#responsive approach

[star-anise]

I really wonder if trauma theorists who say things like "Humans are the only animal that will be in a fright state when physically safe" or "the rest of the animal kingdom doesn't get PTSD" have ever, like

Do you think they've actually ever met an animal?

[poorly-drawn-mdzs]

None of our hands are clean

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[pianokantzart]

I know that Luigi’s emotional nature is mostly played for laughs, but the fact that he cries and sobs and screams for help, but is also extremely capable and able to fight with the best of them and has repeatedly battled armies of malicious ghosts to protect the ones he loves… that is so cool man. That’s really important to me.

[dxckgrxsonx]

i have to believe that god help anyone who tries to manipulate/gaslight you in front of Dick ‘Master Manipulator’ Grayson.

there will be zero survivors.

man knows how to twist words and if someone (anyone) comes at you with the intent to place blame or guilt trip you into something then he’s there. he’s certifiably good at it and knows it. has people questioning everything, stumbling over words, genuinely embarrassing themselves whilst trying to regain some sort of control over the situation.

he takes absolute pleasure in watching it. he is so protective of the people he loves and no one gets to pull that shit with you.

he fucks them up in the head. gives them a brilliant (maybe slightly evil) smile and takes you for ice cream.

[vaguely-concerned]

This might be due to the fact that on my first playthrough I ended up creating a Rook more emotionally guarded than any of the companions except Minrathous-route Lucanis and perhaps Neve, so I was primed to look for it, but I never got the sense that the companions don’t care for Rook (the thought never even occurred to me until I saw other people post about it) — to me it seems much more like it’s Rook who keeps the last bit of distance, Rook who pulls away when the companions try to extend their care or worry too directly, who keeps themselves slightly apart. (Rook who is so full of grief they cannot know as grief and thus process that there’s no room inside them to let anything else all the way in, perhaps.) They deflect and flinch back when someone gets too close or approaches them too overtly about their feelings — especially when it brushes up against the theme of grief. They can offer care to all the companions who are grieving, come along to any number of funerals as emotional support, but the moment someone turns that towards them they shut that shit down Immediately, like when Taash almost gives the whole game away with ‘Like you’d know? You act like you haven’t lost anyone!’ and Rook just blandly responds ‘We’re talking about you’ and doesn’t engage. But they can also admit that they struggle with accepting compliments, or knowing what to say, or having confidence in themselves without Varric’s help.

Despite all their determination and even in their most stoic no-nonsense incarnation, Rook is awkward, with the struggles that entails. Someone who is eager and happy to be the helper wherever they can, and helplessly unequipped to know how to be the helpee, as it were. It’s not that the companions don’t return Rook’s attachment to them, there’s MUCH more of a ‘okay so what are the ways you will allow me to be good to you??’ desperation of care vibe behind all their invitations to conversations and hangouts together, to my mind. They bring Rook to their favourite places and share the things they love with them, they ask to spend time together (many times just to have their company, not because they have a problem they need help with! Sometimes the problem arises anyway b/c video game quest narrative of course), they bring them out for some direly needed grass touching, they introduce them to their families. Everyone is clearly getting the sense that Rook does Not want to talk about Varric especially (this is in fact what Harding says in banter, if she’s still alive after the reveal :’( ), but they are absolutely SCRAMBLING to find ways to show that they’re there for them even so. AND from the companions’ perspective, with the situation as they have the means to understand it, accepting that Rook isn’t ready to have that conversation and backing off is also a kind thing to do. (tl;dr: To Me Rook is that weirdly socialized friend who is a great hang once they’re actually there but you have to directly invite them or they don’t quite know how to initiate the contact themselves lol) 

Just as a crushing sense of responsibility for their family is a trait that is built into Hawke no matter how you play them or how you make them respond to that, I feel like Rook — however helpful and earnest, warm, charming, jocular, stoic or straightforward they seem at a surface glance — is always someone who struggles deeply with connecting to themselves and other people. (Emotional Intimacy, the Final Frontier.) As, indeed, is the case with all of the Veilguard companions too! It’s clearly a deliberate theme. These are all lonely people struggling with their sense of identity and belonging in some sort of way. AND having, working on and eventually starting to overcome these difficulties also makes Rook a direct foil for Solas, who doesn’t learn that lesson unless you corner him at the end of the world to force feed him his medicine lmao. They don’t manage to break out of the regret prison under their own steam, it’s because even struggling and grieving they have managed to create mutual bonds with other people who show up for them in turn now — and with all the protective walls of denial around what happened to Varric crumbling and making them less of a stranger to themselves, Rook is finally able to let them. An outcome Solas seemingly didn’t even consider to guard against, because he’s become that deeply entrenched in his loneliness, the utter isolation of the self — he can no longer truly imagine an alternative. (It’s not that he can’t form these bonds, obviously, it’s that he resolutely refuses to value them. Whether it’s because he feels like he doesn’t deserve it or out of a need for control or the martyr complex where he must sacrifice everything he loves on the sacrificial pyre of fixing his mistakes, all of the above and more, the result is the same. Mind!Varric, who I think is mostly Solas speaking, even calls this out directly. So yet again a situation where he has some self awareness about it and it doesn’t help At All haha. Solas falls to the temptation of making people into tools again and again and again, no matter how many times it comes back to bite him in the ass and the eternal solitude it traps him in.) 

And that deep deep loneliness… There but for the grace of… well the theological state of thedas being what it is right now, let’s just go with the grace of Something, Presumably go you as well, Rook. The same capacity/tendency to pull away from connection clearly lives in them as well in some form (again, for whatever reason and with whatever motivations and instincts behind it for any individual Rook). Solas and Rook coming together to create a blood magic paper doll of the mind Varric in response to acute loss and loneliness is one of the most deep , deeply fucked up and invasive acts of intimacy I’ve ever contemplated. I don’t think that’s accidental, there’s something There’s Something Wrong With You (there’s something wrong with you that’s also wrong with me (derogatory)) here that resonates no matter how both parties would hate to hear it. (A fitting legacy for Varric and his wild ‘I made my best friend into a story because it’s the only way I know how to love with this desperation of sincerity’ brain to leave in the narrative, methinks. I feel he’d appreciate it on a craft level, if nothing else.)

If you read through all of Rook’s potential backstories, one of the common threads through all of them, along with a certain maverick ‘I’ll do whatever it takes’ streak, is a sense of profound alienation. They did something or have some sort of quality that made it hard for them to fit in with the group they’re from, causing a conflict that cuts them off from parts of their identity as it’s been up until now. All of which also adds to how important Varric is to them — he was clearly able to break/see through some of that and be closer with them, even in the relatively short time they spent together. No matter what else goes to shit, they can trust that a) Varric sees them, b) he genuinely likes them and believes in them not despite who they are, but for it, and c) he’s got their back, we’re in this together kid. And then he is gone, and it takes them the whole game to be able to bring themselves to accept that and know themselves again, be able to let new relationships in fully. The very understandable ‘the last time I let someone in, they got stabbed before my eyes and the world ended’ flinch away, even if they’re not consciously aware that’s what it is. Anyway I love Rook. So much space to play around in here as to WHY they might feel or react like this, even when the framework is more defined.

[creatingblackcharacters]

Writing: Bismuth from Steven Universe

Rubric

[somewhereincairparavel]

Jason's approach to Nico is actually SO tactful and empathetic. He is super emotionally and strategically intellectual + he is canonically an expert at reading body language because of lupa + he also observes people a lot, so I'm not surprised.

He called Nico out and told him to stop hiding in the shadows and pushing people away, but simultaneously reassured him that he was willing to be nicos friend. He gave nico a blunt reality check on what he's doing, but wasn't rude about it.

He never told anyone nicos secret, not even his girlfriend, and was very patient with him even after he lashed out. And after their friendship evolved, he was STILL very tactful and sought consent before he hugged Nico. He never forced or guilt tripped nico into staying at camp, and respected his decision if he wanted to leave but told him he'd always be welcome in both camps.

He also went to Nico's cabin simply to check on how he was doing and reassure him that he'd always be there for him no matter what (kind of like how he went to piper's room on the argo ii to check on how she was doing even though HE was the one who got stabbed by a sword like 5 mins ago lol-)

And that little scene where Jason got excited after nico said he's staying and just overflowed nico with plans on what they could do (like sing in campfires) but immediately apologized for overwhelming nico so much , while assuring him that they didn't have to do all that if nico didn't want to, and that he's just glad nico was staying.

Ugh jason grace the man you are

[anghraine]

It's wild to me that I had heard of the prime Kirk/Spock content in various TOS episodes long before I saw them, but had never heard of what IMO is the shippiest moment of all thus far, in an interestingly O_o goddamn I do not want whatever you two have but you do you?? holy shit though what a moment way.

I'm of course referring to the otherwise rather mid episode "Requiem for Methuselah," in which Kirk has an underwritten love affair with a clueless woman whose various secrets have to be discovered before her inevitable death.

At one point in this relationship, her.......uh, guardian??? sort of???????? had Spock play the piano while she and Kirk waltzed, which (in-story) Spock did perfectly while somehow managing to silently exude even more intensity than usual. After the plot (and her life) were over, we end not with the usual cheerful bit of snark on the bridge that ends most episodes, but with a weary Kirk falling asleep with his head on his arms and Spock hovering not for away. McCoy exposits the last bit of detail and then goes on an unprompted and honestly pretty viciously racist speech about how Spock, unlike Kirk, will never suffer from the joys and travails of love because of his inherent lack of feeling as a Vulcan. The speech is longer than usual and just really mean-spirited as McCoy waxes rhapsodic about all the aspects of passionate true love that Spock will not and cannot experience as a Vulcan before he just leaves.

Spock then turns to look at Kirk, and now just bleeding intensity, takes a few slow, deliberate steps towards the sleeping Kirk, lays his hand against Kirk's cheek and neck, and then very obviously mind melds with the sleeping Kirk while murmuring, "Forget."

Is this healthy respectful behavior that honors Kirk's autonomy? No, obviously. Is it god-tier repressed homoerotic passion between two people who should probably just work their issues out and stop inflicting themselves on anyone else? Yes.

[theheartmold]

I'm interested in your thoughts on Illario as the First Talon. Do you think he'd hate the position at first or he'd slot right into it as a natural? Do you think he wants the position just because Lucanis is going to have it or he actually wants it because he thinks he'd be good at it? Always interested in thoughts on him from people who also love him as a character! Especially since Wigmaker gave us so much of him, but so little too.

Illario and Lucanis are both presented to us in the Wigmaker Job as very capable assassins for very different reasons; Illario is charming, cunning, and diplomatic, meaning that he can talk his way in and out of most every situation and has an innate understanding of the politics of a situation, particularly of the Crows. Lucanis is quick on his feet, adaptive, and the more talented fighter, meaning that when it comes to an actual killing, he's going to get the job done.

I don't think Illario would be bad at the role of First Talon--in fact, I agree with the general consensus that he would be good at it, maybe even excel. I think his own evaluation of his own capabilities are accurate and that he has the drive and edge to lead the Crows as an assassin's guild. I don't think he's motivated solely by the fact that Lucanis is going to have it.

It's less about Lucanis 'having' the role of First Talon and more so about the fact that it's being GIVEN to him. It's not really about Lucanis at all in that sense, it's about the oversight from Caterina. It is obvious to everyone that Lucanis is the favorite pick for the role, including Lucanis, and Lucanis doesn't want it. But he won't tell Caterina that, and even if he doesn't say it, he does show it--and Caterina ignores it. A lack of willingness to consider Illario from either of them is what really pushes some of that ambition; when no one considers you, YOU must consider you.

I don't think he'd hate the position; I think he'd do well! I think he would hate what he would have to do to GET the position. We see that in Veilguard; to get what he thinks he wants he has to abandon what he has, and it nearly kills him. Lucanis and Illario and Caterina are all that the other has; Illario grieves that Lucanis didn't die and was tortured, Lucanis can't bring himself to kill Illario only maybe imprison him, and Caterina absolves the responsibility of deciding his fate onto Lucanis.

It would be a lonely outcome for Illario but I do think he meant it in the Wigmaker Job when he tells Lucanis that if he were First Talon, he wouldn't have to do "this" anymore; the Crows, the politicking. Maybe Lucanis would be free to do that whole freedom-fighter hero thing he's always trying to emulate. But they're both under Caterina's thumb, and until she's gone, we won't know.

[pocket-deer-boy]

I’m fully expecting matt’s twitter behavior rn to be an intentional harassment campaign of constantly poking and prodding at trans women until they say something that could potentially be construed as a death threat and then retaliating in full force to attempt to get them banned off of twitter as well. I mean, he really, REALLY wants to interpret these things as death threats.

[hahahafangirl]

the failure of language

so im getting around to write some suonirei fanfic and, inevitably, got to Backstory Speculations activities. and now i begin to think about suo (windbreaker in general) and the failure of language -- when people, regardless of how much they try or how eloquent they find themselves to be, will find points where they are unable to give words to what they are feelings or explain some difficult emotions or circumstances to themselves or another person.

think, sakura going "how am i supposed to treat you now?" after hearing out umemiya's childhood story-- what is he supposed to say? to act in general? language, spoken or behavioral, failed him. umemiya redirected sakura to language: he did not expect sakura to treat him any differently. come back to the language you understand, he says. and now we complicated "language" to means "a vehicle of interactions and expression", which is functionally what language is.

well i did say that this arise from thinking about suo, most notably, thinking about how windbreaker expresses speechlessness and stillness very frequently from suo's silence. think the focus on suo's eyes at any moment where language are yet adequate to say what is happening: suo and nirei's response to sakura's solitary during sickness; suo's anger (in KEEL and shishitoren) occurring wordlessly; and, most recently (which sorta sparked this line of thought), this page

note the wordlessness. a lot of time, wbk starts out the responses to these sincere and vulnerable moments with this wordlessness, where characters ponder and reflect on the statement, often evoking their own memories and experiences, thus empathizing with the vulnerability in question. it is a reflective and thoughtful way to begin the process of empathy in silence. it feels ritualistic, even, like meditation, to begin connecting with other by a silence that could be taken to be a single-minded, pure focus -- on what is being put on the stage to ponder. maybe this is not quite a failure of language, depending on how we see it, but rather, a moment outside of language priming for its arrival. it is not time for language to enter the scene yet.

but then language always come, sooner or later. as awkwardly or curtly or roughly, sakura and nirei speak sincere words that come from the bottom of their heart. language -- thus connection and empathy -- then propel the conversation. suo, notably (at least without me combing through the manga again) often does not enter this realm of language the way sakura and nirei do it. when he empathize sakura's feelings when he was sick, suo did it where sakura cannot hear. the only(?) time he responded genuinely (please bring up examples or counterexamples if you have it on hand) was when nirei was feelings insecure about his inability to fight and ask suo for help. but even then, the response of "your self-esteem is all over the place" is not quite the personal, genuine approach sakura or nirei has. its quite measured and reflective -- responding to nirei's statements rather than clearly interjecting something to the conversation. many of suo's vulnerabilities are deflected by falsehoods (harmless jokes, not malicious lies), distractions, etc, etc. language seemingly continues to fail him, or he continues to evade it.

i am in a habit of not stating my Backstory Speculations, because a lot of times i want to stick closer to the texts. whatever Speculations i have will most likely manifest as fanfiction (oh boy is that an ambitious media to do this in). but anyway, from popular hc of suo being potentially a "traitor" or somehow entangled in a major and antagonistic organization, his failure to relate this to his friends and thus him hiding his past can be taken as another failure of language. perhaps languages continuously fail him in his childhood-- hence it has yet to learn how to succeed.

p/s: i should also say that im enjoying using different concepts and ideas to speculate/think about and analyze the text (wbk) in a different way. this is basically what comparative literature and literary criticism is, i think (lol). sometimes i feel like this is just me dressing up good ole literary theme in a fancier language, but whatever works works lol. hopefully as i continue to think of the "inability to express your true emotions" and "inability to be vulnerable" more specifically (or broadly) as a failure of language, more interesting insights will come up. its less about what the texts is literally and consciously say, and more about how we can think about the text using -- and extract from the text via -- various frameworks.

yep, this is probably gonna be a more complete essay at some point. i even pulled out the usual rccl register for this!

[shrugsinchinese]

Age wise Verin is at least three decades older than Keyleth and Vax in my head, like Essek is 120-130, Verin is 80-90 or so. Maturity levels are different across the board of course, but Verin was born into a culture where long lifespans are a given, so he adds a perspective that even Keyleth and Vax dont seem to be used to quite yet.

[hibiscus-intern]

YOOOOO DAISUKE! congrats on the internship, tho how the heck did you end up in the freighter business??? didn't think that was ur thing... or that they did internships over there in the first place LOL. how's it been so far?

Maybe this is where I find my thing! Boss has me doing so much reading that my eyes are starting to huuurt. I've got to learn something!

Slight elaboration on the second panel in tags!!

[foxett]

First five days of suntantober!!! Cats, flower language, weather, games and movies :3

Bonus drawing under cut because two birds with one stone, suntantober AND that one challenge

[altschmerzes]

i was About to get embarrassed that ive posted a couple of history rhymes clips recently that are just. jamie being Very Cuddled by people who care about him and then i remembered 1. that is a thing people like i think, and also 2. given the everything else happening in that fic, this is a proportionate amount of intensely caring affection

[bearotonin-international]

i want you to know that when i was a kid i was really into polar animals so my mom got me a polar bear stuffed animal that came with a documentary and when i watched it and learned that polar bears eat seals instead of being friends with them i cried and my mom decided i wasn’t allowed to watch that movie again

we're sorry for that sad experience learning that this silly goober

is also a lethal beast