#own circles on here’

[spicyicymeloncat]

They don’t prepare u for when ur posts breach containment and you have to deal with 20 people taking it more seriously than you were and saying the same surface level counter argument over and over again even tho you’ve responded to it they just can’t find your response and you have a bunch of people who all feel like they’re the first one to tell you what you missed.

[lotus-pear]

mourning black and the death of ideals

[poorly-drawn-mdzs]

Market based mistakes.

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[canisalbus]

I've had Ludovicas girlfriend on the brain for months and finally sketched her out. I see her as the opposite to machete in that she has dark colours and softer shapes. Her ears and facefur kinda blend together and she gets big soft browneyes..

.

[deanofsam]

it just occurred to me that some of you might have missed seeing american football player joe burrow’s suit this past june during paris fashion week, and it is my personal opinion that everyone see these images at least once in their lifetime, especially those of us with a shared interest in slutty clothes on men (fictional or otherwise). so here they are.

[shima-draws]

Me: Hehe Sanlu!!!!

Fandom: Oh but Zoro? Where's Zoro? What about Zoro? Including Zoro in this. Adding Zoro here because. Zoro tho

Me: KICKING YOU IN THE SHINS STOP THAT

[arabella-strange]

lots of intense (and sometimes heated) takes On Here about what Ludinus thinks Bells Hells are going to think of this Downfall window, about what BH will actually think, about whether Luda or the Primes or Aeor is right -- lots of debates

What if the disagreement is the point?

Because what's clear to me is that there is no right answer for Aeor. There are entire schools of ethics and philosophy and justice and action/intention/agency devoted to debating what a "good" choice would be here -- good for the Primes, good for Aeor. Is it the Trolley Problem; is it meliorism; is it the law of unintended consequences; is it the categorical imperative or is it the paradox of tolerance; etc. etc. etc.

But what if Ludinus's goal is to sow division among BH? What if the point is that he doesn't care if he convinces all of them -- he just needs to divide them. What if he saw this recording -- saw the oh-so-close divisions and cracks and flaws in the bonds among the Gods that took them out of this plane -- and said, "Hey. Now there's an idea for how to clear the field!" Because I can imagine half the party being really moved by the way the Primes were trying to save some people even as they were trying to maintain a perspective beyond what any mortal could see; and just as easily I can imagine half the party being livid and unmoved by this impossible situation and determined more than ever that the Gods are just people who have high-level power, not perfect beings or omniscient ones or even ones who should get to decide what kinds of extreme solutions are okay and which are not. I can imagine a debate -- a heated debate, maybe even a fracturing one -- among Bells Hells.

And so I wonder (and I apologize if this is the rise of the fash in 2024 on my mind) if the division is the point.

[ruelpsen]

Fuck it, I'm going to go out and say it: while I often enjoy being teased on here, a fair portion of what I receive irritates me as it's misguided at best and reeks deeply of unlearned, malicious fatphobia at its worst. Yes I want to be fatter but I'm not fat. I am a 140-lbs/63.5-kg twink despite all my efforts to gain weight. I'm not stick thin, sure, but I'm sure as hell not fat either. So why are some people insistent on calling me fat/huge/big? Are actual fat people too much for you (perhaps even in spite of you being a self-professed FA)? Is your idea of fatness grounded in equating 'not even that chubby' with 'fat' while not even being attracted to people who are actually fat? Do you solely find bloated skinny guys hot while still saying you like fat people? Or are you not attracted to fat people at all and here simply to take your fatphobia out on the people closest to your image of ideal thinness, who you'd be more openly attracted to if they lost 10-20 pounds, all while still scoffing at or ignoring the fat people at the heart of these communities?

Some of y'all really need to do better. Either own up to your love of people who are actually fat (which may entail adjusting your understanding of what fatness is), clean up your nomenclature, or don't be here. Yes unlearning biases like fatphobia takes time and effort, but your choices really are more or less that simple.

[familyabolisher]

Do you think any of the frameworks you've developed for analyzing love in TLT could be applied to Pyrrha's relationship to cam/pal? Since Nona doesn't understand it well, it's hard for me to get a handle on how those characters relate to each other, but I was wondering where it might stand on what the series considers "perfect love," what the significance of its presence/ambiguity is, etc.

I’m really locked on to this idea of illegibility, actually, and the kind of work that gets done in Nona to problematise efforts to easily name, define, & categorise a relationship or set of relationships. I’m thinking of what Muir said here:

It’s a very strange household. And they are a found family, but I don’t think it’s a spoiler to say that in the last movement of the book Nona questions what that even means—their motives, what they all truly wanted out of each other, their pretenses: are they a family, or are they all just a psychosexual mess of roleplaying and bad meals? (The answer is yes.)

and like, her suggestion that ‘family’ can plausibly be collapsed into a ‘psychosexual mess of roleplaying’ and that the drive of Nona is less about asking whether Cam/Pal/Pyrrha/Nona ‘are’ a family as much as it’s about asking what it actually means to identify them as such; and particularly to identify them as such in a text which does very significant work elsewhere to identify ‘the family’ as a site of violence, a mechanism by which particular forms of violence can be enacted. I’m honing in on that ‘last movement of the book’ comment to say that, like—so, the two narratives in Nona (the ‘main’ narrative ie. Nona et al. on Lemuria, and the John narrative) are spliced together, right, so it makes sense to try and read them as though they’re in dialogue with one another, and the obvious entrypoint for doing so is the fact that they’re both working as an account of the ‘creation’ of Alecto; first through John literally creating her and then through Nona remembering his having done so and thus rebecoming what she had forgotten she was. What does it mean to ‘create’ Alecto?—what are the conditions that Alecto’s creation ushers in, what are the conditions that her creation does away with? The ‘last movement’ of the book is to ‘create’ Alecto for the second time—so, what does Alecto represent, and what about her ‘creation’ leads the text to ask what it means to describe something as a ‘family’ in the first place?

The reason I’m drawn to this reading of Cam/Pal/Pyrrha as like, ultimately illegible, incoherent in that we as audience cannot coherently put words to it and make sense of it in the language readily available to us, is because I think the text understands these processes of ordering, taxonomising, delineating, and categorising as tactics of fascism. This is a tension also at play in Lolita; Humbert ‘orders’ and constructs his narrative via the available tools of literary discourse and similarly constructs his ‘Lolita’ as a labyrinth of cultural references and taxonomies; but Dolores is a ‘Haze,’ Annabel Leigh is a ‘tangle of thorns,’ there exists a being who is able to remain indistinct and impenetrable in a narrative which enacts violence on her by trying to make taxonomical sense of her. Coherence and legibility are mechanisms of visibility; under fascism, to be easily made sense of can be dangerous. The first two books were all about coherence, legibility, interpellation, and the consequences of Living In A Society; what it means to ‘be’ or ‘become’ a cavalier, what the necromancer-cavalier relationship ‘means,’ what Lyctorhood ‘means,’ how these relations of hierarchised sexuality and the interpersonal relationships articulated within the normative language given to them exist to shore up conditions of imperialism. This question of ‘ordering’ goes right down to eg. enumeration (First, Second, Third, etc.) and pretty tightly contained and atomised cultural associations, and the fact that that enumeration can be traced back to Alecto—

D’you know why you’re really the First? Because in a very real way, you and the others are A.L.’s children … There would be none of you, if not for her.

—which cribs this passage, from Lolita:

‘[…] for I must confess that depending on the condition of my glands and ganglia, I could switch in the course of the same day from one pole of insanity to the other—from the thought that around 1950 I would have to get rid somehow of a difficult adolescent whose magic nymphage had evaporated—to the thought that with patience and luck I might have her produce eventually a nymphet with my blood in her exquisite veins, a Lolita the Second, who would be eight or nine around 1960, when I would still be dans la force de l’âge; indeed, the telescopy of my mind, or un-mind, was strong enough to distinguish in the remoteness of time a vieillard encore vert—or was it green rot?—bizarre, tender, salivating Dr. Humbert, practicing on supremely lovely Lolita the Third the art of being a granddad. In the days of that wild journey of ours, I doubted not that as father to Lolita the First I was a ridiculous failure.

—very evenly ties together ideas of reproduction as imperial sustention figured in the language of sexual assault. The point is: as far as the empire is concerned, processes of ordering and taxonomising are equivocal to the mechanical maintenance of conditions of fascism.

Conversely, Nona is a text about when John’s precise demarcation of the world starts to fail and people have to make sense of themselves between the cracks; from Pyrrha as both failed cavalier and failed Lyctor to Cam and Palamedes and then Paul as if not ‘failed’ then at least a new ordering of necromancer/cavalier-ism to the Tower Princes as John’s kind of scrambling effort to rearticulate hegemony post-losing all but one of his Lyctors. Regarding how we are to read Cam/Pal/Pyrrha, I think it’s pretty clear that the text understands the obligations, normative assumptions and expectations, and material consequences of normative kinship relations identified as ‘family’ as part and parcel with the social ordering of a fascistic imperial hegemony; Kiriona, Alecto, and Harrow make up the three key points of contact for this reading, though it’s pretty diffuse across the whole work. We see kinship relations as structuring imperialist hierarchies and we understand the currency of those hierarchies to be death/abuse/sexual violence/totalised control, articulated most profoundly through Kiriona; we also see the destruction of social formations as part and parcel with conquest—

Palamedes said mildly, “You know we’re conversant with the concept of family in the Nine Houses, right?” Pash seemed genuinely surprised. “Why the hell would it matter to you? [...] You don’t give a fuck about families when you’re carving them up—”

—this of course being in keeping with the general conditions of mixed cultures, mixed languages, variances on kinship structures, refugees seemingly thrown together on Lemuria. The bolstering of the social articulations of the conquerors and denaturing of the social articulations of the conquered is rendered as a tactic of conquest; ‘family’ here is figured as a cudgel of imperialism.

Diegetically, as I said, Cam + Pal + Pyrrha + Nona’s social arrangement is not ‘normative,’ neither in the fact that others on Lemuria can make easy sense of it (and thus attempt to do so by referring to peripheralised and marginalised social relations ie. sex work) nor in the fact that they can coherently make sense of themselves via the imperial taxonomy (is Pyrrha a Lyctor greatest thread in the history of forums). Nor is it normative on our end; relative to the nuclear family structure, it’s the ‘wrong’ number of parents, the ‘wrong’ configurations of gender, the ‘wrong’ configurations of blood relation (Nona is a ‘child’ but not an ‘heir’ to anything and not a blood relation of either; Cam and Palamedes as ‘parents’ are blood-related), even the ‘wrong’ overall kinship relations—I put ‘child’ and ‘parents’ in quotations there precisely because I don’t think they’re conditions uncritically reified by the narrative as much as they’re discursive gestures made for the sake of being problematised. Is Nona their ‘child’ in a text where to be the ‘child’ of someone means to be what Kiriona is to John? Is this a ‘family’ when ‘family’ is the mechanic of imperial refortification? Again, like—what does it mean to call them a family at all?

‘Family’ is a label we deploy to give legibility to relations that we are otherwise struggling to make sense of. Setting aside Paul for the moment because I don’t quite know what to do with them and probably won’t have a Take that I can confidently commit to until after Alecto—I think the kind of difficulty that the text has in articulating exactly what Cam + Pal + Pyrrha ‘had’ between them that we see in that final scene is intentional, and I think it’s best understood left that way rather than wrangled into a taxonomy that the rest of the text is v determined to critically unpack. So to answer your question, I think the ambiguity is key—one overarching theme of the series is how people can love each other and articulate that love when the language available for them to do so carries obligations of disparate power, hierarchy, serves a particular purpose that we come to understand as ethically unconscionable; whether that love has to be made sense of within hierarchy, or contravene it, or try and stake a place outside of it. Cam + Palamedes + Pyrrha become the next stage of development in the unravelling of such a discourse; to try and make coherent sense of them could all too easily mean falling back on the language that the text works to identify as socially constructed and thus as limited, and thus imposing those limitations.

[yaralulu]

I wonder if tamlin not getting any better has anything to do with the constant antagonizing visits from his mortal enemy who has taken literally everything from him and is a reminder of everything he’s now lost but who knows lol 😍.

It’s heavily implied in acosf that rhys visits the spring court in order to try and help tamlin but genuinely in what universe is that a good idea ?? Can you imagine the guy who basically told you to off yourself just always showing up at your court uninvited like ?? Rhys may be there with the intent of “helping” tamlin (he needs him in case theres another war but I’ll indulge his delusions) but his mere presence is probably wildly triggering to tamlin and he absolutely knows this.I bet you if rhys didn’t show up for like six months tamlin would be tremendously better than he is now.

Rhys stop obsessing over tamlin challenge !!

[daylighteclipsed]

Y’all ever think about if Sora falls to darkness that inside his heart will look like the Destiny Islands falling again

[juustozzi]

more wing au! shopping/dress-up with the trio, and some wing mechanics

[coriander-candlesticks]

I was pouring a promised libation out to Hermes, Apollo, Aphrodite, and Dionysus this afternoon (I'd asked them for help with a personal matter involving a sibling) and as I was looking up at the sky talking about the situation I saw three hawks start to circle something a little ways in the distance. Hawks aren't exactly uncommon here but it had been a while since I'd seen any, let alone three at once, so it caught my attention.

And while I was trying to figure out what type of bird they were (not an eagle, too short a neck to be a vulture, etc) one of them swooped down into a neighbor's backyard and back up along the tree in my backyard, close enough that, if a branch weren't in the way, I would have been able to see its feather markings. While hawks were somewhat usual, experiencing that certainly was not. So, of course, when I got inside I looked up if any Greek gods are associated with hawks.

And, of course, Apollo is.

I've been thinking a lot about the difference between "this is just a Thing That Happens" and a sign so it was nice to see a direct example of how something differs when it's coming from a god.

[catras-breakup-song]

the thing about catra/dora 4nt1s/cr1t1cs claiming a "power imbalance" when expressing how they love adora and hate catra is that with this idea, they're actually giving catra too much credit and adora not enough of it. as @witch-apologist puts it, "it's also directly contradictory to the entire way they functioned in the horde as children, against each other during the war, and together with the rebellion."

pretending adora never fights back effectively or stands up for herself when she's had enough isn't accurate to the canon show. it's hypocritical to constantly praise the scene when she shouts back at catra that nothing related to the current destruction of reality itself around them was her fault and even punched her in the face to defend herself and/or punish, but then turn around and say their fighting was one-sided.

that's not to say adora never feared catra because she definitely did, especially in that one "roll with it" (S2E4) stressful monologue, but she has crippling anxiety about anything & everything going wrong as well as generally unrealistic goals. this one specific time, she happened to be planning a battle against the team of horde soldiers we're familiar with thus far, which had always included catra's presence during confrontations. she dreaded interacting with catra specifically because it's always personal and she says nasty stuff that sticks, not necessarily concerning any way she would actually cause long-lasting harm.

adora goes through an incomprehensible amount of trauma and struggles with valuing her own worth as a person, yes, but she's not a helpless victim and for her to be portrayed as incapable in any way at all of defiance (which didn't happen) would be a mischaracterization of who she is to the extreme.

banners credit: @/man4jiro (hue-shifted)

[spotaus]

If I have energy I want to draw out some designs for an au I'm spontaneously writing.

(Medieval times, there's a Prophecy. Nightmare rules over this kingdom and is supposed to complete this prophecy, he refuses to because it would harm the people. Dream was sent away and banished by Night because he was dis-illusioned into thinking the prophecy was a Good Thing abd what he was raised to complete. Night collected his Knights (Killer, Dust, Horror, and Cross most recently) and trains them and tells them the truth of the prophecy. They're loyal to him. One day the magic of the prophesy (Apple Magic) leaves Nightmare unexpectedly, returning him to the state he was in before he accepted the mantle. This puts a target on his back and gives Dream a huge advantage in maybe making a comeback. The Knight's decide that their King (newly a young lad and variably scared and frightened) must be protected and they run the kingdom as he normally would, while also ensuring he survives and that the prophecy can't be completed.)

[yakultii]

random but i'm so curious as to know how your eyes look, the way you described them in the past have me intrigued

weird girl eyeball compilation