#several paragraphs...

[a-dauntless-daffodil]

It’s hilarious how Vaggie made herself a ‘sinner’.

How that linked her up with Charlie is such a weird, round about truthful way, even when she was lying by omission about it.

And how amazingly dumb it all makes Adam and Lute look.

Thousands of helpless souls killed by her, but she didn’t do anything ‘wrong’ until she wondered if what she was doing was right. The divine powers in her life only took her wings and condemned her to hell after she doubted their orders, their idea of justice, and quietly chose not to completely follow them.

“You fucked up” they tell her “your mistake” she “left the band” “tried for a solo career". It’s so pathetic. They're so butthurt over the idea of one of their own having a mind of her own.

It’s also so funny, because they spin her simple act of whispering “Go, run. Now!” to demon kid she’d been holding at spear point like it was big defiant move- which makes it into one- even though she never challenged them openly, or threatened them.

Hell, Lute’s “You always were weak” plus exorcist Vaggie always frowning while her murder sisters all grin with glee as they kill sinners- it paints a picture of Vaggie never having been as into exterminations as she ‘should’ have been. Too weak to be a proper exorcist no matter how good at killing she was, not just “the traitor” but also “the failure”.

And she was scared of that. She didn’t want anyone seeing her spare that child, whispered her words to them in a back alley, out of sight.

She was scared of what would happen and didn’t even fight it when Lute took her eye and wings- she was scared and no threat in any tangible way, but apparently refusing to do one single murder is enough to freak Adam and Lute the fuck out.

One woman. Doesn’t do exactly what she’s told. After who knows how many decades of being one of the “top girls” at murder, a “bad bitch” named after “the best thing ever”, and they still get spooked by that tiny moment when she wasn’t under their total control. Like it's such a betrayal to them, her daring to so much as think this level of violence isn’t justified actually, and for a split second act on that thought.

It’s an instant ticket to ousting her from the exorcists AND from heaven, while they fly the fuck off again.

“If angels can do whatever, and remain in the sky-”

and they do. After doing that to one of their own. They did that, to someone who was supposedly meant to be in heaven. They didn’t wait for divine justice- took it, and her eye, and her wings, and her halo, into their own hands and tore them away from her. Then happily, they spend the next three years up in heaven, slurping smoothies and doing more murder sprees.

until Vaggie comes strolling back with the princess of hell, there supporting her girlfriend and the idea that all the shit she did for so long really was and IS wrong.

oh and Adam and Lute are pisssssssed about it. They take her being there PERSONALLY, wanna solve it with VIOLENCE

She hurts them without even trying. Without even noticing they're there.

They're told to fix the princess of hell situation and they have no concept of forgiveness, of caring about sinners, so they guess (rightly) that Vaggie hasn't told Charlie about her past and bet (wrongly) that Charlie would never forgive her if she knew, and also assumed (rightly) that Vaggie would be terrified of that

But they don't get that she's scared of hurting Charlie. Of Charlie being hurt by her. It's a selfless thing. That's her whole PROBLEM.

Her running to hold Charlie after the reveal- her NOT breaking down when Charlie takes alone time in the aftermath, respecting that right up until she thinks Charlie's actively in danger- afraid FOR Charlie when the deal with Alastor is made, no crumbling that Charlie went to someone else for help, when being helpful to Charlie is basically her raison d'étre- agreeing to go alone to an overlord, after learning she can DIE and THIS OVERLORD knows how to do it- all this for the sake of Charlie's dream, their shared goal, their hotel. Their friends, resigned to despair in the hotel lobby, losing hope and maybe hours away from losing their lives

No shit she was never going to bow down to the blackmail?? It'd be like turning herself inside out. Charlie isn't just some "little hottie" or whatever, they're partners. They're in this together. Even when Charlie out loud doubts if that's true, it still is.

Lute and Adam don't GET what it means, that Charlie assumed Vaggie was a sinner already. That the thing she'd be hurt about was the lying, not the murder. She was scared of not really being loved by Vaggie- of everything else wonderful between them being a lie too, all that support and faith empty empty- she wasn't afraid of loving Vaggie, whoever Vaggie had been, she was afraid of who Vaggie might be now and that she'd never really believed in Charlie at all.

Charlie was angry at the thought that Vaggie didn't think she would've accepted her. The idea of not really being understood or trusted by Vaggie, that's what hurt.

And it goes against everything Lute and Adam are, Charlie actually caring about sinners while knowing what they've done- about an exorcist after finding out who they'd been- really trusting that people can change. Lute and Adam hear her say it and see her stand up for it and they just want her to shut up and die

again though, no shit she was going to stick with Vaggie after the truth came out, in the end. Once she had a moment to take a breath and step out of her head long enough for a reality check

Vaggie didn’t say to Charlie what she'd done or who she'd been. But she’s been and keeps doing what she can to follow that idea, unvoiced, from that day when she couldn’t kill a sinner- something Charlie didn't know about but now knows must have happened- A final death means no second chance and no worth as a person, but Vaggie didn’t think that, even before meeting Charlie she didn't think that.

She's always been on Charlie's side. They were on the same side before they ever set eyes on each other. All this time, for three whole years, and now she's off to go find a way to protect everything they've built together.

"-words are cheap, but actions, they speak the truth"

Charlie never really stopped trusting her. Maybe she wondered if she should, but even then, she had Vaggie go to Carmilla to find the key that might save them all.

"She killed an exorcist in the last extermination. She knows how they can be harmed."

"But… I- I didn't even know that was possible."

"If you did, would you have told me?"

So Charlie asked. A pretty painful thing to say- and she said it even as she sent an angel to go find out a way to hurt other angels.

She DID trust that Vaggie WOULD tell her.

The irony of all this happening thanks to Adam and Lute trying to keep it from happening, and all of it leading up to Vaggie getting back part of what they took from her, because now she doesn't need them or heaven to be an angel anymore.

Charlie has faith in her. Enough to send her off on an important mission even after Vaggie hurt her- and send her right to the person who end up helping Vaggie get back her wings.

“The rules are shades of gray when you don’t do as you say”

Vaggie’s new fucking wings are gray when Lute sees them. When Vaggie’s standing over her, sparing her life, her wings and that one, fucking unexplained stripe separating her from the other exorcists, all of it is GRAY.

That visual gut punch of, you’re. Fucking. Wrong. You’re wrong about sinners, you’re wrong about supposedly protecting heaven, you’re wrong thinking you can just DO this shit. That imagery of an angel who DIDN’T stay in the sky because she DIDN’T think being angel meant everything she did had to be right- who’s here in hell, trying to protect sinners from heaven’s slaughter-

And Lute wanted Vaggie to “correct” HER “mistake”? Vaggie’s???

That’s Lute, admitting that people in hell can get second chances and make up for what they did. Admitting that “Sinful filth” like Vaggie can be redeemed in some way, by following Lute’s version of what’s right.

But wasn’t her and Adam’s whole thing the idea of blowing your shot? Getting no other chance after it?  

Oh yeah. Vaggie doesn’t believe that though. Not for sinners like her, not for angels like her.

She let’s Lute live. She does it to make Lute suffer, but there are a lot of ways to make someone suffer- an eye for an eye for example- and Vaggie chooses the one that doesn’t hurt Lute more than it has to, that leaves her alive, and leaves Lute’s suffering to be something completely of Lute’s own making (a HELL of Lute's own making, if you will) (Lute choosing to tear her OWN arm off to continue the fight-).

She's totally dismissive of the woman who was just going after her remaining eye like a dog after a bone.

Why is it that nothing Adam and Lute to do her matters?

Why don’t THEY matter to her at all?

Walking right past them, being so done with them up in heaven, not caving to the blackmail, only being worried about Charlie afterwards, not letting that crack in their relationship stop her from doing what she can for their hotel, Lute threatening to take her other eye and BLIND her just making her snark- even the vague threat to Charlie only gives Vaggie the oomf she needed to defend herself.

“Pathetic” she calls Lute. She’s right- they’re so pathetic, both them, Adam and Lute. They’re so scared of being wrong. So pissy over the idea of being less than great and perfect.

It breaks them. Adam’s last words are him having a meltdown in the face of not actually being hot shit. Where’s his respect, he wails, they should all be worshiping him! But they’re not. One of his random decedents stabs him to death because he would’ve done the same to her, and one of the last things he hears is Vaggie- the fuck up, the traitor, his former grumpy top girl Vagina- whooping with glee as he dies.

And Lute lives knowing that could’ve been her, too.

If it wasn't for Vaggie.

Being not all that didn’t break Vaggie. Finding out she was wrong got her to stop and think and change, not run straight on blindly into a fight that ends up with her (with HIM) dead.

Why does she go from terrified of Lute and Adam, to dismissive and annoyed and just all around not caring about them at all?

They gave up all her respect for them when they demanded the death of a child.

The father of humanity wanted a child killed. A helpless, whimpering kid, sacrificed to his ego and bruised pride, and for shits and giggles. His first lieutenant saw failing to do so as a sin worthy of hell. All this over a child. How could she ever take them seriously after that.  

She came down from high and chased the child and held a blade over them on divine command.

Then, somehow, she saw the HORNS in her own shadow above them- even though she wasn’t WEARING her MASK, and she stopped.

She was her own messenger angel.

She chose to give the child mercy, and became the sacrifice herself.

Vaggie stuck it to the man. Didn’t steal that life. And, terrified of what would happen to her next, acted selflessly. The same thing that got her left behind in hell should have earned her place in heaven, according to Adam-

heaven was shit to her though. Made her into a soldier. Sent her to kill and kill and kill. Taught her trust on the battlefield- in heaven, of all fucking places-

Timeline wise we see her very first smile when she meets Charlie. When a stranger does- again- the bare minimum for someone else.

When she’s back up in heaven later she isn’t wistful, just angry, uncomfortable, annoyed. She isn’t happy there. It’s not home to her, like her and Charlie’s room back at the hotel is. Why should it be? What good did she ever find in herself up there?

Down here though, she's happy. Hell is where her heaven started. So I guess in the end, she did find what she’d earned after all. Or it, Charlie, found her.

When “The rules are shades of gray…”

Sometimes they’re wrong, and you have to break them.  

People like Lute and Adam would rather crack under the pressure and die instead, but not Vaggie. They're out for blood. She's out for love.

Sucks to be them~

[blueskittlesart]

Linktober day 27: plants

I think zelda would be the type to keep sketches and research notes in her journals along with the more personal notes we see in totk/botw :) (also yes i did write several paragraphs entirely in the hylian alphabet and no i dont remember what the hell they say. good luck figuring it out)

[serialunaliver]

no hate to op but “highly defensive and extremely hostile” is exactly how I would describe myself. this is why I refer to cluster b personality disorders as evil ptsd. it's a trauma reaction, but not a particularly sympathetic one. the reason a narcissist has a 'cruel' response is fear of appearing vulnerable with the assumption vulnerability will lead to you being taken advantage of and abused. recently I made a post about how having family members be scared of me satisfies me because I feel none will dare to hurt me again. however ofc it's not behaviors you want to justify or continue expressing because the people you're targeting are not your abuser(s). you just grew up in an environment that permanently put you on the defense has you automatically making the worst assumptions about others' intentions around. these assumptions can and will ruin relationships, sometimes with you being the first to leave. most people, regardless of whether or not they've been labeled mentally ill, are thinking more about how they're being perceived when talking to others. they aren't hyper-focused on you.

[dyslexic-mess]

Tiniest DCXDP au nibblet before I go to bed:

The bat boys speak several languages. Which they fly into on a regular basis. Dick will go off into Romanian when he's being effectinate, Tim is angry in French, Jason rambles in Spanish and Damien mutters in latin.

(Cass also slips in and out of sign regularly and steph knows German but mostly just the swear words)

It happens enough there not phased by eachother doing it and are used to getting the general jist or rasing an eyebrow when whoever speaking is done and adding. "Okay. Now in English, please?"

Enter Danny who, since his death, has this bad habit of slipping into ghost speak when he's not concentrating for some resosen. Zoned out, angry, disinterested, excited, it's like when he died his first language became ghost speak and sometimes he forgets to translate before he talks.

After your usual 'getting adopted into the batfamily' hyjinx, Danny accidentally slips up in a passionate ramble about a picture NASA released or something. He catches himself and panics, only for whichever sibling he was talking at to roll there eyes and smile.

"English, Danny?"

He decides to do as they did and gloss over it but this is pre phantom reveal so he panics internally. Thing is, everyone else dose it to. Even Bruce. To the point that he stops thinking about it to.

It dosn't come up till Duke comes from a visit, Danny gose on an impassioned rant about the anti ecto laws in ghost speak and Duke turns 'round and asks what language he's actually speaking?? Because it dosnt sound like any languages he's heard????

Everyone turns because, hold on. That's a valid point! What language dose danny keep slipping in and out of??

This is a catalyst towards the reveal.

Also! Before that, everyone thought Danny was an impressive level of bilingual. He always seemed to know what everyone was saying, even when they weren't speaking English.

He isn't bilingual really, its more of a cheat code. It turns out getting crowned ghost king also grants you some kind of internal universal translator because Danny, simmilerly, didn't actually notice his new siblings spoke any other languages before Tim got annoyed and started ranting in French about how unreasonable Bruce was and how jason was trying his best and Danny was following his point completly before he looked over and saw Jason watching with just. A confused. Blank stare.

And then he shrugged to Danny and said "I'm sure whatever he's saying is a good point and I'd back him up, if he's say it in English, PLEASE-"

Which solidly clued Danny into the fact that Tim had, infact, not been speaking English

[steveyockey]

While some of both Davis and Crawford’s work could arguably be described as camp (for the former, King Vidor’s Beyond the Forest; for the latter, later-era films such as Strait-Jacket and aspects of the wondrous Nicholas Ray film Johnny Guitar), that their entire careers and places within film history are defined as such does a disservice to their artistry. But they aren’t alone in representing what has become a troubling trend when it comes to women’s work. As camp entered the mainstream lexicon, especially after Susan Sontag’s landmark 1964 essay, “Notes on ‘Camp,’” the term has been increasingly tied to work featuring women who disregard societal norms. Camp is often improperly and broadly applied to pop culture that features highly emotional, bold, complex, cold, and so-called “unlikable” female characters. I’ve seen films and TV shows such as the witty masterwork All About Eve; the beguiling Mulholland Drive; the stylized yet heartwarming Jane the Virgin; Todd Haynes’s Patricia Highsmith adaptation Carol; the blistering biopic Jackie; the deliciously malevolent horror film Black Swan; Joss Whedon’s exploration of girlhood and horror, Buffy the Vampire Slayer; the landmark documentary Grey Gardens (which inspired the 2009 HBO film starring Jessica Lange and Drew Barrymore); and even icons such as Beyoncé and Rihanna be described as camp. Look at any list of the best camp films and you’ll see an overwhelming number of works that feature women and don’t actually fit the label. Usually, What Ever Happened to Baby Jane?, the film whose behind-the-scenes story provides Murphy’s launching pad for Feud, will be at the top of the list.

While camp need not be a pejorative, that hasn’t stopped it from being widely used as such. In effect, being labeled as camp can turn the boldest works about the interior lives of complex women into a curiosity, a joke, a punch line. The ease with which camp is applied to female-led films and shows of this ilk demonstrates that for all the (still-paltry) gains Hollywood has made for women in the decades since Davis and Crawford worked, our culture is still uncomfortable respecting women’s stories.

That major Hollywood icons such as Marlene Dietrich, Bette Davis, Joan Crawford (and, more recently, Natalie Portman, thanks to Jackie) have been roped into this lineage isn’t surprising. Society doesn’t know what to do with women of this ilk without discrediting their very womanhood. Take artist and filmmaker Bruce LaBruce’s offensive description of Mae West in an essay on camp: “[She] played with androgyny to the degree that her final performance — her autopsy — was necessary to prove her biological femaleness.” In his 2013 essay “Why Is Camp So Obsessed with Women?”, J. Bryan Lowder expands on Sontag’s most well-known line: “It’s not a lamp, but a ‘lamp’; not a woman, but a ‘woman.’ To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role.” Lowder writes, “‘Woman,’ the concept within the quotation marks, is not the same thing, at all, as a real woman; the former is a mythology, a style, a set of conventions, taboos, and references, while the latter is a shifting, changeable, and ultimately indefinable living being. Of course, there may be some overlap.” But if all gender is a performance, where does the “real” woman begin? And why does the presence of camp hold more importance than the actual work and voices of actresses such as Crawford, who have come to be defined by it?

At times, camp can feel like a suffocating label. Its proponents often misconstrue the fact that recreating oneself as a character is not merely an aesthetic for women, but rather, for many, a matter of survival. Living in a culture that profoundly scorns ambition, autonomy, and independence in women, girls learn quickly the narrow parameters of femininity available to them. When they transcend these parameters, life can get even more difficult. Women often pick up and drop various forms of presentation in order to move through the world more easily. Performance as a woman — in terms of how one speaks, walks, talks, acts — can be a means of controlling one’s own narrative. Camp often limits this part of the discussion, focusing instead on the sheer thrill of watching larger-than-life female characters cut and snark their way across the screen. How these works speak to women, past and present, becomes a tertiary concern at best, and the work loses a bit of its importance in the process; it either comes to be regarded as niche or, if it still has mainstream prominence, as abject spectacle. In turn, the conversations around these works become less about the women at their centers and more about how those women are presented.

Much of Baby Jane’s camp legacy comes down to how more recent audiences have interpreted Davis’s performance. She’s ferocious, frightening, and grotesque. But framing Davis’s performance as camp, as Murphy does, doesn’t take into account how dramatically acting has shifted over the course of film history. In some ways, camp has become a label used when modern audiences don’t quite understand older styles of acting. Modern actors privilege the remote, the cold, the detached. The more scenery-chewing performances that make the labor of acting visible — such as the transformative work that Jake Gyllenhaal did in Nightcrawler, or most of Christian Bale’s career — is typically the domain of men. (Or, at least, it’s only men who can get away with it without being called campy.) As Shonni Enelow writes in a marvelous piece for Film Comment, “[Jennifer] Lawrence’s characters in Winter’s Bone and The Hunger Games don’t arrive at emotional release or revelation; rather than fight to express themselves, her characters fight not to. We can see the same kind of emotional retrenchment and wariness in a number of performances by the most popular young actors of the last several years.” Davis’s work as an actor was the antithesis of that; she painted in bold colors. Even her quietest moments brim with an intensity that cannot be denied.

[bookwyrminspiration]

stellarlune page 431, a summary

[onlyjaeyun]

i'm gonna log off for a while because i'm really mentally drained from constantly hearing how unhappy and disappointed some of you guys were with both SB and CH'snendings and developments.

i know some of you guys come from a good place and mean no harm but imagine working on something for so long and then you yourself are already sad about how things ended but you wanna use it as a way to do better next time but people constantly tell you how you should do better next time and its always "i was so excited but it never came" and "i wished things would have gone this way" after you spent days crying out of frustration because your brain didn't corporate.

people who have never written (one shots or series doesnt matter) don't know the burden of leaving unfinished works up there. i keep telling you guys that i tried so hard to somehow give you guys an ending because if i hadn't you guys would have never received ANY ending so i tried to make the best of it.

i dont take the hate to heart anymore bc i couldnt care less and i know as a writer i should be open to criticism but i'm a little tired of my work being constantly nitpicked when i do this for fun.

i know updating daily was what burnt me out pls stop telling me that i obviously overestimated myself i fucking know.

whatever, it actually doesn't matter anymore because CH is over and i dont think i'll ever write smaus that long ever again bc the criticism is so not worth the mental effort and stress.

i do this for FUN. you know how artists doodle in their notebooks, this is what this blog is to me. i make mistakes, i over/underestimate things and myself bc this is life. it's just..not that deep for y'all to constantly camp in my inbox and make me feel bad about it when i already accepted it.

i'm gonna do some self reflection and think about it all so take care babies 🤍

[itsdefinitely]

i wanna know more about the jerries/jeris

do you want to know the most horrific thing about them?

the lords did nothing to make them the way they are.

yes, the jerry jr was turned into the axeman because of the witchwood, which does what it does because of the lords, but everything leading up to that is just human nature. i see the "girl jeri is nibbly" or "they were influenced by a lord to do the thngs they do" and i need people to understand that that's just. not true. they're just like that. they were taught to be like that by their parents and, more accurately, their church. it's horrifyingly accurate how religion has shaped them into non-functional human beings, who would rather potentially lose their child to the many, many dangers of the literal woods than admit that they had sex outside of marriage.

it's only because it's hatchetfield that jerry jr grew the way he did. there was no lord's intervention in their decision to keep the baby, or to drop out of school to care for him, or to keep him seperated from any other people, or to revolve their lives around the idea that they'd committed a sin and needed to pay by pushing celibacy rather than. i don't know. properly raising their child. it was the way they were taught. the toxic pushing of overexaggerated christian ideals is what molded them. can you imagine being in their place? being a scared teenager and knowing that if you told any of the people you care about most your secret that they would shun you and disown you?

the only people they felt any kind of safe around were each other; of course they're going to be codependent. and even then, they're disgusted by each other for leading them to sin. they're stuck together unwillingly, because without the other, they're alone.

[kaibascorpse]

i may be hung for saying this but honestly when a transmasc/man starts championing for why transandrophobia isn’t real it gives a very “pick-me” or “nice guy” kind of vibe. like ooh you can trust me i’m not like those other evil misogynistic trans men who think men are oppressed! and i think it really reflects the internalized transandrophobia that they feel they have to denounce other trans men for the crime of uhh *checks notes* using words to talk about our experiences

[stevieharringtonwifeguy]

fae!steve who, practically the moment he learns what he can do, sets up a trap curse for his parents. if they ever kick him out and disown him, then the second he exits their threshold he'll take all their luck with him. he'd feel bad about cursing his parents, but the point of a trap curse is that it doesn't activate unless the targets of the curse do something to meet its requirements. if his parents were just good people, good parents, then nothing bad will ever happen to them.

but they really can't seem to help themselves. steve guesses he saw this coming.

he tells eddie about it, when eddie comes to pick him and his one allowed box of clothes and shit from the harrington house. eddie'd offered to curse them, 'might as well make good on my whole evil satanist reputation', but steve told him he already had it covered. told him about the trap. he's never seen eddie look so proud and so sad at the same time.

and sure enough, all good luck leaves the harrington household when steve does. a random irs check reveals harrington sr's years of tax fraud, and his business goes bankrupt trying to pay the fines. someone leaks pictures of one of mrs harringtons senior aides on a drug filled bender in the city, ruining both her campaigns squeaky clean image and her chances at reelection in the fall. several of mr harringtons former secretaries sue for sexual harassment, while seemingly every other woman he's ever come in contact with simultaneously sues for child support.

and steve just watches. he's happy now, living with eddie in a small apartment with their cat and the various small woodland creatures eddie keeps trying to sneak in (so far steve's had to kick out three raccoons, a possum, a skunk, two bats, and a coyote. they've all been very understanding when he's explained the situation to them but eddie still acts like a kicked puppy every time he does it). eddie keeps a little shoebox under their bed with newspaper clippings of every terrible thing to befall the mighty harringtons, says it's in case steve ever wants the reminder that he got one over on them in the end. a reminder that steve's happy and they're not.

steve doesn't need it. he feels it, every time the curse does something to them, something clicking in his chest like one of those alarm clocks with the flaps that flip over from one minute to the next. he wonders if it'll ever feel like too much. if he'll ever think they've been punished enough. they've had a rough couple years, it's sort of only a matter of time before something happens that's unlucky enough to injure or kill them.

steve thinks if he was human, maybe he'd care. maybe he'd look at that shoebox with the guilt eddie seems to be half-expecting every time he brings it out. but he's not, so he doesn't. he set the trap, but his 'parents' are the ones who sprung it.

they really should have known better than to cross a changeling.

[bonefall]

.. opinions on wind runner? i feel like im one of the only ones that genuinely hates her sometimes

If you feel like the only one who genuinely hates her, I think you need to look around more. Wind Runner is a very widely disliked character, because she's often used within the story as a small antagonist who "threatens" the authority of Tall Shadow. Gray Wing dislikes her. Thunder is openly cat-racist to her. She spends several books trying to break through the moor cats' xenophobia to join a group that came to HER LAND.

Then, when Moth Flight is old enough to be a relevant character in Forest Divided, Wind Runner is turned into Yet Another mean mom the very moment Moth displays ADHD. She's contrasted to her mate Gorse Fur, who is a Soft And Good Dad, and ultimately MASSIVELY punished with the harrowing events of Moth Flight's Vision (even though, for most of that book, she's completely right.)

Ask yourself why they're especially harsh on WIND RUNNER for being mean to her child, in the arc with Tom the Fucking Wifebeater and his redemption death, plus Thunder being forced to stop being mad at his abuser Clear Sky, please.

To me, Wind Runner is an intense, ambitious woman who's demonized for it in a way that men just aren't. She's subject to several misogynistic trends within WC, plus a huge helping of xenophobia that goes absolutely unexamined. If DOTC cared at all about women, it would have treated her with the nuance she deserves.

Wind Runner is treated with nearly endless suspicion by Gray Wing through books 1 - 3, while he's bending over backwards to suck Clear Sky's toes.

Her wanting to join the group that came TO HER HOME and being a bit pushy about it earns a stronger reaction from Gray Wing than Clear Sky murdering people.

She's pressured into changing her name "to fit in," and it's still not enough. She wanted to join the group so bad she changed her name, at the request of the Mountain Cats, for a chance of being better accepted

This came after she'd already saved Jagged Peak's life when a burrow collapsed on him. She's plenty trustworthy.

She keeps doing shit to try and prove herself to this group of assholes. Remember Bumble being dragged back to her domestic abuser? Gray Wing interprets this as a power struggle, when WIND RUNNER WAS NOT EVEN PART OF THE GROUP AT THE TIME.

From Wind Runner's POV, she did something that the Moor cats wanted done. It was fucking evil. It was committing violence against another member of the out-group the cats see her as.

But who actually has the power here? Tall Shadow does.

Gray Wing said it himself that she could have come up with some excuse for Bumble to stay, and she didn't. In fact, any cat could have spoken up. No one did.

and still. STILL. Wind Runner gets nothing. Her reward is Gray Wing surmising that actually, her doing their sick dirtywork was a political move.

It's more consistent as a motivation with how Wind Runner wants to join their group. The thing she's been doing.

She only actually gets to join the group after Thunder starts publicly hurling slurs at her for suggesting they need to be ready for Clear Sky to attack them. "What do you know about peace? Last time I was here you were NOTHING BUT A ROGUE WITH A ROGUE'S NAME"

Gray Wing even starts purring when she gives birth, because her ambition goes away briefly and she "stops bossing everyone around." this is treated like a sweet thing. god forbid women retain their personalities when they have kids

She loses her first premature child to a seizure and Gray Wing starts proselytizing his religion to her. "Maybe it's a good thing your weakest child died because Jesus has them now" I want to beat him with a hammer

When her second child gets sick, Clear Sky has a bright idea that involves killing it. I refer to this as his "reverse leper colony" suggestion. He only develops a sense of humanity towards the sick when his brother's pregnant wife is in danger. Wind Runner and her kitten barely seem to clock as people to him.

It's only after her SECOND baby succumbs to a horrible, painful death that she decides the moor cats are assholes, and she goes to start her own group. It's LONG overdue. I was extremely excited to see it.

Now. Listen.

I've been treated just like Moth Flight before. I've practically heard the scolding in Book 6 Chapter 3 verbatim. I'm not downplaying anything about Wind Runner being harsh to her; being yelled at like that never fixed the problem.

What I'm saying is that this is the SAME arc that summons the hollowed-out ghost of Storm to coo that Clear Sky "never drove anyone away" with his abusive behavior and gives Tom the Wifebeater a heroic redemption death.

So why is the scolding from Wind Runner treated as unambiguously harsh? What's the difference between her and them?

Why is it that outside of this little bubble of the community, you can get buried in a flood of people crying about how "Clear Sky made Summisteaks Butt he thought it was the right thing :((( He feels bad about shoving Thunder's face in a weeping, pus-filled wound and trying to kill him :((((" but Wind Runner is mean about Moth Flight not catching a rabbit and she should be skinned alive

Why is WIND RUNNER held responsible for the death of Clear Sky's child in Moth Flight's Vision, WHEN IT WAS COMPLETELY HIS OWN FAULT??

So, why should I hate her? Because she's mean to the idiot protagonists? Because she's Yet Another Bad Mom whose actions ARE treated as Bad in the story, in the arc famous for openly weeping whenever someone's mad at their abusive dad?? When she has this whole horrific, unexamined story about how incredibly bigoted The Settlers are towards her and the extremes she goes to in order to please them?

I'm glad she's mean, actually. She should have been even meaner. I think she should have a gun

[drawnfamiliarfaces]

i've never even seen the show First is from and yet i love your First x Chase Young ship so i have to ask. If anything did HAPPEN between the two of them what sort of emotions would they be dealing with afterwards?

Wow, this is such an unexpectedly nice compliment for me? Cause it means, you are a Chase/XS fan, who saw my crack ship and went 'I don't know what's going on, but I enjoy your silly little ship, funny crossover shipper.' and you know what? It's very nice and made me happy. ;) Thank you!

And well who said nothing ever happened between them lol IF anything happened between those two (be it emotional or physical ;3), their default way of dealing it would be DENIAL DENIAL DENIAL, in similar but also in slightly different ways.

Chase Young is a man who seemingly doesn't do softer emotions. Any possible feelings and reactions who could be attributed to him actually caring about First Ninja, are re-labeled in his head into him doing all of this because he is trying to manipulate First on his side (and he totally still is, but he also now wants to feed that man, talk with him during long evenings and perhaps take a nap with him, you know, disgusting cute domestic stuff amidst oh i dunno- taking over the world and being evil together. >;))

First Ninja on the other hand, is very much aware that for things to go this far means that he is absolutely having emotions about Chase. But he is also in denial, because how can he betray all of his moral standing and beliefs, if he starting to care about someone like Chase Young? So he shoves it so far deep, he is in denial about denial, and turns completely blind to anything even resembling them being something more than opponents who tentavely respect one another.

[cuubism]

actor hob, and pretentious asshole film director dream

[ this got so long and so weird and specific i'm so sorry ]

so hob is an everyman actor. a good actor, charismatic, funny, fan favorite, but not the type that gets cast in highbrow art films. mostly he does like romcoms, mid-budget action movies, feel-good family films, etc etc. and he's totally cool with that, he's good at what he does, and people enjoy those films, anyway. he might be getting a bit bored though, a bit stagnant. might be thinking it's time for some reinvention. and there might be a certain director whose ridiculous and nonsensical but dreamy films he's particularly enamored with...

dream makes REALLY pretentious art films. the types that get studied in graduate level film classes and have fifty different academic papers with fifty different theses trying to puzzle them out. dream is a master of themes and images and subtle construction. he is also a COMPLETE asshole and impossible to work with, an auteur in the most stereotypical way possible, he writes and directs, he micromanages all his projects, he asserts his vision and god help anyone who goes against it. nobody can handle him, nobody can STAND him, and the only reason he still gets funding for these projects is because they win awards, so many awards, and the studios want to ride on the coattails of those awards. but it's getting to the point where even his most ride-or-die producers are ready to give up.

right off the back of dream's most recent bafta, a rather naive Big Exec approaches him to direct the next installment of his Big Superhero Franchise. dream is immediately like fuck off with that bullshit but the exec pleads with him that the franchise is flagging and they really need something new to spice it up. plus the pay will be enough for dream to finance like 10 of his own ridiculous art films without having to rely on producers for money. and dream really is about to get cut off for being a complete insufferable asshole so he takes the gig. it kind of feels like prison though.

anyway, he gets to work trying to make this shitty boring film at least marginally less shitty and boring. he doesn't have a lot of leeway -- a lot of the story is locked in, half the cast is set from prior installments etc. dream immediately regrets taking this job, he'd rather die in actual prison than work on this mindnumbing piece of trash. it feels like it's taking an eternity and who could possibly stand an eternity of this???

well. enter hob, whose agent managed to snag him a 2nd-lead sort of role in this thing. it's not QUITE the reinvention he was going for but the pay and exposure are really good -- and even if they weren't, the moment hob saw that dream was attached he was immediately on board.

cue dream tearing his fucking hair out and basically being a complete menace and diva on set -- no that wasn't good, yes we have to do a 57th take, oh my god this dialogue is horrible give me that shitty script i'm writing my own thing, what do you mean the plot is linear???, wait there are how many cgi aliens????? i'm going to kill myself -- and Hob, pretty much Just Happy To Be There as always, takes one look at this beautiful dramatic emo asshole and is like oh. yes. i don't know what i'm saying yes to, but i'm saying yes. just immediately enamored with this bitch against all logic, he's like i've seen all your films i know how your mind works you brilliant nihilistic mess of a person. i'm on board. let's go.

first scene that hob's in dream is once again ranting about the atrocious script, which he did not write and is hardly allowed to change -- or, every change he makes is too weird and the studio keeps nixing it. everyone keeps sighing and being like oh my god can we please just shoot i wanna go home, meanwhile hob's like alright then. let's workshop it. and dream's just like. what. you aren't just gonna tell me to shut up? and hob's like no, youre right, this script is trash, but i know you're just going to write something really weird and psychedelic that they won't let you shoot. and dream's like you dare to speak to me that way??? and hob just puts his hands on his hips and is like listen, i actually know more about this sort of general audience family film thing than you do, mister arthouse, so are you going to work with me or not? and dream's just like what... is happening... because usually people who try to 'handle' him either just cave to his every demand like wimps, or just fight him on everything to 'prove' that they're in control, and hob is just kind of... not doing either of those? anyway dream doesn't know what to do with him.

so they workshop it. turns out hob actually DOES know how these sort of general audience all-follow-the-same-three-act-structure films work and how to improve things within those confines, and also he understands what like, normal people like, you know, casual feel good movies, not everything has to be a mindbender, jesus. so they bounce ideas off each other for like 3 hours until they finally get something that's okay enough that dream no longer wants to fling himself into the sun. meanwhile everyone on set is staring at them like 👀. then dream is like come back to my trailer we are rewriting the other 116 pages of this script right NOW. what else is hob supposed to do but follow.

then hob becomes the designated Dream Handler on set. dream starts using him as his barometer for what 'normal people' would like because he does not understand that at all. ("hob, will 'people' accept this?" "well considering youre spinning the camera around on a string i'm gonna go out on a limb and say no"). dream becomes kind of obsessed with him because his life is so like, normal, and he's okay with it?? he doesn't find existence to be an insufferable prison from which there is no escape?? and hob is like aw i know you're such a tortured artistic soul *pats him on the head*. plus, hob is actually a good actor, and he's able to put a lot of heart into even this mediocre big budget film, and kind of forces dream to confront the idea that there's more than one good type of story. that different stories serve different purposes and a straightforward happy story is okay, actually.

(and that the problem is the corporatization of the storytelling, not the story itself)

anyway the movie ends up being pretty good, dream still kind of hates it because he wasn't given full artistic license but he has to grudgingly admit that it has at least some merit. after the premiere hob is like (cheekily) so you gonna direct the sequel? and dream is like i did not write that to have a sequel. and hob's like it has a cliffhanger? and dream's like so???? and hob's like well theyre definitely gonna make a sequel. and dream's like i hate this planet. also no i'm not going to make the sequel. i'm going to fuck off to the woods and make a movie about teeth. do you want to star in it? and hob's like you're so fucking weird i'm obsessed with you i'm going to kiss you now.

so yeah, that.

[foxgirltail]

Palworld critiques are looking more and more like Tumblr call-out posts they're all like

Long, drawn out, effective non-issue with several sources/instances

Another non-issue

This one is actually of substance and should be the main point, but it's buried by minor issues of little consequence

Another non-issue

[artbyfinnbrown]

I’m just saying… Highly traumatized people, stuck in time loops, who are extremely devoted to one specific girl who helped them in their original timeline, whose problems are largely the result of witches?

I’ve connected the dots (I didn’t connect shit several people have already made this connection-) I’VE CONNECTED THEM.

[amoneki-ramblings]

Also, your 'Amon stays in the CCG and works with Haise' AU is fantastic and should have been canon. Poor Amon misses Eyepatch terribly (he still has QUESTIONS damnit!) but doesn't want to get Haise (or Akira) in trouble, so he can't really say much, but he and Haise get suspicious of the CCG being corrupted. They investigate together, but they have to be discreet and they HATE IT, the CCG is supposed to represent justice! Inner!Kaneki drops hints and nags Haise in the background constantly.

YESSSSS GOD AMON AND HAISE NOT INTERACTING IN :RE WAS SUCH A MISSED OPPORTUNITY TO ME I WAS SO GENUINELY SURPRISED WHEN THEY NEVER DID

In the context of my AU I think Amon would feel so let down by the emergence of the Quinx project. He's spent all this time investigating the CCG's suspicious sides and almost uncovered what they were really aiming to do and then it just gets. Announced, just like that. That they're putting ghoul organs in people to use as weapons. It feels wrong. Everything clicks terribly into place. But he can't say anything. And Eyepatch is gone already (or so he Thinks) It all feels anti-climatic, somehow.

Then he meets this new investigator, who shakes his hand and greets him cheerily. He's being mentored by Akira. They are to treat him as a human unless he loses control, to which they'll treat him as a ghoul. It's Eyepatch. It's Haise Sasaki. Amon has to stomach the thought of both working with him and potentially having to "erase" him if he remembers who he is. He likes Haise, even if he's different from Eyepatch, but Haise might not be around forever, for one reason or another. He's never had to kill a co-worker or friend before. (I think, similar to Akira in canon :re Amon would be assigned a big role in leading squads when the CCG has to keep Haise under control. It only makes sense, he's done significant damage to him before, in half-kakuja form no less, and managed to escape this guy even without a weapon. And he's also like, one of the Only Guys who has ever killed a ghoul with his bare hands before.) Still though, the thought of killing Haise, whether it be with a quinque through the heart or the snap of a neck, is nauseating.

The CCG higher-ups are suspicious, obviously, because Amon is the only one who truly knows Everything about Eyepatch, and he might screw with Haise's memories. They're keeping an eye on him and make sure they don't get too close, unless Amon needs to confront Haise, since Haise, even when losing control, just can't seem to hurt him. Not really at least (if it ever does happen he feels So Guilty) ((Also sidenote but Haise probably visibly winces when he first meets Amon. His head hurts and he's not sure why. He feels melancholic and he doesn't know why. He feels a flood of relief. But he doesn't know why. He likes Amon a lot and wants to get to know him. The white-haired ghoul in his head seems particularly fixated on him, won't stop looking at him. Haise somehow knew Amon's name before he was even told what it was. He surmises that it's just because Amon is so well-known in general. (He knows, deep down, that it might be more than just that)))

Haise has small recollections of memories, but he can't tell anyone, obviously. Sometimes he has nightmares of flower fields and battles under the rain. When he and Amon get closer he tells him a little about them. "It's probably nothing" he laughs, unsure, but Amon knows what they really mean. He sees Eyepatch in Haise and it hurts terribly. He fears the chance that he'll never get to ask the questions he had, almost as much as he fears the chance that one day he suddenly will. The answers he's wanted for so long are so close that they are literally standing right next to him, yet they're so far.

As things move forward they definitely try to investigate and figure out the CCG's corrupt system together. But they have to be careful, on the outside co-workers (including Akira) make comments about how close they are and what a good team they make but within the inner-workings of the CCG they have their careful eyes on them. Maybe Akira's a little weary about it, tells Amon as such sometime and Amon says he knows (but there are things he can't tell even her.) Maybe one time Haise and Amon talk briefly, maybe after or during Haise losing control of himself and he says something and it sounds hauntingly like Eyepatch. Haise had looked at him differently during that moment. His voice sounded different. It was pained, but not in the physical sense. Maybe it wasn't Haise at all, actually.

Haise has a dream once about a man shouting asking him if he really is just a ghoul. Somehow he doesn't feel like it's for him. (But surely it means something to Kaneki Ken). Maybe, like in that comic I drew, Kaneki is incredibly relieved that Amon is alive, but also terribly jealous that all he can do is watch from the shadows LOL

Ough sorry I got SO carried away I've just been meaning to list out some of the details of my AU thoughts for AGES this has been living rent free in my mind for MONTHS it's one of my favorite thoughts Ever

It's insane, how many parallels are setup between Kaneki/Haise and Amon, yet Haise and Amon never meet once, even though Amon is foreshadowed constantly during :re. To be fair there is so much going on in :re already but still, man. Man,