my favorite show. that's why i make things for it. that's why i have this blog. i want people to watch it. so maybe, pwetty pwease, try watching the show you like so much? 🥺👉👈

(source bc i was too lazy to make my own so i stole this from twitter)

#anon #ask #fandom #long post

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impalementation · 4 years ago

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if you're interested, i'd love to hear your thoughts on That scene in empty places, bc the way that i've seen most people talk about it doesn't always feel very nuanced and like... i get being frustrated and i for sure think some extremely unfair things to/about buffy were said, but i don't think it's as cut and dry as buffy being totally blameless (even though i love her) and everyone else (particularly the main scoobies, who don't have her responsibilities but have fought alongside her and earned the right to disagree w her imo) being terrible. Like it may have gone too far?? But idk, I have trouble articulating why, but I think there's more nuance to the situation than people want to say, so I'm curious about your thoughts

Anonymous asked:

whats your take on empty places and the scoobs kicking buffy out of her house?

Anonymous asked:

Why did Buffy allowed Dawn to kick her out in Empty Places?

Wow, so many questions about “Empty Places”! Sorry, as ever, that these took me a while to get to.

I actually agree, I think there’s more nuance there than it’s given credit for. I talked about that a bit in this post a while back. I wouldn’t say that the character build-up to that scene is as well-executed as it could have been, but it hardly comes out of nowhere, and it’s not some random thing. Or, as I’ve seen people suggest, simply there to make Spike look good and push him and Buffy together. I’m sure their romantic arc was a factor in the storytelling, but to call that the only motivation seems to me a vast oversimplification and dismissal of ideas that were built over the course of the season.

Season seven is, as I’ve discussed before, about how the Slayer system is broken. It’s a system that isolates Buffy and puts all of the decision-making in her hands. Meaning that it’s a system that is neither good for her, nor good for anyone around her, no matter how strong and brave Buffy is. All season long, we see Buffy struggle with both the limits of her power, and the demands of her authority. She wants to be able to save every girl, and fight every ubervamp, but she simply can’t be everywhere and stronger than everything. She wants to be a caring friend, but when she’s the one who has to make decisions about whether people should live or die, she can’t always be. When she’s the one who has to make all the hard choices, that means the blame always falls on her shoulders. When she fucks up, there’s nothing for her to fall back on. The fact that Buffy is forced to be this kind of sole authority means that the people around her are right to feel that they aren’t being listened to, or fully considered. Because often they aren’t. They see the people around them getting maimed and killed and suddenly realize that maybe it isn’t right that all their eggs should be in Buffy’s basket. But at the same time, they’re wrong, because they’re the ones who put their eggs there. They’re the ones who kept looking the other way as Buffy made hard choice after hard choice on their behalf. They’re as complicit in (and victimized by) the broken system as Buffy is.

Keep in mind the season’s perception themes. Everyone gets mad at Buffy, and Buffy gets mad at herself, because they’re all too close to the situation to see that the problem isn’t really Buffy, it’s what being the Slayer has forced Buffy to be. The dynamic it’s forced between her and the people around her. Notice how in the very next episode, Faith finds herself dealing with the exact same problems that Buffy was. The same hard decisions, and the same ambient resentments. It’s actually very important that Faith has to be a leader for a bit, in order to show this--the fact that the problem is being the Slayer, not Buffy. I’d even argue that it’s the much more thematically relevant motivation for the scene than getting Buffy and Spike alone.

As far as thematic motivations go, I also think it’s crucial that Buffy is thrown out of her house. That is some powerful symbolism for a season that leans so hard into the symbolism of Buffy’s house in general, and it’s disappointing to see people ignore it in their eagerness to be mad at everyone. The house is a lot of things—the familiar, the stable, the normative, the safe—but most importantly it’s also Buffy’s self. Notice how Spike and Faith, both Buffy’s shadow at different times, hang out in Buffy’s basement: the realm of the id and subconscious. Notice how as the house breaks down, Buffy gets injured as well.

So for Buffy to be thrown out of her house, it’s the climax of the season’s isolation themes not just in terms of story, but also metaphor. She has literally been cast out of herself. She’s been banished from her identity and role. But at the same time, once she’s on the outside of that myopic, claustrophobic system, she is able to connect with her shadow (Spike) and see the situation with new eyes. The reason that Spike is the one who can talk Buffy back is that firstly, unlike the Scoobies, his later seasons arc is all about learning to not ask Buffy for things that aren’t appropriate--romantic reciprocation, moral structure. Secondly, he was once the tool and symbol of her isolation, the icon of her shame and guilt and belief that she needed to isolate herself. For her to make peace with Spike is about her rejecting that isolation and shame, and transforming it.

Of course, I can talk about symbolism all I want and it doesn’t necessarily matter if the writers didn’t make it believable on the object level too—the level of character and plot and all of that. It’s a regular problem on Buffy, the writing caring more about symbolism than sense. While I think that most of the characters have adequate motivation for the scene—really, it’s been building from the beginning; remember the confrontation between Buffy and Xander as early as “Selfless”? or Buffy fighting with Giles and Wood two episodes earlier? or the way she argued with everyone in “Get It Done”? or the Potentials doubting her from basically their first episodes?—the one character that seems truly undeveloped is Dawn. She got that warning from the First in “Conversations With Dead People”, but the season doesn’t follow up on it well enough to draw a clear line between that seed of doubt and her attitude in “Empty Places.” Given that Dawn is Buffy’s “humanity” or “youth” or what have you, it’s symbolically significant that she would be the final one to cast Buffy out. But that seems like a clear case of the story not earning its metaphor, unfortunately.

To answer the third ask: as far as why Buffy let Dawn kick her out, on a character level I think she was pretty defeated by that point. But symbolically, I think the part about Buffy’s human self rejecting her is important for that. Buffy has a tenuous relationship to her belief in her humanity at the best of times, so it’s pretty easy for me to believe that she would feel lost and numbed enough by being rejected by that part of herself, that she wouldn’t fight it.

(Controversial opinion, but I actually kind of like that “Empty Places” isn’t due to the First sowing obvious discord. I’ve seen lots of people suggest that that would have been the stronger and more believable choice, and I get the instinct. But if the point of the season is to show that the villain is the Slayer system, then it makes more sense for that to be the thing that drives the conflict, and not an external force influencing them. There might have been a way to use the First that was compatible with that, but it wouldn’t have worked if the problem was just The First. Imo, of course.)

All of which is to say, that if you see the season as being about faulty perception, broken systems, and the dangers of isolation, then “Empty Places” actually makes perfect sense as a climax of the season. The problem really comes down to whether you think it was earned enough (which in some cases I think it was, and in others it wasn’t), or generally handled well, and whether you think those ideas are interesting in the first place.

#s7 #askbox still closed for now but i'm working my way through the backlog!

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bogusavathepit · 4 years ago

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Another Summation of Why Edward Can’t Resist Bella

Disclaimer: This is what I think Meyer sets up when we’re reading the novel, Midnight Sun.

It took a lot for Edward to even regard Bella apart form the crowd of annoying humans, most of it a more intricate and sinister web of a sensory experience than “she smelled good”. That’s par for the course for Edward, because in case you haven’t noticed...

1. Edward is a vampire from Twilight.

Twilight vampires are distinct from other vampire figures and depictions of blooddrinkers of the past many centuries in that their bloodthirst has the quality of animalistic addiction.

They are more compelled by all their physical instincts similar to, I think, how humans are compelled by their fear instinct. They live by and rely on their sense of smell first, then their eyes and hearing. Like the vampires of the past few decades (The Vampire Chronicles, Buffy, etc.), they are also a bit hedonistic; they derive pleasure from their sensory experiences--drinking blood and having sex with their partners only it seems, though.

And I can’t really blame them since they have nothing meaningful or compelling else apart from their mates/strong relationships and this thirst that feels like acid, fire, or an unbearable dryness. They can’t interact with the broader world besides jobs and positions that have them not interact with humans close enough that humans will notice them. The same thirst they hate because it will always remind them of their first painful transformation.

If there is nothing they do for eternity other than stay very still forlong periods of time and maybe deep-think, hunt, fight, kill, and have sex (most of the time), I imagine that their lives aren't as dynamic as humans' can be. Which goes into the next point...

2. Edward is hella “BORED”! (oversimplification)

And jaded by the time the Cullens land in Forks. His gift is unfiltered mind reading at a distance, and he can’t just turn it off at will. He can only concentrate on something else to not get overwhelmed, or as overwhelmed as vampire can get.

Because of the nature of his gift and his status as golden boy, he has gotten used to the idea that he knows everything about how and what people think. So he also doesn’t bother to directly engage with others other than Carlisle, who he looks to as a role model in self possession.

So he’s emotionally detached from most people, humans and vampires alike.

3. Edward doesn’t like himself very much...and he likes himself too much.

Edward lives with a strange condition. Edward, as we know him, is the Edward that thinks himself a vampire first and foremost but yearns to know what he is if he wasn’t one and he creates for himself an enternal sense of lack and sense of a looming moment of failure.

While he prizes his mind reading giving him the ability to discern others’ intentions and feelings so he can alert his family of, he also claims to hate being a vampire. I can buy into that. Although his vampirism allows him to have a gift in the first place, it also compels him to kill people for sustenance. (Edward is still kind of the exception since he made the exception for himself hunting the depraved and most evil of humanity for a while.)

If I were to compare it to my feelings about being part of the human species, I’d say that though my humanity/human brain allows me to innovate, create, and use tools, it also makes it so that I’m capable of great cruelty and stupidity towards others and even myself.

Twilight vampirism grants super enhancements and, for some, an extra ability, but it also can present moral quandaries.

Edward’s “I will triumph because I should” attitude and Protestant Christian-inspired beliefs the buffer it makes it so that he despises the idea of vampirism and thus himself. Or believes that he should despise vampirism, so he acts in that belief.

He seems afraid of losing all of his carefully-built control, and control is more than just saving humans’ lives for him. It is the way he preserves a semblance of what he believes makes him humane/human, i.e., having no (even “evil”) blood on his hands.

I suspect that Meyer expresses that Bella’s appeal to Edward here is that she’s a person who can’t hide how she feels (no deception), but still has a lot of things that must be unearthed because she’s avoidant of censure or contradiction and Edward relies too much on his mindreading bec he wants to create a distance from people to avoid any confrontation of disappointing them (those he cares to not to disappoint or to show failure/have failure thrown in his face). Objectively, without Edward's perception of things and seeing how she acted before they got together, it seems she’s already like this (Jessica also finds it hard to get her to freely speak her thoughts without taking time to respond). However, because he can’t read her mind, she becomes more attractive to Edward. Her appearance reflects and enhances her mystery, as weirdness and out-of-the-ordinariness overlap. Like a metaphorical “lamb“ who puts their trust into the “lion“ that could eat it up, it engenders a curisosity of that object’s perception of oneself contrary to the primary way one/Edward looks at himself. a person willing to put themselves at risk to be close and intimate with you? Heady and compelling.

And all this comes from his admiration and love for Carlisle as the embodiment of goodness and moral perfection. Edward wants to be “good” and thus strives to be the “good” to those he perceives as morally perfect, specifically those who are gentle and compassionate, i.e, Carlisle and Bella.

So, the only things he truly likes/embraces are his gift and his ability to run faster than the others. As his gift allows him to at least be one step ahead and to protect his family, it makes a sort of sense that he’d be very protective of it, as he is in Midnight Sun.

It is one of the two only things that define his self-worth as he already defines that worth.

As for running really fast--well who wouldn’t like to run faster than everyone else?

Then in comes this human girl who he can’t easily read from the jump.

Yeah, I can see the appeal (non-romantically) Meyer’s trying to sell. Not only is she different (she’s not like the other girls, yuck) and a challenge of his self control (yuckier, rapey), she is also a kind of a reprieve while also being an opportunity for him to actually engage with things outside of the trap that is his changeless eternal life and his own self-hatred.

So Why does Edward like Bella?

Why can’t he resist her or stay away? Ultimately, I think it chalks up to her as the only way for him to:

“be brought back to life“; emerge from the horrific monotony of vampire life and to be more engaged, which in itself defines living vs. surviving as a principle

have a safe haven or space to be himself without hating what he is--find self love or self acceptance

discover/reconnect with the veracity and depth of with his own humanity/goodness

P.S.

To me at this moment of writing this post, Bella and Aslan (The Narnia Chronicles) are two Jesus-like figures for different reasons and in different forms and functions. But they are still both characters modeled after the Christian savior in some form as they are people whose presence and character inspire others to think differently about themselves, their own values, their purpose, and the world/society at large.

#twilight #edward cullen #bella swan #twilight vampire #twilight vampires #twilight analysis #twilight renaissance

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flashfuture · 4 years ago

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The only thing Hal and Bruce can agree on is yeah Clark is hot, but the other can’t know they agree on this for it wound both their prides.

Yeah sometimes Hal’s general unfearlessnes is actually quite scary, I mean if he scared for him if he was like..a real friend. But in a character sense I do think it’s fun to compare that, once again, to Kyle who was pretty dang afraid of shit but leaped anyway. One has no perception of it so does not register it, while the other has perception but goes anyway. That’s a bit of an oversimplification but idk it’s very intesting in a meta sense because if you really don’t have a perception of something when it bites you in the ass like with Hal and Parallax, it bites hard. Idk if that makes sense but it’s like...yeah

God conn and Kyle are so funny, but like for superheroes their friendship seems very...idk? Legitimate and like (real-ish) like so many friendships I have are like that where it’s like in-depth discussion on some kind of deep topic then haha funny meme. Really, I think it’s fair to say Kyle is Conn’s Maniac Pixie boy if I’m being honest. Like random hot dude shows up and is emotionally avilable and pretty and sweet, yeah not a bad catch for a first relationship (he legit falls out of the sky).

Also I will always narc on Kyle for being *surprise pikachu* at his parentage when in relaity it’s very obvious. Kyle does give the vibe of someone who really loves nature but also enjoys the hum drum of city life as well, he really couldnt pick. He just likes places, which I know is a weird thing to say but like, yeah.

Ya know when Jess debuted the first thing on earth Twitter was “finally coast city lesbians, we ride tonight.” (I kid I kid)

John looking Ganthet dead in the eye while flames burn behind him is such a mood, ironic, brilliant, his mind...

Also gonna note that Clark and Bruce look very similar according to canon like so much that people can mistake them for the other. Which narcissism much, Bruce? Lol yeah they can’t know. It would be offensive to even consider having something in common

That is the difference between Hal and the others tho. He doesn’t see a bad idea or a stupid dangerous stunt he sees a way to win and goes for it. Kyle is like welp this will probably kill me but here we go anyways. Parallax was a massive retcon that sort of never made sense because Parallax!Hal wasn’t scared. he was angry and he was mourning but he wasn’t scared so whatever. but yes say the fear entity did get into him well Hal’s never fought fear like that before. (Not to say Hal hasn’t been scared but that’s more in the moment panic. His dad dying, Barry being in danger etc) It doesn’t last. That’s why I genuinely hate them trying to give Hal fear because it made him unique. he wasn’t putting on airs or being arrogant it was something uniquely Hal.

Honestly Conn and Kyle have one of the purest relationships to me. Like it was built on the past of Hal and Ollie but became so much deeper in that they had so much in common and Kyle told things to Conn he admits he’s never told anyone else not even his girlfriends so. Just their friendship I love it and I miss it and I’m angry every day about it.

Oh my god like okay they don’t draw Kyle with particularly tan skin but pssh they white wash Conn just fine and he’s very dark skinned so I’m ignoring that. But even consider Kyle’s eyes are naturally brown (the rings turn their eyes green you see it with John too it’s very sexy of DC to give us that) and his hair is black. Buddy, baby, darling how could you have thought you were totally Irish.

Why kid you’re right. They were. Jess is also Earth based generally so she becomes more popular on twitter than Hal and he’s not bitter he’s really not.

John is just the best.

The Guardians are like: And we forbid you from interfering

Hal: What no fucking way

Guy stomping on Hal’s foot: Of course we will go be productive elsewhere

Once they’re outside

Hal: John we can help fix the

John: Shut up Jordan- go get Kyle. I’ll find Guy. Rings up in 5

That’s the whole dynamic it’s the best

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alastanor · 4 years ago

Text

youtube

To start, I would like to thank @cis-het-angel-kinnie for bringing this video to my attention, even if it was to praise the video rather than to point out it's flawed arguments against Charlie for main character.

If you have not seen the video yet, I recommend giving it a watch prior to reading this or you may be confused.

Click to read more...

What Is A Protagonist?

I am not bringing up this question because I think the source used was incorrect. However, the statement that "protagonists ask questions and antagonists make arguments" is an oversimplification of both roles. And I am going to explain why.

The trope of protagonist vs antagonist is an age old theme which has been used countless times throughout storytelling's history in books, plays, films, and story-driven video games. As such, the definition of both roles has continued to flourish and evolve over time. It is no longer good vs evil.

While @diregentleman used books written by, I assume, published writers for his argument, I am going to use Creative Writing and Literary Experts from a Masterclass article.

In the article, a protagonist is described as this:

"In storytelling, a protagonist is the main character or principal character or group of characters in a story."

More than one character is capable of being an antagonist in this story. Given that demons are meant to be redeemed, fitting the theme of the story, it is fair to surmise that all (or the majority of) the demons surrounding Charlie are protagonists in some form.

The article goes on to state that the protagonist's goals reflect the overall story goals and the plot moves forward based on their decisions.

This being said, Charlie's overall goal reflects the premise of the story, that being that Hazbin Hotel is a story about redemption. This is a goal that Angel Dust does not have.

In DireGentleman's video, he claims Angel Dust joined the Happy Hotel with the intention of being redeemed, albeit skeptical whether it could actually be done. This is actually inaccurate, and we see this in both the pilot and the comic.

Angel does display skepticism straight from the gate, but when they explain their reason for approaching him (that no one else has agreed), he makes this face:

Does that really look like someone who believes redemption may be possible? But for further establishment of just how little Angel believes redemption is possible, Angel also laughs them off and calls their goal "lame."

The only reason Angel agrees to Charlie and Vaggie's proposition is because it is a rent free place to stay. He admits as much just a bit further into the comic. By the end, Angel says "Redemption, it's silly. Huh, Nuggs."

The tone we are led to believe he uses is one of contemplation and relief. Relief due likely to the fact that there is some light at the end of the tunnel to the shit situation he was in.

This is just comic evidence, of course. If we go to the pilot, when Angel is engaging in the turf war with Cherri Bomb, he explains that he is using Charlie and Vaggie for free rent. Further exemplified when he later asks if participating in the turf war meant he didn't have a free room anymore. But also in his conversation with Cherri, he also admits that he is still taking some drugs behind Charlie and Vaggie's back. Something that we see immediately toward the opening of the pilot when Angel buys a bag of Angel Dust.

Character Dynamic

I cannot emphasize this enough, the Hunicast is NOT a good exemplifier for character dynamics. Every single "character interaction" is based on fanon, not canon, and they are prompted by the fans themselves. Only Viv really knows exactly how Angel and Alastor would canonically interact. It is no better a source for character dynamic than the wiki is for accurate information. IE, some things may hold true, but the majority of it is not and it is better just to wait until it is confirmed canon.

Moving on...

There is a lot of focus on Valentino as a main antagonist, based entirely too much on the hope that Angel will be the main protagonist. And this is really just disingenuous when you consider there are two other implied Overlords, as well as several other sources of strife within the world of Hazbin Hotel.

An Antagonist is someone working against the protagonist to prevent them from achieving their goal. Alastor would not meet this criteria, as he is a self-professed observer and conflict creator. But he is not a main antagonist. Someone working against the goal of redemption could be anyone from the Overlords (which, far as we know, would include Valentino), Lucifer, or even Heaven itself.

Where antagonists come into play, quoting Masterlist once again, I think these two types of antagonists were overlooked:

A conflict-creator. An antagonist doesn’t have to be a “bad guy.” Sometimes, they’re just a character whose goals are in direct conflict with the protagonist’s, like Mr. Darcy in Jane Austen’s Pride and Prejudice or Javert working to arrest Valjean in Victor Hugo’s Les Miserables.

The protagonist themselves. The main source of conflict in a story can be from within the protagonist themselves—their shortcomings or insecurities are keeping them from reaching their goal. A prime example of this is Holden Caulfield in J.D. Salinger’s The Catcher in the Rye. While Holden comes into conflict with many characters in the novel, the ever-present antagonizing conflict comes from his own obsessions and insecurities.

Now, why did I bring up these two types? Well! I'm glad you asked! You see, where conflict-creator comes into play would line up more with Alastor. He isn't really the bad guy, but he does create some friction where his goals meet with Charlie's. He is a professed observer, but it is strongly believed that there is something else, another goal, that he has omitted.

As for the Protagonist themselves, this lines up pretty strongly where Charlie is concerned. You could argue that it does for Angel too, but Angel's goal, as mentioned before, is not Redemption. That goal is Charlie's, and hers alone. Yet it is her naivety, inexperience, and insecurities surrounding her failures as a princess that are holding her back from achieving her goal. Going by this, not only do we have multiple protagonists, but we also have multiple antagonists.

"So far, no one else's past is wrought with tension like Angel Dust's."

Even if this wasn't a sweeping, dismissive statement made with limited information, it would still be incorrect. Why? Because each and every character in Hazbin Hotel is going to have their own story to tell. Stories that will each be as relatable and wrought with tension, the only reason we know Angel so extensively is because Viv put the most work into him. She has admitted that Alastor and Angel were characters she wrote based on past dealings and experiences she had. Let those implications sink in a bit.

Now, to further this, people don't need to empathize with a character to like them. They can sympathize as well, even if they personally cannot relate to the emotions the character is feeling.

And where Angel is concerned, he is not addicted to drugs. Angel has used drugs to escape the pain of his trauma. His response in the pilot to having his drugs stolen from him is not one of a typical addict. Which leads us to believe the drugs are simply a coping mechanism more than they are an addiction.

Real Audience for Hazbin is 12 to 16

I would really fucking hope you are joking. I'm gonna go out on a limb here and guess that this was said by someone who isn't a parent. While yes, kids will be sneaky and watch or play things they're not supposed to, a show with drug use/abuse, rape, sex, physical/mental/emotional abuse, and suicide is as much for them as Rick and Morty.

Further, it is not just these themes that make the show for adults. It is the format of the storytelling. Yes, you can complain about what you consider issues with the pilot. But at the end of the day, it did it's job. It established the story premise, introduced important characters (Fat Nuggets does not fall in that category, calm down), gave a basic understanding of their relationships to each other, and get the audience interested in continuing the series. Considering the views for the pilot and the resulting disproportionate growth of the fandom, I would say it did that in spades.

Hazbin Hotel is not Steven Universe. I cannot say this enough times, and the reason I cannot is because I cannot tell you how many times I have come into contact with the underage side of the fandom griping about lack of lore, griping about lack of production information, and overall being exceedingly impatient. At the risk of sounding like an old miser, the underage side of the fandom has never had to wait for additions to a series. Like waiting for Homestuck updates, or the new release of a Harry Potter novel. They have had a steady schedule of content, along with shows that give exposition dumps "in the first 3 minutes."

So don't look at Hazbin Hotel through the lens of kids' show fandoms. It has so much more to offer than that.

Alastor vs Valentino

No, this is not about whether Alastor could beat up Valentino. In the video, DireGentleman pulled a huge pet peeve of mine and lumped Valentino and Alastor together, labeling them both "monsters." Which is opening a huge can of worms for me. So, I will give a brief summary of why that is wrong, and provide a link to one of my other posts for deeper diving.

So, there is a reason why Valentino is more hated than Alastor is. Lumping them together is a mistake.

Valentino is a pimp that abuses and manipulates his victims through intimidation and (implied through) some kind of addiction to the red smoke (whether that is real or symbolism is yet unknown). He takes who and what he wants, be damned the consequences or who gets hurt. He is incredibly self-serving, with no consideration for anyone else. He uses people like pawns, and when those pawns refuse to do what he wants, what does he do? He forces them to do it anyway.

By comparison, while Alastor may use his people like pawns, he also has more consideration for them and doesn't abuse them (far as we can tell). The evidence to support this is the attitude of those serving under Valentino vs those under Alastor. Niffty and Husk both seem to not have a problem with Alastor, and where Husk is concerned it seems that his attitude toward Alastor is their typical banter. But definitely nothing that displays abuse. In fact, when Husker is hesitant or even refusing to do as Alastor asks, Alastor doesn't force Husker. He offers payment in the form of something Husker genuinely likes.

Now, while some might argue this is also manipulating through addiction, one could look at it this way. However, Alastor didn't make Husker an alcoholic. That was Husker's vice to begin with, Alastor simply has no intention of fixing it. After all, Alastor has said he doesn't think anything can change a sinner.

For further explanation and delving into Alastor, click here.

Parents don't 'get' Charlie = Disney Princess

Once again, we fall upon the slippery slope of disinformed statements. While the joke was made that the princess of hell expresses herself best through song, parent issues do not equate to being something that is relatable primarily or only to kids and teens. It's kind of offensive that there is a sort or implication in this statement that adults don't have issues like insecurities surrounding their own failures, or parent issues like what Charlie has or worse. And once again, we fall into the empathize vs sympathize realm and I once again will say that the audience does not need to empathize with the protagonist to make them a good protagonist.

Charlie is a failed princess, her people don't respect her and didn't even prior to her hotel announcement. Yes, she is sheltered and naive. Likely due to how little she was able or allowed to interact with sinners. After all, her ex-boyfriend was from another hellborn family. One that, from what we can surmise, interacts rather frequently with the Magne family.

And it is because of this naivety and inexperience that her method to redeem sinners will not work.

In the video, DireGentleman states that we can pretty much assume that Charlie's redemption methods will work. But her methods, as we see in her song, is to inject demons with meds and take away/burn their vices. She is seeking immediate resolutions to problems that require therapy and a long process that should be making sinners want to change. All Charlie is currently accomplishing is earning the ire and scrutiny of her people. This is why I previously mentioned that Charlie is both protagonist and antagonist, as she is getting in her own way to accomplishing the goal of redemption. And this is where we find that Charlie meets the "starts out being wrong" requirement mentioned in the video as well as "admiring a character for trying."

Charlie is also in a perfect position to be the tour guide for us, the audience, as we observe the metamorphosis of every demon who needs to be redeemed. She is, once again, surrounded by those who need to be redeemed which means we will witness every character arc. This includes Angel, who does not need to be the central focus for us to witness his story.

Finally...

It was stated, or at least implied, that Hazbin Hotel's pilot is no longer relevant. This is a statement that pretty much leaves me puzzled. The only way it would be irrelevant is if Hazbin went in a completely different direction, and we have no reason to believe it will. Vivziepop is still creative director for Hazbin Hotel, and A24 is notorious for giving creators their creative freedom. What A24 is doing is animating, making VA regulations, and ensuring there is an air tight lid kept on the project. Especially given it's popularity in such a short amount of time.

Contrary to what DireGentleman said, Hazbin Hotel will definitely live up to it's hype. Being picked up by A24 will not compromise the show simply because it's not in the same realm of indie production that Helluva Boss is. And it's a bit unfair to Vivziepop to imply as much.

In Conclusion...

Please do a bit more digging in regards to not only the show, but everything surrounding it. Don't lump fanon and canon together and expect them to be equal sources, and please do not claim an obviously adult-audience show is more fit for children and teens.

And lastly, please do more digging to better understand media and storytelling. Reading books is great, but what you were using as the foundation for your arguments were far too simplified and vague,, given the complexity of the protagonist and antagonist roles. Overall, the video just came across as one huge helping of Angel Dust bias with a side of strong dislike for Charlie.

#Youtube #hazbin hotel #hazbin hotel alastor #hazbin hotel charlie #hazbin hotel angel dust #hazbin hotel husker #hazbin hotel video critical #video analysis #long post #diregentleman #counter argument

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mikami · 6 years ago

Note

Could you give us an analysis about Light/Ryuk relationship (and its evolution) ?

I can! A bit belatedly, but still with pleasure! Ryuk and Light’s dynamic isn’t terribly formative for the duration of most the story, but it’s incredibly important to how the story starts and ends. Ryuk plays a huge part in Light becoming Kira in the first place, beyond merely providing the notebook for him.

First off, a lot of credit to the thoughts about the beginning of Ryuk and Light goes to casuistor - most of my Death Note thoughts are impacted by her to some degree, but this is really something that she helped me understand and that I would maybe never have seen quite so clearly without her.

That out of the way, here we go. Light and Ryuk from start to end.

The thing is, Light is initially very afraid of Ryuk - or not of Ryuk specifically, but of the entity owning the notebook. Fear of imminent death is what drives Light to the killings he does before Ryuk shows up. He wants to leave his mark on the world and he thinks he has very limited time to do so.

Then Ryuk appears and tells him that the notebook is his - and explains the bond between them. This both contains the explanation that there is neither heaven nor hell (hence the only way Light can give meaning to his life is while he’s alive) and… that Ryuk will, inevitably, be the one to kill Light.

That’s also worrisome information. Now having it confirmed that there is no cosmic meaning to life whatsoever, Light has an even more vested interest in staying alive and continuing to create meaning for himself. And now he knows one thing… staying alive means pleasing Ryuk.

His next two questions are pretty systematic in how they’re geared towards this goal:First he asks why Ryuk chose him. This is important because if he knows why Ryuk is interested in him, he can make sure to retain these aspects and keep Ryuk on his good side. But of course, Ryuk didn’t choose him.So then Light wants to know why Ryuk dropped the Death Note - obviously Ryuk must have some kind of goal and there’s no person more interested in serving that goal than Light who feels his entire life depends on it.

And he gets an explanation: Ryuk was bored.

That gives Light something to work off. Immediately, he hits into this.

He gives Ryuk something to relate to. An idea of them looking for the same thing. Now, ‘I was bored’ is not Light’s reason for mass murder. This statement of his gets taken at face value far too often. Light isn’t lying here, but it’s a gross oversimplification of the truth, for the sole purpose of resonating with Ryuk.

In reality, boredom factors into Light’s decisions in two ways: 1.) Testing the notebook was indeed an act of teenage boredom, but that’s not overtly significant. Being a kid who messes around is normal. 2.) Light’s overall ennui with the world. Light does parallel Ryuk here, even if with different nuance. The first page of the manga isn’t their shared internal monologue about a rotten world for nothing. Both of them hate that the world is unchanging and feel negatively about it. But here’s where the difference splits off: Ryuk craves excitement and fun, Light craves change. Fundamentally, Light’s issue with the world isn’t that it’s not entertaining, it is that everything done in the world feels futile because no lasting social change is achieved.

Light’s and Ryuk’s boredom are completely different in nature, but Light manages to combine them into one all-encompassing masterplan.

He will become the God of a New World.

For him, this is about breaking out of the cycle of futility. He’s had this plan before, but notably he never described in these grandiose terms. Those are for Ryuk, because what could be more fun and more entertaining than a mere human proclaiming to become a God? Light wants to make himself indispensable to Ryuk. Being fun is his life insurance.

And it’s working. They thus enter a mutually beneficial relationship where Ryuk grants Light the power for change and Light repays in entertainment.

And really, that works out for the majority of canon. Their relationship is fairly casual. Light explains his plans to Ryuk, even plays video games with him, and they just… kind of co-exist. Important here is just that Light learns to not take Ryuk too seriously. Between Ryuk’s casual personality and the fact that Ryuk is actually excessively bad at… knowing things… or relaying the information he does know in a timely fashion….. Light stops being afraid of him at all.

He’s so done. And while I cite this as a development, it occurs within like.. the first few chapters. Light’s not a very fearful guy and he very soon considers himself as having a good handle on Ryuk.

Ryuk is kind of impressed by it. It certainly helps equalize their dynamic. They’re mutually bickering roommates by then. Ryuk pokes fun at Light and Light does the same in return - it’s not friendship, because neither of them has any deeper concern, but from the outside it’s almost indistinguishable from it.

And hey, even the future killing is becoming a lighthearted footnote.

Ryuk also begins taking on a role in Light’s cognitive processes. If Light needs to convince himself of something, he tells it to Ryuk.

Even if Ryuk doesn’t give a shit.

And that all works out nice and dandy in the first arc! And when that one is over, Ryuk has become complacent and comfortable in his position of living with Light, so watching over Light as he changes the world further is fine to him.

“... you will witness the creation of a new world.”

But during the duration of the timeskip, their relationship cools down a lot. Light spends most of his time in the same room as the Task Force, unable to speak to Ryuk, and even outside of that, the two of them have far less banter. Light by then completely takes Ryuk for granted and puts literally no effort into entertaining him. While Ryuk doesn’t appear to mind this, as there are still interesting things happening, I think the timeskip period of comparative boredom somewhat contributes to his decision of killing Light when he does.

By the end, Light takes Ryuk for granted. So much that, in his despair, he even thinks to turn to Ryuk for help. And that’s his fatal mistake, really.

Because that is what gets Ryuk to understand, once and for all, that Light is over with. He’s always liked Light because he did things himself, with his own brainpower and his own skills of manipulation. A Light who would sink so low as to plead for help from Ryuk of all people.... Well.

And really, that’s just a perfect end for Light as a character. He’s grown complacent, he’s grown too secure. The being that he initially feared and tried to appease became a part of his daily life, that he never put much thought to. And in the end, this neglect is the final nail in his coffin.

You could even go so far as to say that Light started considering Ryuk too much as a pet. when in truth, he’s always been Ryuk’s pet. Ryuk’s got such a casual personality that it is easy to forget, but when it comes down to it, he’s only ever used Light without ever forming any sense of attachment to him.

So when Light became boring, he died. That was all there was.

#death note #light yagami #ryuk #thoughts #answers #luna thinks

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