#personally involved in) reflects on and has the potential to interact with the violence and the civil unrest of the era. Nero's lead may be

[howlsofbloodhounds]

Since it’s Pride Month, I figured I’d talk about how I think Killer views his sexuality/gender. And how those views might differ a bit depending on what STAGE their soul is in. (So this would obviously lean more into a “system/plural” Killer interpretation.)

At first, I don’t think he gives these things much thought. Things like that aren’t really at the top of his lists of importance while he’s working with Chara.

It isn’t until Nightmare shows up and takes him from his timeline that things start changing. He’s exposed to a lot more opportunities and social interactions that isn’t just killing, fighting, bloodshed and violence.

He can make the choice to be gentle with people. Even if he has a hard time doing that.

Any type of gentle physical affectionate is odd for him—platonic or romantic or sexual. He’s used to the affectionate that Chara gave him, which involved squeezing so hard bones broke and surprise touches and sometimes even some stabbings as a treat.

STAGE 2 doesn’t understand it, and STAGE 1 doesn’t want to be touched at all. Sometimes STAGE 3 seems to register these touches as some type of threat, and Killer has to leave the situation or force that person to stop touching them.

The SOUL is off limits to most people. (Can’t really stop people like Dream and Nightmare from influencing it.)

I think it’d be hard for Killer to find safe opportunities to explore things like sexuality. And due to his difficulty with his own emotions and trauma, he has a hard time experiencing anything like sexual attraction to anyone.

Not exactly because he himself is Asexual (although he knows Sans probably likely was), though. He flirts with people freely, because he finds their reactions amusing (especially Nightmare’s), and because that’s what the books he’s read say is romantic.

So for the most part, he contents himself with books and videos and his own imagination. His fantasies lean more towards the romantic side than the sexual side, although they do still wander there sometimes, but it feels like a safe way for them to explore those things. I feel like STAGE 2 would definitely be down for experiencing new things like romance and sex.

He’d probably seek out partners who, not only could he trust, but could potentially overpower them..should things get hairy. They mostly do this because he doesn’t want a repeat of what (could’ve) happened with the Toriel he met in LustTale. Wouldn’t be fun to be triggered into STAGE 3, thinking it’s about to be killed or hurt and defend itself by dusting Killer’s partner(s).

If you were to ask Killer, he’d probably just say he doesn’t care about labels. He doesn’t care much for the sex or gender of any of their potential partners, nor how many partners it has.

I think Killer would probably identify with Unlabeled, at least at first. Maybe one day he’ll decide to find a label, but for now they’re more content to just go with the flow.

I think STAGE 0 (AKA Sans) is Biromantic Asexual. I like to HC that Sans is FtM Trans, so therefore Killer is bodily ftm, even if Killer himself may not exactly identify as a man. Sans uses he/him.

The Chara in their head—who I’ll just call Something—is Chara. Something is Non-binary, using they/it pronouns. Since they are a child, despite being in an adult body, it will not be involved in any sexual or romantic situations.

Because Killer is made of Sans’ soul & the Determination soul, I think all of the STAGES by default use a range of he/they/it pronouns.

I feel like STAGE 2 would be Gender Apathetic. He wouldn’t care what pronouns are used for it, they mostly just use he/they/it only because that’s what he’s used to being referred as.

I feel like STAGE 3 uses it/its only. This is due to the dehumanization trauma from the actual Chara, though.

I feel like STAGE 4 would use it/they as a reflection of Something and the actual Chara.

I don’t think STAGE 3 & 4 would really understand gender. But 4 might identify as Non-binary too, because Chara & Something do. I feel like STAGE 3 would probably identify with Xenogenders more than anything else. Not exactly sure which one though.

And I don’t know why, but I feel like STAGE 1 uses they/he. Because STAGE 1 is like a bridge between Sans & Killer, one who’s a trans man & the other who’s Gender Apathetic, I HC them as a Demiman. Mostly Agender, but with a partial connection to masculinity.

I feel like STAGE 1 is Panromantic Demisexual. No real reason for it, I just see it. He will struggle with most physical touch, though. As a result, they will likely only consider doing the Devil’s Tango with people whose touch doesn’t feel like a death sentence or an attempt to provoke a fight.

[justanotherrpmeme]

Marshall Mathers starters

"Public Service Announcement 2000" - Character A delivers a message to Character B, possibly warning them about certain consequences or providing important information.

"Kill You" - Character A expresses their intense anger or frustration towards Character B, metaphorically or literally suggesting harm or destruction.

"Stan" - Character A becomes obsessed with Character B, emulating their actions or personality to an extreme degree.

"Paul" - Character A has a conversation or interaction with Character B, seeking guidance, advice, or approval.

"Who Knew" - Character A reflects with Character B on the unexpected fame or consequences they face due to their actions.

"Steve Berman" - Character A engages in a conversation or argument with Character B, possibly discussing business matters or personal issues.

"The Real Slim Shady" - Character A embraces their true identity, asserting their individuality and uniqueness, challenging Character B.

"Remember Me?" - Character A confronts Character B, reminding them of past encounters or experiences, possibly seeking validation or recognition.

"I'm Back" - Character A makes a grand return or comeback, asserting their dominance or superiority over Character B.

"Marshall Mathers" - Character A delves into their personal life or experiences with Character B, shedding light on their true self or struggles.

"Ken Kaniff" - Character A engages in a comedic conversation or exchange with Character B.

"Drug Ballad" - Character A recounts their experiences with drug use or addiction to Character B, describing the consequences, possibly advocating for change.

"Amityville" - Character A describes a violent or chaotic environment or situation, involving Character B, emphasizing the danger present.

"Bitch Please II" - Character A engages in a confrontational or boastful exchange with Character B, challenging their authority.

"Kim" - Character A expresses extreme anger or resentment towards Character B, engaging in a heated argument or confrontation, potentially escalating to violence.

"Under the Influence" - Character A engages in reckless or impulsive behavior, influenced by substances or external factors, affecting their interactions with Character B.

"Criminal" - Character A embraces their rebellious or deviant nature, engaging in illicit or illegal activities, involving Character B in their actions.

[yhlifestory]

Week 11 : Digital Citizenship and Conflict: Social Media Governance

When I think back to my early days of using the internet, I remember a time when online interactions were mostly positive and friendly. However, as the internet has evolved, so too has the nature of online interactions. Today, the rise of social media has brought with it a dark side – online harassment and cyberbullying.

Online harassment, often referred to as cyberbullying when targeting young people, is a serious issue that can have profound effects on its victims. It involves the use of digital communication platforms to intimidate, threaten, or humiliate individuals. (Mohamed and Frank 2024)This behavior can take many forms, including sending abusive messages, sharing personal information without consent, or spreading rumors and lies.

"Charley : Schoolmates 'told me to die' in online posts"

Charley Oliver-Holland

The story of Charley Oliver-Holland highlights the serious impact of online bullying. Charley faced relentless bullying after classmates discovered her Instagram page, where she connected with people who shared her interests. However, instead of support, she received hurtful comments about her appearance, sexuality, and more. The bullying didn't stop at school; it continued online, with strangers joining in. Charley's experience reflects a common issue where online bullying behavior is normalized, making it harder to stop or report. (Barker 2020)

In Charley's case, social media governance could have played a crucial role in preventing and addressing the online bullying she experienced. This could include clear community guidelines prohibiting bullying and harassment, automated content moderation tools to detect and remove harmful content, and user education on online safety. (Plannedparenthood.org 2019) Additionally, support services for victims of bullying could be provided, including mental health resources and guidance on reporting abusive behavior. (Ranjith, Vranda and Kishore 2024)Implementing these measures could help create a safer online environment, empowering victims like Charley and potentially mitigating the harm caused by online bullying.

In a nutshell, it's important to talk about online bullying and harassment. Teaching young people how to behave well online and giving them ways to deal with bullying can make the internet safer for everyone. If we all work together, we can stop online bullying and make the internet a more positive place for everyone.

References :

Barker, B.M. 2020 Bullying: Schoolmates 'told me to die' in online posts. https://www.bbc.com/news/uk-wales-55133454.

Mohamed, S. and Frank, L. 2024 'Cyberbullying and Online Harassment: A Multifaceted examination of digital platform violence,' ResearchGate [Preprint]. https://www.researchgate.net/publication/379155576_Cyberbullying_and_Online_Harassment_A_Multifaceted_Examination_of_Digital_Platform_Violence.

Plannedparenthood.org. 2019. Planned Parenthood. [online] https://www.plannedparenthood.org/learn/teens/bullying-safety-privacy/bullying/bullying-social-media.

‌Ranjith, P.J., Vranda, M.N. and Kishore, M.T. 2024 'Barriers to Mental health support in Cyberbullying: A thematic analysis of what mental health professionals and cyber experts think,' Indian Journal of Psychological Medicine [Preprint]. https://doi.org/10.1177/02537176241253390.

[reincarnight]

— mobile rules.

hi hi! my name is susanne (she/her, finnish, 21+), and this is an independent roleplay blog for soma cruz from konami's castlevania. i am largely unafilliated with any community in particular.

— ooc knowledge.

out of the games, i'm most familiar with soma's, so please bear with me while i go through the rest at my own pace.

i've seen seasons 1 & 2 of netflix's castlevania; i haven't watched nocturne. i'm open to potentially interacting with blogs based on either show.

— following.

i am selective and oc/crossover/duplicate friendly. keep in mind i'm unlikely to follow if i genuinely have no idea how our muses would interact.

i am not comfortable following/interacting with minors on this blog in particular.

personal/non-rp blogs will be blocked. i make an exception for those with a rp sideblog.

i softblock to break mutuals. unless i've hardblocked you, the door is usually open for becoming mutuals again. i generally don't break mutuals over inactivity.

— interactions.

i write with mutuals only and expect basic rp etiquette to be followed. i don't consider very minor actions, such as assuming my muse follows yours, to be godmodding if it moves things along.

ooc =/= ic. soma's actions or feelings don't reflect how i personally feel.

i prefer plotting over simply winging it. therefore, the most of my starter calls will double up as plotting calls.

i default to small text without icons. i don't generally mind how my partners format; just please avoid using more than 2-3 spaces between each word while threading with me!

please trim your posts and continue asks in a new post.

— activity.

i am a perpetually slow writer, and this blog runs on low/sporadic activity. i promise my slowness is never out of disinterest on my part.

if i am not here, the best way to contact me is through discord! feel free to ask for my username if we're mutuals.

— content.

mature themes, such as violence, death, cults and other canon-typical themes will be present on this blog. i am not interested in writing taboo/"dead dove" topics, and sexual nsfw content is highly unlikely on my part.

i tag most things as trigger cw (written) or trigger tw (visual). please tag animal abuse for me.

— shipping.

shipping happens with chemistry and ooc discussion. while mina is very important to soma, i don't automatically assume feelings from either side.

i'm down for other dynamics: platonic, antagonistic, you name it.

— mains and exclusivity.

generally speaking, i only practice mains; i'm more than open to it if we've talked a fair amount ooc about our muses and their dynamic + we mesh well together.

i may consider shipping exclusivity, but please talk to me about it first.

— drama and callouts.

please don't involve me in your interpersonal issues or drama; i consider this a hard boundary as it has happened too many times for my comfort. serious situations are excluded from this rule.

callouts are blacklisted as i'm not always in the right headspace to read them. if you see me interacting with a dangerous individual, please tell me in private. the chances are i was unaware.

credits: all graphics were created by me. the psd belongs to my good friend, aster, who is kind enough to let me use his psd.

[pranay-bansal-digital-media]

Digital Media: Sources and Significance | Reader

1. Wolf, M.J.P. (2007) The video game explosion: a history from Pong to Playstation and beyond. Westport, Conn: Greenword Press.

In this article, the author talks about the timeline of video game history and how the video game landscape has evolved ever since the groundbreaking game Pong was released on 29 November 1972. He also talks about the growing influence of video games on other mediums like film and television and the use of video technology in games, leading to its gradual evolution.

I found this paper especially useful since the information on old/retro video games is often quite scarce, and it is generally extremely difficult to play older games because of the way the games industry has grown over the past few years. Getting to know about the different modes of exhibitions of video games apart from home games was quite interesting as they are often neglected nowadays.

2. Malkowski, J., Russworm, T.A.M., Everett, A., Soderman, B., deWinter, J., Kocurek, C., Huntemann, N.B., Trepanier-Jobin, G., Chien, I. and Murray, S. (2017) Gaming and Representation: Race, Gender, and Sexuality in Video Games. Bloomington: Indiana University Press.

This paper reflects on the gaming industrial complex (GIC) as a whole and talks about the sexuality, race and intersectionality of gender in game narratives in the present world. Moreover, it delves into the increasing concerns about the influence of gaming when it comes to violence, misogyny and racism, which could also be a leading factor in the big shift in the gaming demographics in recent years.

In my opinion, it is extremely important, especially in recent times, to be aware of the type of narratives and characters portrayed in games, keeping the majority of the demographic in mind. Game designers have a responsibility to be conscious of the choices made when it comes to representation in games.

3. Andre, F., Broman, N., Hakansson, A. and Claesdotter-Knutson, E. (2020) ‘Gaming addiction, problematic gaming and engaged gaming — Prevalence and associated characteristics’, Addictive behaviours reports, 12, pp. 100324 - 100324.

This article discusses the psychological impact of gaming on certain groups of people and the different classifications these fall under. It delves into Gaming disorder and the potential risks involved with extreme use of video games, especially when it comes to it being a replacement for social interactions.

I was really intrigued by the data presented in the article. It is no doubt highly important to acknowledge these disorders as the current millennial generation often dismisses it as false rumours spread to prevent them from engaging in games.

I personally liked the article since it puts forward a real issue when it comes to the industry. Designers often make games as a cash grab rather than a passion project, which often leads to highly addictive idle games which are filled to the brim with micro transactions, leading to problematic and often addictive gaming.

4. Cargoes, N.G. (2016). RPG Mythos: Narrative Gaming as Modern Mythmaking. Games and culture, 11(6), 583-607.

In this essay, the author talks about narrative gaming in Role playing games and its relation to traditional narrative forms in order to understand how social interactions have changed with the advancement of technology. It also aims to understand the system around the so called “synthetic world” of video games.

I found it really interesting to think of video games as a form of storytelling similar to folklore and mythology, since these are one of the oldest ways for us to connect to our ancestors. RPG games have a very similar function and are constantly evolving, making them one of the most powerful forms of storytelling in recent times.

5. Jayasingha, B. (2022) ‘What is the Future of Gaming?’, ITNow, 64(3), pp. 8-9.

In this particular paper, Jayasingha discusses the evolution of gaming and where it is headed from here onwards. She talks about the next generation of games and the various and how gaming has been revolutionised on multiple fronts in the past few years. She also explains the metaverse and the huge impact it has had on gaming along with significance of the growing esports community.

I believe being aware of the various possibilities in which gaming can evolve in the future is of utmost importance, especially due to its current influence in contemporary media and the tremendous rate at which it is growing.

6. Hattie, A. (2018) ‘THE VULNERABLE SPECTATOR: Against Nostalgia’, Film quarterly, 72(2), pp. 81-84.

This article explores the growing interest in cinema from the 70s and discusses how rewatching these films can be interpreted as resisting historical narratives. The author says that integrating 1970s into contemporary cinema is seen as a form of active resistance.

This article was quite different from the rest of the articles that I explored for my reader. The author explores political and social dimensions in film culture in a very personal way. I believe it is critical for students to know about cinematic history and recognise the political landscapes of different eras. Film can be a lot more than entertainment and can even act as a medium for cultural commentary and also give the viewers exposure to diverse perspectives.

7. Akgun, B. (2020) ‘Mythology moe-ivied: classical witches, warriors, and monsters in Japanese manga’, Journal of graphic novels & comics, 11(3), pp. 271-284.

This article discusses the resurgence of female figures like witches and warriors during the 20th and 21st centuries and uses Japanese manga such as “Berserk” and “Soul Eater” as an example. The article explores the boom in popularity and the evolution of the representation of female characters, and how these archetypes are received in present times. It discusses the intertextuality between classical mythology and Japanese manga and the influence Japanese media has had in how we interpret certain characters.

I personally found it interesting how the article talks about the “moe-ification” process and sheds light on the gender dynamics in manga narratives. It also goes into the impact of female characters on modern storytelling trends. Understanding these trends and their social implications is crucial.

8. Chen, C.-S., Lu, H.-P., & Luor, T. (2018). A new flow of Location Based Service mobile games: Non-stickiness on Pokémon Go. Computers in Human Behavior, 89, 182-190.

This particular article explores the success of Pokémon GO and the impact it had on the mobile gaming industry. It highlights the significant smartphone penetration rate using Taiwan as the basis for its research. It delves into Location Based Service technologies and how it encourages players to step out and explore while also actively engaging with the game.

In my opinion, the article gives vital information on the different factors which contribute to the success of a mobile game, may of which can also be applicable to computer and console gaming. It gives valuable insights on media consumption patterns and the impact of technology on user engagement.

9. Collin’s, K. (2011; 2008; 2017;) From PAC-Man to Pop Music: Interactive Audio in Games and New Media. 1st edn. Edited by K. Collins. Farnham: Ashgate Publishing Ltd.

This book delves into the history of the evolution of sound in video games, from the silent retro games all the way to the intense audio experiences of contemporary games. It explores crucial milestones in gaming when it comes to audio and sound and the advancements in sound chips, consoles and different video formats.

I believe it provides an overview of the evolution of game audio which is important to know about since sound is an integral part of contemporary gaming. It also explores the relationship between the gaming and music industries and how different mediums are interconnected in today’s time.

10. Lo, S.-K., Lie, T. and Li, C.-L. (2016) ‘The relationship between online game playing motivation and selection of online gaming characters - the case of Taiwan’, Behaviour & information technology, 35(1), pp. 57-67.

The article discusses the growth of online gaming industry and the part widespread internet access has played in it. It explores player motivations and categorises them into different types, and talks about how players influence the choice of non-playable in game characters.

I think the article is relevant since it delves into the integration of celebrities in virtual spaces and how this impacts player experiences. Understanding the different preferences and motivations of the players is extremely important to understand how game design and marketing works. I personally found it really intriguing how the article talks about the relationship between games and social dynamics, and the influence players can have on the decisions made by NPCs.

[silentsaturdays]

World Mental Health Day

“Whilst the pandemic has, and continues to, take its toll on our mental health, the ability to reconnect through World Mental Health Day 2022 will provide us with an opportunity to re-kindle our efforts to protect and improve mental health. Many aspects of mental health have been challenged; and already before the pandemic in 2019 an estimated one in eight people globally were living with a mental disorder. At the same time, the services, skills and funding available for mental health remain in short supply, and fall far below what is needed, especially in low and middle income countries.“ Source: World Health Organization

On the occasion of Mental Health Day, I’ll be sharing the outstanding Mental Health Patterns for design. The Library began as a design sprint hosted by Snook and the Public Policy Lab. Since then, it has turned into a community of more than 200 people around the world, all invested in providing the best digital mental health support that they can.

Apps, websites and social networks are well-known to provide both advantages and risks that may impact severely users’ mental health (let’s use as an example research suggesting the relationship between depression and social networks, virtual violence and harassment, mobbing, among many others), with this in mind, we must take responsibility when creating experiences and make sure we provide safe spaces independently of the type of project we’re working on.

Mental Health Patterns rely on principles that are well supported by patterns proven effective to be reused, and examples to go into deeper detail.

Listen and respond

Make it human

Give control

Be clear

Adapt to changing needs

Create a safe space

Be reliable and consistent

When I think of all the possible situations affecting human psychology in the human computer interaction, the importance of applying a mental health approach goes further into the field of accessibility (for example, in the case of inability caused by any mental condition, that could have potential triggers such as the effect of parallax on the vestibular system), being one of the many aspects that are directly or indirectly affected. We can also reflect on the many emotions, thoughts and feelings that are involved during an uncertain financial transaction, when entering a password in a confusing form, or when we submit our personal information without having a clear understanding of the purpose and storage, not to mention our privacy when sharing pictures or videos on the internet. These many examples can give you a starting point on how much you can spot opportunities for improvement in the quality of users’ mental health when providing an experience.

You can read the whole library here https://designpatternsformentalhealth.org/

[high-supernatural]

Reasons Kai Parker Wasn’t Technically Evil

#1 - 1,000: Nobody ever gave him a chance, he became a product of his environment. Let me explain, 

His family rejected him from the moment they found out he was a siphoner. It’s basic developmental psychology that toxic households lead to toxic traits as an adult whether they’re super evident or not. Kai said in (idk which episode, the one where he calls Caroline ‘Clarice’), that growing up was hard since he was basically disowned for what he was born as, he wasn’t allowed to touch anybody, he watched his siblings being applauded while he wasn’t allowed to go near anyone, and it was difficult because he felt like an addict fiening for a hit of magic all the time, he wanted to change but nobody would help him or give him a chance. 

Putting developmental psychology to that -- he was disowned for who he was (he was raised and taught to hate himself for something he couldn’t change), he couldn’t touch anyone (kids need physical touch and interaction to develop in a healthy way lol), he was never praised or allowed to participate in much and had to watch everyone else be involved (that’s just evidently shitty), & he struggled and was refused help, so the idea was put in his mind that he couldn’t be saved or get help anywhere. AND THEN, since he was ignored his whole life basically, he got their attention in an extreme way and then spent 18 years in 100% isolation. 

SO THEN AS AN ADULT, he has poor boundaries, doesn’t know how to interact with others well, forces his way into other people’s lives because he doesn’t want to be left out again, feels like he’ll be refused help so he either forces people to help or he deals by accepting that nobody will help and decides to revel in all that he is. He knows/thinks that extravagant displays of violence gets peoples attention, so that’s how he get’s attention on top of becoming more invincible so they can’t put him in isolation for it. 

Imagine this: your family completely disowns you for being born a certain way, you have to watch them be a happy family while you’re forced to sit on the sidelines all your life, you struggle with the way you were born and it makes you feel terrible, when you reach out for help you’re rejected, so you lash out and are forced to spend 18 years in a world identical to yours but there’s nobody in it -- 18 years in silence, loneliness, desolation, basically you’re the last person on Earth but you can’t escape and you can’t die. Because of this you have unhealthy communication methods, tons of trauma, all that stuff. So when you’re rescued and display your unhealthy behavior, your rescuers also disown you and treat you terribly. 

Idk about anyone else but I’d lose my marbles too. 

He literally asked Bonnie to be a positive influence on him & to help him adjust before they left the prison world. He said, and I quote, “the thing I’m most scared of is trying to figure out how to live in the world again, I was sort of hoping you’d be a positive influence on me. You’re a good person, Bonnie, you’re brave, loyal, patient... I wanna be more like you.” And Bonnie didn’t really care. I mean, in her defense I wouldn’t trust someone who killed me a few times either, but from Kai’s perspective I’d be a lil hurt. 

He genuinely apologized to people he’s hurt. 

A truly evil person doesn’t have a conscious, Kai does, specifically in these lines -- “I know you think I’m a monster, I mean I did murder or heavily maim most of my immediate family... but after a long period of self reflection, I came to the conclusion that I could’ve handled my anger better,” and, “how do you feel?” psychopaths don’t care how people feel and wouldn’t admit they did any wrong unless they were trying to get their way with something... which I guess could have been the case. BUT, psychopaths also don’t ask others for help or advice, and Kai does a few times. 

In the deleted 6x15 scene he tries to reasonably talk to Jo and Jo throws him against the wall. Kai says, “as much as my suffering might bring you pleasure, or whatever, this is not the way to handle this situation,” LIKE, he was TRYING to have an actual conversation. Also, this statement basically just says all of what he feels; “my family just enjoys to watch me suffer.” Then he says, “I’m the defective twin that nobody wanted,” “I spent 18 years in isolation as the family reject, and every inch of me wants to kill you for that, but I can’t,” “I’d like to live because I didn’t get to do a whole lot of that before everybody decided that I wasn’t worth it,” UGHHHH

ALSO in that scene, Kai says he’s trying to keep the coven alive. Like, ok, hypothetically if my whole life panned out like Kai’s did, I wouldn’t really want to be alive, no matter how much power I could potentially achieve in the future. Assuming Kai was feeling the same, he still wanted to keep his family alive. 

He tried opening up to multiple people including Jo, Elena/Damon, Bonnie..... and they all ignored him or kept telling him he’s evil. THAT’S SO ANNOYING. He even acknowledged that he didn’t expect them to believe him, proving that he knows he’s done wrong, psychopaths don’t know they’ve done wrong.

Boi needed friends, support, and therapy, but was locked in another prison world again....

[earthbased]

Making Your Own Correspondences for Plants

Disclaimer: This post is about magical and spiritual use, not medical, and medical use is mentioned only for historical examples. Don’t mess around with medicine unless you know what you’re doing, or consult someone who does. I’ve previously written about where the majority of magical plant correspondences tend to come from in modern pagan & witchcraft sites and books. If you decide to DIY some or all of your correspondences, how you do it will depend on what your beliefs and practices are. Some things to consider:

Do you believe the magical properties are already in the plants, are unchangeable, and need to be discovered? Or that they depend on your beliefs and associations?

Do you value individuality and personal significance, or having shared lore with your community and culture? Or both?

Do you value the process of relationship-building with a plant or spirit?

Do you value receiving lore through ancestry or lineage? Does it matter to you how old it is?

I’m going to delve deeper into 3 main sources: existing lore, physical characteristics and the plant itself.

===1. Building upon existing lore===

Learning the history and folklore of a plant, even if it doesn’t have existing magical uses, is likely to give you ideas and a deeper understanding. Some potential sources of lore: recorded folklore and common names, oral tradition, fairytales and nursery rhymes, etymology, flower meanings, appearances in mythology, appearances in well-known books or poems, pop culture and fiction.

Whether or not you want to think about it, the greater story of your practice includes the story of your lore and how it came to you. Oftentimes that story involves violence, theft, deception and ridicule. BIPOC have written at length about cultural appropriation [link, link, link, link] & cultural genocide as one of the ongoing harms of colonisation and racism. If you’re not part of a culture that traditionally stewards a certain plant or body of lore, listening to (whether literally hearing or by other means) and respecting those people’s voices is your ongoing responsibility when engaging with it. Navigating these issues as a member of an oppressing group often involves ambiguity and discomfort. This is also part of the path. Remember that we’re blessed to have the opportunity to listen to these voices today. Others did not survive.

Practical uses, both modern and historical often include medicine, but there’s much more, e.g. thorny plants’ association with protection - not only because the thorns protect the plant itself, but because thorny hedges have been grown in many times and places to deter large animals or trespassers from crossing a fence. More recently, I suspect the modern-day association of lemon with cleaning products has led to its current use in magical cleansing.  In any case plenty of common correspondences have arisen fairly recently from modern-day uses. Whether you place special value upon ancient or pre-modern lore is up to you.  The reasons behind old magical lore were often related to practical use, so I see it as a continued tradition.

===2. Looking at physical characteristics===

What you see depends on how you look (and think). Many plants have heart, star or crescent-shaped leaves. What do these things mean to you? A crescent usually reminds me of the moon but you could also see it as a claw or a smile, two things with very different connotations. Sympathetic magic (a phrase from anthropology) is the idea that things can magically affect each other based on their similarities. But beyond the obvious, there are also symbolic meanings. Many unrelated trees across the world happen to have dark red oozing sap, often earning them a name like "bloodwood". A straightforward use of sympathetic magic would mean it can affect blood, e.g. to stop bleeding. But symbolically, blood often means vitality, death, birth or rebirth, so that oozy tree could be thought to represent any of those things too. Learning observable facts about a plant can be a rich source of inspiration and understanding. Some things to consider: habitat, place of origin, endangered or invasive status, the wild form of a domesticated plant, gardening information, close relatives, lifecycle and seasonal cycle, and parts of interest (leaves, roots, flowers, seeds). For example, a plant well known for its flowers could have something interesting about its seeds which are usually overlooked. The internet is a bountiful source of information, as are books. Your local community likely includes many people who might be willing to pass on their knowledge, for example in local gardening or nature enthusiast clubs, nurseries, environmental groups, and cultural organisations.

You can apply a traditional method of Western astrology to make brand new correspondences to use for sympathetic magic, even with plants that have never been used this way before. This involves comparing the physical qualities of plants (shape, colour, smell, texture etc) with a list of qualities associated with each planetary energy. You might pick one or two features that stand out and concentrate on those. The planet it matches best is considered its ruling planet and will determine its magical application. It's possible for different parts of a plant to have different ruling planets, but not necessary. Common references for planetary qualities include Renaissance philosopher HC Agrippa and famous herbalist Nicholas Culpeper, but your associations may differ, or come from another system of astrology entirely. In any case, once the plant is connected to the planet, it’s also connected to everything else the planet represents. For example, if I determined that a herb in my garden had Venusian qualities, I’d consider it useful for any magic involving love, beauty, harmony or comfort. By a similar process you can assign herbs to a list of deities, zodiac signs, tarot cards, or whatever you want. 

===3. Asking the plant itself===

What this looks like depends on your personal beliefs and practices. It might mean asking an individual plant or a spirit representing the whole species. It may involve trance or ritual, or be as simple as listening inwardly for an internal voice in your thoughts. Will you seek out a living plant, contact it through its dried leaves, invoke its spirit into your space or meet it in a non-physical plane? Additionally, not all communication is about sound and words. Among humans some languages are signed and some people communicate with picture boards. Images, emotion, gesture, touch, music and body language are things to consider.

In some belief systems listening to plants may be interpreted more metaphorically, involving intuition or imagination. Using intuition-enabling practices such as dream work or trance may help you to connect your accumulated knowledge to a spiritual or magical meaning. Imagination and roleplay is also a way of gaining a new perspective, such as the deep ecology practice of a psychodrama called the Council of All Beings (note that the original form was heavily influenced by misappropriated Native American practices and stereotypes).

“What [something/someone] is telling me” is a phrase that can be used literally or figuratively in English. In other languages, especially Indigenous ones, such a distinction may not exist. This use of grammar can reflect a way of thinking and relating that considers humans as one part of a whole. If you were raised in a colonial mindset, asking the plant about its correspondences (whatever form that takes) and considering the plant’s priorities can be a way of challenging that mindset by reframing the interaction as one between two beings, rather than a human acting on a passive object. To me this way of thinking invites respect and reciprocity. How you can act upon that is a topic for another post, or maybe another author.

[incorrect-ikevamp-quotes]

Hi!!❤️ So I was thinking about Leo’s route and realized he might actually be a yandere type character? What are your thoughts about that? Do you think he’s a yandere too?

Hiya~!❤️❤️❤️ 

As to my thoughts on Leonardo being a yandere, I don’t personally think that he is one? He appears to be the mature type, more of an indulgent deredere sort of deal. He is very emotionally defensive and can’t let anyone make sacrifices for him, but that’s not typically considered yandere in nature. I’d call it more a manifestation of unresolved trauma and nonexistent self-esteem issues he still needs to work through. It can make him a little unfair and a little forceful, but he never gets to the point where he absolutely decimates MC’s ability to live for herself or make her own judgement calls. If anything he wants her to put herself first to the point of personal self-harm. That’s the thing about his refusing to turn her in his rt; while that is controlling and wrong, there are also strong indications that MC deep down is terrified to become a vampire/rejects it herself? So I think that situation was more complicated.

Yandere’s are characterized by extreme behavior--often borderline murderous and violent--in order to maintain control/possession of the person they develop feelings for. Given Leonardo’s general track record, I don’t think this descriptor really fits him. Sure he retaliates at the end of his route but the context entailed protection from a serial killer. Even in the case of him seeking to walk into the door and follow her into the future, there was no possessive intent involved; rather he speaks to a concern that she stop sacrificing things to be with him.

Speaking of, that tends to be how I define the difference between normal love and more yandere behavior. Love tends to be more about healthy sacrifice, creating space for both people to reach each other on equal grounds (especially when it comes to creating a balance of power). Yanderes tend to be less interested in mutual give and take, and more obsessed with making sure the object of their affection can never leave them or want anyone else. They often want their S/O to rely on them for every need they could ever have, and make attempts to diminish or even sabotage their capacity to reach out to others/develop a healthy social environment.

That being said, it can be hard to define something based on what it is not, so I can offer who I think is a yandere in the game. So far the characters I see with this tendency in considerable enough measure to warrant the title are: Shakespeare, Charles, and Vlad. 

There will be some mild spoilers from future rts and JPN content, so I’m going to put it under a cut:

Given the connection between Shakespeare and Vlad, perhaps it is a little misleading to say Shakespeare is one of his own account. Even so, Shakespeare exhibits this behavior. From the CG in which he is holding manacles expressly to confine MC, to his active threatening to harm her in Vincent’s route (while one can argue it was protection, I see it only as a veiled expression of “If I can’t have you, nobody can”), to complicated instances within his own rt. Many may argue that it is not within his true nature, though my impression is that it is partially Vlad’s manipulation and partially his own predisposition. Iirc Cybird also slates him as the yandere of the game, so there’s a lot of evidence pointing to him being the biggest example of it.

Charles is a yandere but if I’m honest, he came as a surprise given his genki and generally upbeat attitude. Dazai’s route and a few of his stories in the JPN ver make it abundantly clear that his notion of love versus possession are a little confused. He pursues MC’s affections in Dazai’s route, but there’s plenty of evidence that he loves her for reasons that don’t really make a lot of sense? He knows nothing about her beyond her involvement with Vlad’s enemy, and goes to great lengths to seek out her attention/company. This escalates to the point where he openly agrees to help Dazai commit suicide for the sole purpose of “saving” MC from the despair of losing the man she’s fallen in love with. He even goes on to agree to murder Dazai in the past to answer that fervent need for her exclusive love. When MC comes to rescue Dazai, Charles is forced to confront the true nature of his feelings, and later develops what might be closer to the concept of real love for her.

Some of his event stories also indicate oddly manipulative behavior intended to guilt or sway MC into keeping all of her attention on him. Whether or not he will turn out to be a complete yandere I’m not sure, but he absolutely has the potential to sway heavily in that direction. He also, however, has the potential to ease toward more sincere, normal love--so his situation remains to be seen. There is also the fact that Vlad is manipulating him heavily with his mental compulsion, so as with Shakespeare I don’t always know how much of it is Charles or Vlad.

As for Vlad? I have...absolutely no defense or hope for this man. All I see is yandere. Granted I have not played his JPN main story so I don’t know what he’s like in love, but I have heard many indications as to his active manipulation of her mind and agency. I really don’t foresee any kind of equal relationship possible between him and the MC. There may be potential for that dynamic to be ironed out, but from the interactions I have seen--his fervent desperation to subjugate humanity and his near constant strangling of his sires’ freedom and self-determination--I sincerely doubt it would be possible for him. Even his turning MC into a vampire (which she indicated was something beyond her comfort zone/wishes in every other route) remains incredibly suspect to me. He is too self-obsessed and possessive to offer any kind of meaningful love.

While this may come as a surprise to many, Comte actually has a very slight yandere bent, but it would not be accurate to call him a yandere. The difference between Comte and Vlad is that Comte always sees these burgeoning desires within him and distances himself from being compelled to act on them to extremes. He admits to not wanting to share his MC with any of the men in the mansion, even though he’s well aware the house is like one big family; there’s no real risk to his love for her or necessity to be jealous. When MC gets hit on by another man and Comte finds out about Vlad interacting with her in his harmless florist persona, Comte gets uncharacteristically agitated. While usually measured and rational, his feelings tend to overtake him for a few minutes before he calms again--usually with reassurance of MC’s feelings for him. Furthermore Comte doesn’t usually exhibit the overwhelming violence and aggression that yanderes tend toward. And Comte doesn’t really limit her interactions with other people unless they are a sizable threat to her safety and well-being. The closest thing I can think of is his relentless buying her outfits as a means to appease his slightly possessive nature (adorning her in his colors), but even then when she tells him no he fully respects her wishes and stops. So he really only reflects potential for the sensibility, nothing concrete. In the end he’s still the more indulgent deredere type like Leonardo, just a little more balanced and possessive.

[frostymuses]

Essential Codex

Heyo! This is an indie multimuse blog with all fandomless ocs connected and integrated together. The blog is rated 21+ with mun and muses 30+ and rp experience at 14+ years. I'm ash, she/her, est.

This blog is oc friendly and a female muse supporter. I will only write with rp blogs and those I follow back. I keep a lower follower count to make things easiser and things are private, mutually exclusive and on the semi-selective side. Everything is multiverse.

Basic rp etiquette: No godmodding, reblog from the source only, do not interact if you are under 21. Memes, prompts & aesthetics please again reblog from the source. I practice reblog karma. Don't reblog my threads if you're not involved in them. This goes for Persoanls: DO NOT REBLOG FROM RP BLOGS.

I will unfollow if you either: Never interact with me, ie: zero asks, likes, ooc talk, threading etc. I will also unfollow if you hate on female muses, keep dropping our threads or you lose interest or litereally refuse to plot/tell me anything to go on for a starter. Sorry that sounds kinda odd but it's happened to me. I block personals who break my reblog rules and anyone who causes trouble for people in my writing group.

For asks ALWAYS specify muse or I will ignore it since I will have no clue who it's for. If you want to continue an ask into a thread go for it. I will answer with the intention of advancing to a plot OR just a one off response. DO NOT SPAM MY INBOX.

Shipping is pretty selective but open to plot building. Pre-established is not really my thing because I need to see how muses will react through interaction. Holland is a divorced bisexual woman but difficult. She is not looking for serious but knows what she wants. C. Sterling is a detached heterosexual man but open for a potential attachment but has a lot of baggage due to his career as a hit for hire. Conan Sterling is a bisexual man who has nothing but disdain for most and loves his influence above all else. Will not autoship. Smut is with established ships only and will always go under read more.

Dark content expected here including: violence, gore, sexual situations, suicide, crime, war, murder, incest mentions etc. I personally don't have triggers but will tag things appropriately. If you're someone who doesn't like taboo topics this is not the blog for you. I will not police my content or change it. Fiction is also in literature, film, tv etc. If they won't police it why should I in my writing? I do not condone this stuff IRL.

Last but not least MUN DOES NOT EQUAL MUSE. I'm not my muses. I never will reflect their choices, views etc.

[thistlecatfics]

How do you feel about James threatening to take off Snape's underwear in front of a group of fellow students? And using that to try and coerce Lily into a date with him? I've seen different takes which included sexual assault (which isn't wrong by our standards, per se, including showing underwear in the first place) to teenage antics. Basically, how do you feel this action reflects on who James is as a person - ignoring the arguments of Marauders vs Snape being "justified" or not. 1/2

2. An aside, where does it say in book text that Mulciber used Levicorpus against Mary Macdonald? (I think I saw that in a discussion on meta here.) I can't find any part of the book that confirms what was actually done to her. For what it's worth, I tend to think of the characters all fighting a small war during the marauder era, and find "who bullied who" discussions pointless, especially in the later years.

First off - I cannot be entirely sure I did not send this ask to myself in a fevered state because this is exactly what has been bubbling around in my head for the past week. (so, uh, that is to say, thank you for the ask, anon.)

Second - everything we get about the marauder’s era is through 2+ unreliable narrators which is why it’s so fun! I just reread SWM and am going to offer a few potential interpretations. I’m very much open to more.

Rereading “Snape’s Worst Memory” right now, the first thing that stands out to me is that it is Snape’s memory but the details around James Potter and co are almost absurdly clear given that Snape is “as deeply immersed in the OWL paper as ever, which left Harry free to sit down on the grass between the beech and the bushes and watch the foursome under the tree.” It’s a little difficult for me to understand how everyone is situated but why are the details of MWPP’s conversation intelligible to him?

A few questions right from the start:

To what degree is Snape’s pensieve memory reliable?

To what degree should we see this as a school-based proxy war vs bullying?

To what degree is this moment an aberration vs typical?

“Snape reacted so fast it was as though he had been expecting an attack.” (hyper-vigilance, trauma-response, training, situational awareness, been listening in - lots of ways to read this)

“Students all around had turned to watch… some looked apprehensive, other entertained.” (everyone assumes something is about to happen)

The initial dialogue (grease marks on the parchment) feels super schoolyard bullying.

Scourgify - choking him, seen described as “waterboarding” very cogently though I’m still iffy on that, but we do know it’s very much the lizard brain not the thinking brain that reacts to that - you’re terrified of drowning like that, wizarding or not. It's quite a cruel thing to do.

“Leave him alone.”

“I will if you go out with me, Evans,” said James quickly. “Go on… go out with me and I’ll never lay a wand on old Snivelly again.”

“Quickly!” is such a useless adverb! There are still so many ways of interpreting that! Quickly as in - he’s said this so many times he doesn’t have to think about it? Quickly as in - he’s not thinking and he says a stupid 16 year old thing which he regrets soon after? Quickly as in - this is fun, almost mutual banter? (doubtful as her earlier statement was said “coldly.”) But also like... what the fuck, James? What the actual fuck?

Ok then Sirius says “bad luck, Prongs” briskly, and Snape reaches his wand. Snape curses James with a spell that leaves a gash across his face “spattering his robes with blood.”

(to be fair to Snape, faces bleed super easily, and a shallow cut on the face will bleed just horribly as any rugby player will tell you.)

Then James sends him upside down. Everyone laughs, and even Lily’s “furious expression” “twitches.”

Then we get the Lily/Snape/James interaction bits - they’re fighting, James undoes the Levicorpus and then the Patrificus Totalus at Lily’s insistence, and then, famously, Snape says, “I don’t need help from filthy little Mudbloods like her!”

Sirius gently mocks James “who looked furious now.”

And the scene concludes with:

“There was another flash of light, and Snape was one again hanging upside-down in the air.

‘Who wants to see me take off Snivelly’s pants?’”

Honestly rereading the chapter I was hoping for some clear insight, and my main reaction is that I have a renewed understanding for why there’s so much debate about this memory!

Without any context, the concluding moment, that James feels humiliated over a rejection by a girl, and he then physically restrains another man, shows off his underwear and threatens to take them off in front of a crowd, feels like standard issue sexual violence (in the sort of hazing/bullying type.)

In context, given that we know Snape and his friends are about to be (or already have been) inducted as Death Eaters, a process that involves murder, this feels like a school-based proxy war in a larger fight and while it might be sexualized violence, it’s not so outside the pale as it would be in our own high school context.

Alright now that I have thoroughly confused myself and gotten nowhere, let me focus on the actual questions given.

"Basically, how do you feel this action reflects on who James is as a person"

Badly! It reflects badly!

To me, I see him as your typical Social Justice Bro - he’ll say the right words, fight against the Baddies with genuine fervor, but he still very much sees women as prizes to be won in exchange for his good behavior.

This is SUCH a common type of person and the idea that Quidditch star, wealthy only child, brilliant Jame Potter falls into that trap is not surprising.

I see there being three options fans can take here:

This memory is accurate and representative: James Potter, like many men, fights on the good side but harbors misogynistic views and treats the women in his life like objects and is willing to use sexualized violence against others as a means of asserting his own masculinity.

This memory is accurate but not representative: This is the worst James Potter ever acted. He never behaved this way again. He apologized to Lily. He did his feminist reading. He worked on his own shit. (I think this is the one JKR wants us to take? But who knows and who cares with her.)

This memory is not accurate: Snape, being very smart and very highly motivated, like many people like him, has slowly and steadily edited his own memories to better fit into a narrative he feels comfortable with. (This explains why his recollections of the MWPP conversations are so accurate and unflattering and also why he seems to have done zero healing or maturing in the past 10 years and bullies children. He has been stewing in his own edited memories rather than healing and moving on.)

I can vibe with all of them, depending on what kind of story I want to write/read/imagine.

where does it say in book text that Mulciber used Levicorpus against Mary Macdonald?

It doesn’t. I think I remember the meta you’re referencing (I remember it being very good and interesting!)

“Mulciber! What do you see in him, Sev, he’s creepy! D’you know what he tried to do to Mary Macdonald the other day?”

…

“It was Dark Magic, and if you think that’s funny-”

It’s super vague in canon. I interpret it as an act of sexual violence, because that’s where my brain always goes, but it’s incredibly vague!

Anon, I hope you don’t think the fact I managed to write 1,000 words and weasel my way out of answering your questions means I don’t deeply appreciate them! I hope you have a stupendous evening <3 <3

[transrevolutions]

TAGLIST:

I've finally decided to go through and catalog all the tags I use for my content, for ease of navigation. I do want to make an effort to start tagging things more consistently. List is under the cut!

#discourse- posts involving debates or arguments. General warning for rudeness and offensive/potentially triggering material. I prefer to keep discourse in the comments for the most part nowadays, so much of this content is older.

#nbw/#noodle boi war- posts dating from the meme war of August-October 2020. Usually long. I would purge this tag, but the amount of posts are just too vast to do so effectively.

#pigeon.txt- original posts that don't involve artwork/images. I may not use this tag if the subject matter of a post is very serious.

#shitpost- funny, lighthearted, sarcastic, or random posts.

#meme- usually shitposts involving images or popular memes.

#personal/personal thread- posts or threads that consist of interactions between me and my mutuals (rather than content).

#asks- what it says on the tin.

#anon- see above.

#politics- catchall tag for anything socioeconomic or political in nature. Usually serious.

#us politics- politics pertaining specifically to the US.

#psa- personal posts that may be relevant to my followers (such as when I'm going to be gone for a period of time).

#exvangelical/#ex religious/#apostate- posts discussing poor experiences with Christianity, particularly the evangelical denomination. This is not meant to be a condemnation of Christianity as a whole, simply documentation of my negative experiences within it and my positive experiences leaving it.

#my writing- what it says on the tin, old content may not be a good reflection of my writing skills today. YMMV. (Will be putting in quotes in the future due to the iOS debacle.)

#poetry- mostly my original poetry, see above.

#my art- what it says on the tin. I don't recommend scrolling too far down this tag, because my early art was really, really bad. (Will be putting in quotes in the future, much like #my writing.)

#french revolution- posts about the French Revolution, as the name would suggest. Used to be tagged with #(un)usual content, this has since changed.

#pigeon/#pigeons/#pigeons!- posts about pigeons, my favorite bird.

#ask game- ask games/questionnaires.

#moodboard/#aesthetic- aesthetic boards, usually for characters or media.

#incorrect quotes- funny incorrect quote memes, will often be tagged with the fandom, e.g. #incorrect heathers quotes.

#teresaposting- posts involving Teresa Agnes from TMR. Sometimes I inexplicably start spam-posting about her (beloved), the tag is for blocking purposes.

#actually autistic- posts about being autistic/neurodivergent.

#do not reblog/#don't reblog- what it says on the tin. Reblogs may or may not be deleted.

#rant- angry posting that might not make logical sense.

#vent- sad or angsty posting that might not make logical sense and may be triggering. Currently going through this tag and purging some content.

I try to always trigger tag COVID-19 (#tw covid ment), racism (#tw racism), queerphobia (#tw homophobia/#tw transphobia/#tw queerphobia), ableism (#tw ableism/#tw extreme ableism), mentions of suicide (#tw sui ment), gun violence (#cw gun violence), police brutality (#tw police brutality), and mentions of Nazis (#tw nazi ment). Other trigger tags will be added upon request, and I may start putting quotes around trigger tags depending on how the iOS issue shakes out.

(I also tag unreality/existential jokes with #unreality tw.)

Fandom posts will be tagged with the name of the fandom, a common abbreviation, or both.

Stay safe!

[terramythos]

TerraMythos 2021 Reading Challenge - Book 12 of 26

Title: A Wizard of Earthsea (Earthsea Cycle #1) (1968)

Author: Ursula K. Le Guin

Genre/Tags: Fantasy, Young Adult, Third-Person

Rating: 8/10

Date Began: 5/6/2021

Date Finished: 5/12/2021

Ged is a talented young magician with incredible potential-- possibly greater than any before him. He sets off to join the wizarding School of Roke, and quickly surpasses all of his peers. But in an act of arrogance, Ged tries to bring back the dead to impress a rival student. He unleashes a malevolent shadow upon the world, leaving him traumatized and permanently scarred. 

Soon Ged finds himself hunted by the shadow wherever he goes. None of his magic seems to work on it. Worse, he lives in fear that if the dark creature overtakes him, it will use his body as a weapon to harm others. Ged journeys from island to island in an attempt to find the solution and banish the shadow once and for all. 

Only in silence the word, only in dark the light,  only in dying life:  bright the hawk’s flight  on the empty sky. 

Content warnings and some spoilers below the cut. 

Content warnings for the book: Violence and death, including child death and animal death. Traumatic injury. 

As a fiction writer, Ursula K. Le Guin is best known for her Earthsea series, but I haven’t read them until now. She had a big impact on my childhood via a series of picture books called Catwings (they're... about a family of cats who can fly). As an adult, I’ve grown more intrigued as I've learned about Le Guin’s philosophies, especially anticapitalism. I read her famous horror story The Ones Who Walk Away From Omelas last year and found it unsettling and thought-provoking. So I decided to read some of her longer works! And, of course, speculative fiction is always the way to my heart. My wonderful sister gave me the first four books of Earthsea for the holidays last year, and I’m finally getting the chance to read them. 

Overall I had a good time with A Wizard of Earthsea. It’s structured differently than a lot of fantasy novels I’ve read. While there is a big overarching plot, the individual chapters usually have their own complete story arc. It’s the type of book where you can read one chapter before bed and feel like you got a whole story; each part advances the main narrative while also providing a complete side adventure. 

There’s a lot of travel in A Wizard of Earthsea due to the setting. Earthsea is a giant, possibly world-spanning archipelago, meaning there’s a ton of islands, each of which has its own way of life. The conflict naturally has Ged travel from island to island and interact with various peoples and creatures. The closest comparison I can think of is The Odyssey, and I’d be shocked if Le Guin didn’t draw inspiration from that. Both stories involve the protagonist traveling by sea and meeting a variety of characters and mythological creatures through smaller, discrete conflicts and interactions. Usually I find long travel sequences boring, but in this case they were one of my favorite parts of the book. There’s always a sense of anticipation on where Ged’s journey will take him next. 

The magic system is also is pretty cool. The idea is that all parts of nature, from humans to goats to oceans, have hidden “true” names. Knowing something (or someone’s) true name gives one power over it (or them). Thus wizards use true names to manipulate nature; giving another person your true name is an act of absolute trust and devotion. However, a big theme of the book is equilibrium. One must always be aware of potential consequences when using magic. Changing the wind in one part of the world could cause a devastating storm one island over. Sort of a butterfly effect type thing. 

Even though violence is one of my content warnings, I’m impressed that Le Guin largely circumvents it in the story. In many fantasy stories, a wizard/mage character uses their magic to fight and crush their foes. Not so much in this novel. While Ged clashes with various entities through the story, he usually just outsmarts them. Thus his showdown with a big, fuck-off dragon boils down to Ged guessing its true name and telling it to leave. Antagonists are usually the ones instigating violence. 

One thing I found odd about the pacing of the book is it slowed down a lot in the last few chapters. There’s a big action sequence with serious consequences around the novel’s midpoint, but everything after that is slower and more reflective. On a surface reading level, I’m not sure I liked this. I’m used to stories ramping up the tension more and more until the end. However, I did like the climax itself, when Ged reveals the shadow’s true name. The central moral of the novel is that one needs to accept everything about themselves, including their past mistakes. Everyone has a dark side, which ties into the central theme of balance, and even the opening poem of the novel (which I used as the excerpt for this review). It’s a pretty universal idea, but Le Guin presents it in a thematically satisfying way. 

I tagged this as a Young Adult novel because Le Guin wrote it for a teenage audience. YA didn’t exist as its own genre at the time, but A Wizard of Earthsea is a coming of age story (a staple of YA), and even has a moral message of sorts at the end. However, sometimes it’s really obvious that it’s intended for a younger audience. As I get older, I’ve noticed that YA tends to be pretty blunt about its meaning and symbolism in a way adult novels aren’t. For example, while pursuing the shadow, Ged gets lost in a mysterious fogbank. To me this was a clear callback to the first chapter, where Ged outsmarts a band of barbarians by trapping them in a fog. But Le Guin also made sure to tell me several pages later, in case I missed the parallel. I’m torn on this when reading YA. While I’m not the intended audience, I feel this approach underestimates teenagers’ ability to critically examine a text. But YA teaches many how to view things that way, so I see why authors do it. Teens aren’t a monolith, but it is interesting to see this tendency to over-explain in a novel from 50+ years ago. 

A Wizard of Earthsea is surprisingly progressive in many respects. Perhaps the most obvious is race. Ged and most of the main cast are explicitly nonwhite and described as such in the text. This isn’t a huge revelation in 2021, but it’s amazing to see something like that in a mainstream fantasy novel from 1968. Apparently Le Guin struggled with publishers for a long time, as many early covers whitewashed Ged for the sake of “sales” until she gained more creative control. And the (shitty) film/TV adaptations of Earthsea are just as guilty. I went through a LOT of covers while researching this book, and even newer editions often opt for heavily stylized art, nonhuman subjects, etc. The cover I chose is from 1984, when Le Guin presumably had more influence on Ged’s portrayal. I’m interested to see how past book covers stack up when I deep dive on the other books. 

However, I found the book to be not so progressive when it came to gender roles (I know, I wasn’t expecting that either). Le Guin makes it very clear that all the famous and powerful wizards/mages in Earthsea are dudes. The wizard school toward the beginning is all dudes. All the adventurers and sailors in the story are dudes. Ged himself makes some pretty sexist comments (though to be fair, that was pre-character development). There are relatively few female characters in the story, and many are either bit parts or (in one case) a seductive, power-hungry villain. Portraying sexism in a fantasy setting isn’t an inherently bad thing. Jemisin’s Dreamblood duology, which I read earlier this year, introduced stringent gender roles in order to explore the insidious nature of misogyny. But A Wizard of Earthsea doesn’t really go beneath the surface level. Yarrow is probably the most well-written female character in the story, and she only shows up in the last few chapters. Again, I’m interested to see how Le Guin handles this in later entries; the next book stars a female protagonist and Ged’s the deuteragonist. 

I liked A Wizard of Earthsea overall, and I think it serves as a good introduction to both the series and a central recurring character. While I have some criticisms of the first book, I do realize it’s a relatively early work of Le Guin’s. The last novel in this series was published in 2001, so I’m interested to see how the characters and writing changed over 30+ years. 

[master-sass-blast]

Front Lines.

Summary:  Given the immense violence law enforcement keeps showing towards those protesting the death of George Floyd and the systemic racism infecting the law enforcement system, the X-Men decide to help protect the protesting groups -and you and Piotr are right there with them on the front lines.

Pairings: Piotr Rasputin x Reader.

Rating: G.

Warnings: Mentions of police brutality, heavily reflects the current political/social situation in the United States, but NO scenes of violence.

Set after “It’s Truly Magical,”  but this one's kinda outside the canon timeline; if the protests hadn't popped up, this fic wouldn't have happened. I doubt it'll be mentioned in other fics or used as a timeline measuring point, but Piotr's mentioned as your husband in this, so it's after the wedding/honeymoon.

Author’s Note: Just to be clear, this isn't me coming back from my hiatus. However, given the protests and the particularly depraved nature of Mr. Floyd's death, I did want to make it clear where I stood --and where the series stands, in particular.

The X-Men, as far as I'm concerned, would never take an idle role in letting the police brutalize protesters. They would stand and protect the crowds and do what they could to ensure that the citizens involved in the (non-violent) protests were as safe as possible. This series doesn't view them or their role as protectors any differently.

Granted, I didn't write a quarantine fic --and I'm not going to. It's the result of an entirely different set of problems, has at least impacted certain communities to some extent on a unilateral level, and -frankly--I'm too stressed out over Coronavirus to want to commemorate a fic to it.

This is different. The history of racism and abuse towards African-American communities --towards all communities of color--in America is far too longstanding. There may be good cops, but the law enforcement system and justice system as a whole are corrupted, abusive husks of what they were intended to be.

I don't want the protests --specifically, what the correct side of the protests were--to be forgotten. Hopefully, this fic will help ensure that they aren't.

I also didn't include any scenes of what happens during the protest or on the front lines because, frankly, I don't think it's my place to. I don't want to set any sort of tones predicting how a protest would turn out; I also don't want there to be any sort of debate over whether it "ought" to end peacefully or not. Also, I think that, while unfortunately realistic, including potential scenes of police brutality would be highly traumatic for any readers, so... Yeah. No protest scene. No recap of how it went. Those aren't the important parts, in my opinion. Feel free to disagree, but it won't change the fic or my stance on what ought to be included in it.

If you are participating in any protests, demonstrations, or marches, please use your best judgement and stay safe. Don't do anything that would unnecessarily put yourself or others at risk. (And yes, I know, the protests have inherent risk because of how the police forces are responding to protesters. All I mean is don't go out of your way to do something risky, please.)

Black Lives Matter.

No taglist for this fic. That’s not what this is about.

There’s a lot of fear. A lot of hesitation and questioning and second-guessing.

“Okay, say we go,” Russell pipes up, breaking the silence that had settled after the Professor’s announcement. “What happens when law enforcement kills another mutant? Or when the government tries to put more restrictions on us? Are these people even going to remember us?”

“Besides, what’s even going to happen to us?” Kitty added, forehead creasing. “We’re all going to be in our suits. We’re easy targets –and the cops already totally hate us.”

It’s understandable, the fear. The doubt. The need for assurance.

You’ve all felt society’s anti-mutant sentiments at more than one point in your lives.

“We’re going to take every precaution necessary to safeguard the members of our group,” Charles states, tone reassuring. “We will not be recklessly risking ourselves or partaking in violent movements. But these protests are important. They reflect law enforcement’s and the government’s ongoing deliberate ignorance to society’s discontent with the status quo –a status quo that impacts mutants, too. And it doesn’t matter if any of the protestors or communities of color remember that we were there. We’ll remember we were there –and, more importantly, we’ll remember that we weren’t.” He pauses, smiles despite the melancholy look in his eyes, and adds, “Sometimes, doing the right thing means there’s no guarantee you’ll gain something from it, even if that something you want isn’t inherently selfish.”

You look up at Piotr, trying to gauge his reaction to everything.

Your husband looks pensive –but also resolute. From the straight set of his shoulders to the determined glint in his baby blue eyes, you can tell he agrees with everything Charles is saying.

Piotr notices you watching him. The corner of his mouth twitches up. He puts an arm around you, kisses the top of your head, then goes back to giving his full attention to those around him.

You lean against him and do the same.

In the end, there’s no way either of you are staying out of this.

***

 The rules are made clear to the nth degree.

First: No member of the X-Men –or those specifically joining the X-Men during the protests—will be armed or interact with law enforcement, members of the National Guard, or other protesters in a violent manner –including partaking in looting and destruction of public and-or private property.

“This protest is about drawing attention to the atrocities suffered by African American communities at the hands of law enforcement, as well as other communities of color,” Charles states, tone brokering no room for retort. “None of us are going to make things more difficult for them or contribute to casting these protests in a negative light. Anyone who refuses to comply will be escorted back to the mansion and held in a safe room until we’re all back before facing further consequences.”

Second: All members of the X-Men participating in the protest will wear last resort masks, both for personal health and the public image of the protests.

“The media’s already trying to treat the protests as a reckless act, given the ones that have devolved into riots and the pertinent Coronavirus threat,” Hank says, pushing his glasses up his nose. “Aside from taking steps to protect the members of our team, we need to make sure we don’t inadvertently expose the protesters to additional criticism.”

Third: Senior members of the X-Men –specifically those with abilities that will let them shield the protesters from potential violence—will stand at the edges of the group. Junior members will stay further in the group with various team leaders for their own safety.

“We have the ability to make sure no one else gets hurt,” Jean says, impassioned. “We need to ensure these people can be heard without risking their safety.

Fourth: Should things devolve into violence, junior members of the team will be promptly taken back to the mansion for their safety. Senior X-Men will stay only as long as necessary to promote the safety of the public, then leave as well.

“We’re not tryin’ to win any fights here,” Logan speaks up when Ellie raises the question of possible rioting. “The only goal is to get people in immediate danger to safety, and then to make sure we all stay safe.”

“But everyone’s going to be in immediate danger,” Ellie argues. “These cops –these soldiers—have guns. And rubber bullets. And –and mace and riot shields and tear gas and—”

“Which is why only senior members would stay, NTW,” Piotr interjects, voice soft and soothing. “And only for short time. We have training to handle dangerous situations and to weigh out who needs immediate help. Everything will be fine.”

“What if we get arrested?” Russell asks, frowning. “Or picked up by the Icebox guys?”

You exchange glances with the other adults in the room. “Pretty sure that’s when Nathan and Wade would break us out of prison.”

“That would be illegal,” Scott says, crossing his arms over his chest. He frowns at you. “The X-Men don’t interact with criminals.”

“Pretty sure the pole up your ass is in violation of the Geneva conventions,” you snap, “but you don’t see any of us whining about it.”

“Measures will be taken to ensure the safety of our fellow mutants –which, for the sake of plausible deniability, will not be discussed at this time,” Charles states, fixing both you and Scott with a stern look. “Are there any other questions?” When there are none, he nods. “Alright. We’ll leave at one in the afternoon tomorrow. Don’t hesitate to come to me with any other queries or concerns before then.”

***

 The crowd is massive. Borderline gargantuan.

“Can we even cover everyone?” you murmur, regarding the throng of demonstrators and signs with concern.

“That’s why we’re here.” Erik lands next to you, along with a few less recognizable –read: “smaller rap sheets”—of his brethren. “To add to the numbers.”

Nathan, Neena, and Wade stroll up to where you’d all parked, along with Piotr’s family members and your uncle.

“We’ve got this covered,” Neena says, squeezing your shoulder reassuringly. “We’re gonna handle it just fine.”

“Is that your way of saying you’ve got a good feeling about this?” you mutter as you eye the litany of cops and National Guard soldiers. “Because I’m not sure even you can swing things in our favor.”

“Doesn’t matter how I feel,” Neena says firmly. “We’ve got it handled because we have to. Plain and simple.”

You hang back as everyone else heads to talk with the protest organizers. You’re not regretting showing up –far from it—but all your scuffles have been with other mutants or the rare team of traffickers, not the people sworn to protect you and this country.

Daunting doesn’t even begin to describe the situation.

“Myshka.” Piotr puts his hand on your back. He’s not armored up yet; he’ll do that at the front of the crowd, when there’s no risk of crushing any feet. “What’s wrong?”

“It’s just… a lot.”

“I know.” He draws you into a hug and kisses your temple. “But you can do this. We all can.”

“I don’t think we can protect everyone if this goes apeshit, honey. There’s a lot of people –on both sides.”

“We’ll do our best,” Piotr says. “That is all we can do.”

You take a deep breath, then nod. You interlock your fingers with his. “Let’s go do our best.”

The two of you walk into the crowd.

[dajokahhh]

Alright, time for some pretentious sociological-esque rambling. This is gonna be long as hell (its 1822 words to be specific) and I don’t begrudge anyone for not having the patience to read my over-thought perspectives on a murder clown. CWs for: child abuse, 

I think a lot of things have to go wrong in someone’s life for them to decide to become a clown themed supervillain. A lot of people in Gotham have issues but they don’t become the Joker. I think that as a writer it’s an interesting topic to explore, and this is especially true for roleplaying where a character might be in different scenarios or universes. This isn’t some peer reviewed or researched essay, it’s more my own personal beliefs and perspectives as they affect my writing. I think villains, generally, reflect societal understandings or fears about the world around us. This is obviously going to mean villains shift a lot over time and the perspective of the writer. In my case, I’m a queer, fat, mentally ill (cluster B personality disorder specifically) woman-thing who holds some pretty socialist ideas and political perspectives. My educational background is in history and legal studies. This definitely impacts how I write this character, how I see crime and violence, and how my particular villains reflect my understandings of the society I live in. I want to get this stuff out of the way now so that my particular take on what a potential origin story of a version of the Joker could be makes more sense.

Additionally, these backstory factors I want to discuss aren’t meant to excuse someone’s behaviour, especially not the fucking Joker’s of all people. It’s merely meant to explain how a person (because as far as we know that’s all he is) could get to that point in a way that doesn’t blame only one factor or chalk it up to “this is just an evil person.” I don’t find that particularly compelling as a writer or an audience member, so I write villains differently. I also don’t find it to be particularly true in real life either. If you like that style of writing or see the Joker or other fictional villains in this way, that’s fine. I’m not here to convince anyone they’re wrong, especially not when it comes to people’s perspectives on the nature of evil or anything that lofty. Nobody has to agree with me, or even like my headcanons; they’re just here to express the very specific position I’m writing from. 

The first thing I wanna do is set up some terms. These aren’t academic or anything, but I want to use specific and consistent phrasing for this post. When it comes to the factors that screw up someone’s life significantly (and in some instances push people towards crime), I’ll split them into micro and macro factors. Micro factors are interpersonal and personal issues, so things like personality traits, personal beliefs, mental health, family history, where and how someone is raised, and individual relationships with the people around them. Macro factors are sociological and deal with systems of oppression, cultural or social trends/norms, political and legal restrictions and/or discrimination, etc. These two groups of factors interact, sometimes in a fashion that is causative and sometimes not, but they aren’t entirely separate and the line between what is a micro vs macro issue isn’t always fixed or clear.

We’ll start in and work out. For this character, the micro factors are what determine the specifics of his actions, demeanor, and aesthetic. I think the main reason he’s the Joker and not just some guy with a whole lot of issues is his world view combined with his personality. He has a very pessimistic worldview, one that is steeped in a very toxic form of individualism, cynicism, and misanthropy. His life experience tells him the world is a cold place where everyone is on their own. To him the world is not a moral place. He doesn’t think people in general have much value. He learned at a young age that his life had no value to others, and he has internalized that view and extrapolated it to the world at large; if his life didn’t matter and doesn’t matter, why would anyone else’s? This worldview, in the case of my specific Joker, comes from a childhood rife with abandonment, abuse, and marginalization. While I will say he is definitively queer (in terms fo gender expression and non conformity, and sexuality), I’m not terribly interested in giving specific diagnoses of any mental health issues. Those will be discussed more broadly and in terms of specific symptoms with relation to how they affect the Joker’s internal experience, and externalized behaviours.

His childhood was, to say the least, pretty fucked up. The details I do have for him are that he was surrendered at birth because his parents, for some reason, did not want to care for him or could not care for him; which it was, he isn’t sure. He grew up effectively orphaned, and ended up in the foster care system. He wasn’t very “adoptable”; he had behavioural issues, mostly violent behaviours towards authority figures and other children. He never exactly grew out of these either, and the older he got the harder it was to actually be adopted. His legal name was Baby Boy Doe for a number of years, but the name he would identify the most with is Jack. Eventually he took on the surname of one of his more stable foster families, becoming Jack Napier as far as the government was concerned. By the time he had that stability in his mid to late teens, however, most of the damage had already been done. In his younger years he was passed between foster families and government agencies, always a ward of the government, something that would follow him to his time in Arkham and Gotham’s city jails. Some of his foster families were decent, others were just okay, but some were physically and psychologically abusive. This abuse is part of what defines his worldview and causes him to see the world as inherently hostile and unjust. It also became one of the things that taught him that violence is how you solve problems, particularly when emotions run high. 

This was definitely a problem at school too; moving around a lot meant going to a lot of different schools. Always being the new student made him a target, and being poor, exhibiting increasingly apparent signs of some sort of mental illness or disorder, and being typically suspected as queer (even moreso as he got into high school) typically did more harm than good for him. He never got to stay anywhere long enough to form deep relationships, and even in the places where he did have more time to do that he often ended up isolated from his peers. He was often bullied, sometimes just verbally but often physically which got worse as he got older and was more easily read as queer. This is part of why he’s so good at combat and used to taking hits; he’s been doing it since he was a kid, and got a hell of a lot of practice at school. He would tend to group up with other kids like him, other outcasts or social rejects, which in some ways meant being around some pretty negative influences in terms of peers. A lot of his acquaintances were fine, but some were more... rebellious and ended up introducing Jack to things like drinking, smoking cigarettes, using recreational drugs, and most important to his backstory, to petty crimes like theft and vandalism, sometimes even physical fights. This is another micro factor in that maybe if he had different friends, or a different school experience individually, he might have avoided getting involved in criminal activities annd may have been able to avoid taking up the mantle of The Joker.

Then there’s how his adult life has reinforced these experiences and beliefs. Being institutionalized, dealing with police and jails, and losing what little support he had as a minor and foster child just reinforced his worldview and told him that being The Joker was the right thing to do, that he was correct in his actions and perspectives. Becoming The Joker was his birthday present to himself at age 18, how he ushered himself into adulthood, and I plan to make a post about that on its own. But the fact that he decided to determine this part of his identity so young means that this has defined how he sees himself as an adult. It’s one of the last micro factors (when in life he adopted this identity) that have gotten him so entrenched in his typical behaviours and self image.

As for macro factors, a lot of them have to do specifically with the failing of Gotham’s institutions. Someone like Bruce Wayne, for example, was also orphaned and also deals with trauma; the difference for the Joker is that he had no safety net to catch him when he fell (or rather, was dropped). Someone like Wayne could fall into the cushioning of wealth and the care of someone like Alfred, whereas the Joker (metaphorically) hit the pavement hard and alone. Someone like the Joker should never have become the Joker in the first place because the systems in place in Gotham should have seen every red flag and done something to intervene; this just didn’t happen for him, and not out of coincidence but because Gotham seems like a pretty corrupt place with a lot of systemic issues. Critically underfunded social services (healthcare, welfare, children & family services) that result in a lack of resources for the people who need them and critically underfunded schools that can’t offer extra curricular activities or solid educations that allow kids to stay occupied and develop life skills are probably the most directly influential macro factors that shaped Jack into someone who could resent people and the society around him so much that he’d lose all regard for it to the point of exacting violence against others. There’s also the reality of living in a violent culture, and in violent neighbourhoods exacerbated by poverty, poor policing or overpolicing, and being raised as a boy and then a young man with certain gendered expectations about violence but especially ideas/narratives that minimalize or excuse male violence (especially when it comes to bullying or violent peer-to-peer behaviour under the guise of ‘boys will be boys’). 

Beyond that, there’s the same basic prejudices and societal forces that affect so many people: classism, homphobia/queerphobia, (toxic) masculinity/masculine expectations, and ableism (specifically in regards to people who are mentally ill or otherwise neurodivergent) stand out as the primary factors. I’m touching on these broadly because if I were to talk about them all, they would probably need their own posts just to illustrate how they affect this character. But they definitely exist in Gotham if it’s anything like the real world, and I think it’s fair to extrapolate that these kinds of these exist in Gotham and would impact someone like The Joker with the background I’ve given him.

I have no idea how to end this so if you got this far, thank you for reading!

[mitmediarepid-blog]

The Hate U Give: Contrast for Clarity

Angie Thomas masterfully uses foils in her novel, The Hate U Give, to bring focus to the difficulties that young black Americans face while navigating a society which at its foundation is systemically racist. Thomas’ use of foils creates a contrast that perfectly highlight the struggles that protagonist Starr Carter attempts to navigate throughout the story. 

Starr is thrown into an intense social climate after the recent death of a close friend. Starr is in the car with her friend, Khalil Harris, when he is fatally shot by a police officer. Both Starr and Khalil are people of colour who hail from the same neighbourhood. In the wake of Khalil’s death, Starr begins to examine her interactions with those around her. Starr begins to come to terms with the fact that she leads somewhat of a double-life, as she feels forced to project different versions of herself depending on her environment. As a student at the predominantly white private school, Williamson Prep, Starr feels pressure to assimilate to the culture perpetrated within the school by the student body and thus, alters her personality to fit in. Starr acknowledges that she even feels restricted around her boyfriend and fellow student, Chris. Chris is a white male. Despite Starr commenting on her relationship with Chris being strong, she admits that her actions are subconsciously altered in response. Starr recognizes that she is an alien in this environment due to her race. Starr is voicing her discomfort about feeling the need to participate in code-switching, which is a phenom that occurs when one alternates between different types of language, behaviour, and social codes, depending on who they are surrounded by. As a black girl, Starr feels as though she needs to change her behavior to reflect that of her fellow classmates at Williamson Prep.

Much like in the novel, the film adaption reveals how Starr has very different relationships with her friends from Garden Heights and Williamson Prep. This contrast is represented through her relationships with people from her community, such as Khalil, in comparison to her fellow students, such as Chris. Above: Starr, played by Amandla Stenberg, catches a ride with Khalil, played by Algee Smith. Below: Stenberg as Starr pictured at Williamson Prep with her boyfriend Chris, played by KJ Apa. Stills from The Hate U Give (2018). 

In contrast, Starr has grown up surrounded by people of the same race in her neighbourhood of Garden Heights. While one would assume that Starr would be able to act more freely in a community that she was raised in, Starr feels disconnected from Garden Heights after attending Williamson Prep. Starr struggles with her identity due to implications that come with her being black. At Williamson Prep, she is hyper-aware of being black since she is one of the few people of colour at the school. As such, she attempts to alter her behaviour to hide characteristics she possess which she fears would bring attention to her race. Yet by doing so, Starr feels as though she is isolating herself from the black community in Garden Heights.

Starr utilizes code-switching in an attempt to balance her life at school and her life at home. Code-switching is a phenom that occurs when one alternates between different types of language and behaviour depending on their surroundings. Starr is constantly modifying how she acts based on who she is with. As a black girl, Starr feels as though she needs to change her behavior to reflect that of her white classmates at Williamson Prep. However, this has resulted in Starr feeling as though her time at Williamson Prep has caused her to fall out of touch culturally and socially with the black members of the Garden Heights community. Starr finds herself struggling to connect with the other members of the neighbourhood after attending Williamson Prep, having spent the majority of her time away from the close-knit community and with white people. In this way, Starr can never truly feel as though she is completely comfortable in either setting while constantly trying to meet the expectations of those around her based on her race.

The contrast between Starr’s two worlds is not only reliant on race. Thomas further emphasizes the differences by the class structures represented by both environments. Williamson Prep is full of youths who have been raised by affluent families. In contrast, poverty has forced many residents of the inner-city neighbourhood of Garden Heights to turn to illegal activities to provide for their families. Due to this, gang-related violence has become rampant in the community. Garden Heights is home to many people who are restricted by their economic positions. In this way, many of Starr’s neighbours from Garden Heights are victims of circumstance, and end up falling prey to the vicious cycle describe by Starr’s father, Maverick. Maverick comments that society oppresses black people by forcing ‘thug life’ upon black communities. Maverick’s view is that only by speaking out can this corrupt system be combatted and the cycle be broken.

Khalil is no exception to this cycle. While it becomes apparent that Khalil was involved with a notorious gang called the King Lords during his lifetime, it is revealed that Khalil was never a true member of the gang, but was rather forced to sell drugs on their behalf after his mother was caught stealing from the gang’s leader. In this way, Khalil was not presented with an opportunity to make his own choices about the direction of his life in this situation. Furthermore, it can be assumed that Khalil’s mother stole in order to provide for her son and family, making her crime one that was committed out of necessity. 

As unfair as the circumstances presented to him may be, Khalil’s involvement with King Lords presents the opportunity for victim blaming to occur when he is murdered by police officer One Fifteen during a traffic stop. Khalil acted on behalf of the gang because he had no other option. Yet, his gang affiliation has the potential to be used against him. The police immediately attempt to get Starr to reveal incriminating information about Khalil’s character when interviewing her about his death. This is evidence of the police attempting to profile Khalil as a troubled individual in order to distract from the police officer who shot him from being in the wrong. The police are trying to use Khalil’s past as justification for his death. Sadly, this is not far off from what occurs in real life, as the media often delibriatly paints black victims of police violence in negative ways. In this way, Khalil’s unjust and untimely death has the potential of being blamed on his ties with gang activity, no matter how superficial his actions were. In reality, the King Lords had no influence over the police officer who shot Khalil. Instead, the motive of that crime can be chalked up to racial prejudice. Similar to selling drugs, being black was not something that Khalil had control over. Yet, it directly impacted his fate once his life was placed in the hands of officer One Fifteen.

Khalil’s death shares similarities with another death that occurs earlier in the novel. Starr’s friend Natasha, who also hailed from Garden Heights, was killed after being caught in the crossfires of a gang gun fight. Her death was also a result of circumstance; her simply being a resident of the neighbourhood was enough to put her life in danger, as her death was a result of her location. Khalil and Natasha are foils for Starr’s white friends from Williamson Prep; during the aftermath of Khalil’s murder, Starr finds it hard to relate to her friends at school, as she is able to see the ways which her life differs from theirs due to her race, as well as her love and responsibility for her community. When she begins to fight on behalf of Khalil, it becomes apparent that her white friends are unable to relate to her plight, as they have never experienced a loss due to prejudiced police violence, nor are their lives ever at risk due to the colour of their skin.

In many ways, Angie Thomas’ use of contrasting elements within her novel The Hate You Give provide an efficient way for readers to identify the disparities between black and white characters in the book. While Starr is mourning the loss of a friend, she also takes her fathers advice and becomes an outspoken advocate for Khalil, as well as for the black community. Starr’s struggles with her identity as a black woman is heightened by Thomas’ inclusion of foils, as seen through the contrast between her role within the communities of Garden Heights and Williamson Prep, as well as between the characters that inhabit these environments. Overall, Thomas is able to draw attention to the stark contrast between the treatment of black and white Americans within a society that has been built upon a foundation of systemic racism and binary opposition through her writing.