#someone stop me I have too many huge meta posts already

[musclesandhammering]

Just saw a post saying Odin is a reliable narrator in all the movies and the only time he’s ever told a lie is about Loki being adopted. Really.

Fighting with the urge to write a gigantic meta detailing all Odin’s shady shit.

[demon-country]

I've read a lot of great meta on here about Blitz's pov around the roleplay thing and his need for processing time following that, which he did not get. And I love Blitz to death, he's tied with Stolas as my favorite character and honestly I relate a lot to him, so it's been a huge relief that I've seen so many posts that are fair and sympathetic to him and everything he did, including his anger at the end there. He's an incredibly nuanced character who has been deeply traumatized, and all of his actions in The Full Moon make perfect sense when you put his specific traumas and trust issues together with his avoidance of anything that might make their relationship "complicated", up to and including his own feelings and the mere idea that maybe all the ways he's noticed Stolas showing that he's interested in more than just sex means that Stolas is interested in more than just sex.

That being said, I don't agree with the argument that Stolas was in the wrong for not giving Blitz time to process his confession before walking away. Sure, maybe that's not the ideal response speaking as an outsider looking in, but of course he didn't stick around, practically no one would've. Even without all the evidence he had that Blitz might reject him, even without his depression and fears that he's a monster, it is soul crushing to confess something important that leaves you vulnerable, and have it be (seemingly) mocked by a person whose opinion matters a lot to you.

And I get why Blitz did it, I'm not trying to put the blame on him or anything; it was very clearly a defense mechanism influenced largely by his self-esteem issues and inability to believe people could love him (the light literally leaves his eyes when the doubt creeps in and that fucking kills me). But there's hardly anyone who wouldn't cut and run after that. If Blitz had asked for time, demanded Stolas explain, or even just ran away himself, Stolas very likely would have gladly given him the time he needed to process. Stolas' part of the duet shows that he was expecting rejection even if he forced himself to believe there was hope he might have a positive reaction, so Blitz saying "wait what? Hold on, are you serious?" to start with wouldn't have been a bad thing to Stolas, because at least it's not a flat out no. But by the time he does get around to asking that, it's too late. Because we've seen that Stolas has had his feelings mocked before by Stella, his decades-long abuser, so it must have cut even deeper for Blitz to seemingly make fun of him when he poured his heart out to him.

Almost no one likes to cry in front of other people, because it feels awful and humiliating, and even less people would feel okay doing it in front of someone who just hurt them. Stolas very politely excused himself, even thanked Blitz, and left to probably go cry his guts out. But Blitz followed him. He understandably wanted to talk about things, but the fact is he just really hurt Stolas. It's completely fair for Stolas to not want to talk to him right then after his feelings were just trampled over, because he needed space even if Blitz needed to talk. Blitz didn't mean any harm by his roleplay bit, because he didn't believe Stolas was serious, but his actions were still hurtful. Blitz had every right to ask Stolas to stop and talk things through with him, and his abandonment trauma was already in full affect by that point, but Stolas also had every right to walk away when his own abuse trauma had just been triggered hard.

The whole situation was, start to finish, one big horrible clashing of trauma responses, which only got worse in the ballroom. So I'm not saying that Blitz was "in the wrong" here either, it certainly wasn't malicious, and moreover he didn't even know Stolas could be hurt emotionally. But holy hell, pretty much any reaction would have been better than (accidentally) making a mockery of Stolas' feelings after his confession. There's probably not a person alive who would take that well if it came from someone they loved. It probably would have hurt Stolas less if Blitz had actually stabbed him with a holy knife, given the way Stella had abused him in the past. It was never about Stolas expecting Blitz to reciprocate his feelings right away, it was about how viscerally awful it feels to put your heart on the line and have your feelings be made fun of, accidental or not.

They both fucked up in this situation, there's no denying that. Stolas was clearly using a script to power through a nerve-wracking interaction, but it was poorly worded at first and he tripped over several of Blitz's trauma landmines as a result, accidentally making him panic. But walking away when he did and later kicking Blitz out were not him fucking up. He definitely could have said something like, "I don't want to talk right now, you really hurt me and I'm very upset. Please come back later and we can talk then" or something in the hall instead of what he actually said which was easily misconstrued, to make Blitz know why he was leaving, but not many people would think to do that when they're that upset, they just want to get away from whoever hurt them.

So no, even though it ended with both of them in tears and even more hurt on both sides, I don't think it was wrong of Stolas to walk away when he did, especially because he did try to explain himself as Blitz followed him (he just wasn't like, great with his wording. Understandable really, most people aren't super articulate when they're deeply upset). And probably it was even a good thing he did, in the end, because it finally clued Stolas into the fact that how he's been treating imps needs to change. I dunno, it's just something I haven't seen talked about yet, and thought it was worth saying.

[numetaljackdog]

sos

my number one skill is never shutting the fuck up ever and indeed in many circumstances it's more of a curse than a blessing because i genuinely can't control it for the most part but it does come in handy including throughout the entirety of my academic experience as well as just about every desk job i've ever had because it means i can fill a lot of space with a vast quantity of words that scan with a great deal of clarity and cohesion despite ultimately saying very little over the course of that volume. the result of this is that those who are reviewing my writing, which are usually people with varying degrees of power over my continued success, scan the content i've generated and deem it to be of high quality because everything seems well-thought out and competently composed and so they give it an instant pass, at least as long as they aren't paying too much attention, which - spoiler alert! - pretty much nobody ever is. they've all got their own shit to worry about, things that matter far more to them than whether or not you ended a sentence with a preposition in your 10-page report for a course that they're already sick of. now, what i did just there was a little trick where i actually violated my own natural cadence and patterns of writing in order to include a little gag! in the sentence where i mention the concept of ending a sentence with a preposition, i did just that; the sentence ended with "of." but for me, i normally would have phrased that sentence as follows: "they've all got their own shit to worry about, things that matter far more to them than whether or not you ended a sentence with a preposition in your 10-page report for a course that they're already sick of teaching." if this were actually a report with a word count minimum, obviously i would include that final word at the end of the sentence, because getting all cute and meta with the way i phrase things isn't worth losing that extra word of length. but in projects where the minimum requirements are more lax, i find it's helpful for my motivation to allow myself to have a little bit of genuine fun with it and liven the place up some. of course, that only applies if you're like me and you're a massive nerd who has fun doing that sort of thing, but i would say that there's a pretty decent chance that is true about you, seeing as how you're on tumblr dot com, a website that has an observably quite high population of huge nerds, and also you're presumably following me, which means you've identified with my nerd self enough to choose to see more of my blog. for what it's worth to you, my external keyboard seemingly ran out of battery several sentences ago, which is really kind of funny when you think about it. what an ironic time for that to happen, as i'm discussing and demonstrating my ability to type forever and ever! this is the first time i've had the battery in this keyboard die, so it must have had fresh ones in at the time i got it. i wouldn't know for sure, because i got it secondhand from someone i know who was clearing out some old inventory from their workplace's office building. that's where i got my big external monitor, as well. i really like tech appliances but honestly i really don't know much about them, that was never my area of expertise. as is likely obvious from this post alone, my passions have always remained more with the humanities. good god i have to stop now before i give you my whole fucking autobiography but i think by now i've sufficiently proven my point - i could easily do this until the end of time.

i have to create a new block now because of tumblr's character-per-block limitation. the one last thing i'll tell you is that, since i'm now typing on my laptop's keyboard which is at a somewhat awkward angle from me, my wrists are in danger of mucking with the trackpad, and just a few moments ago i accidentally selected the entire wall of text i've typed here and replaced it with what i was continuing to type. so thank goodness for the tumblr post editor's ability to undo, or else nobody ever would have seen this very intellectual and not at all frivolous and annoying post that i've generated here. if you actually read all of this, you're a huge freak and i'm proposing to you right now.

[therealvinelle]

Ok I'm embarrassed to admit this, but I'm just now copying your Norwegian Bella AU into a text translator, and if you don't already have 50 people in your inbox demanding a translation then shame on ALL OF US because this is glorious! And while Google Translate does have a certain charm (it translated "piper hun ut" as "she beeps") I'm curious to see how you'd put it in English.

Troquantary is referring to this post. In which Bella doesn't speak English.

Fun fact, you're the only one who's gone into my inbox to request this. I was so sad, had the translation half-written and everything, but I was too proud to beg. So thank you, Troquantary, for popping this ask.

As for the dictionary fuckups, sounds about right. I made a few typos, too, that made Google Translate suffer even more. (Such as managing to mix up "henne" (her) and "hendene" (hands), resulting in Aro patting Bella instead of clapping his hands. Poor Google.)

Also, there are a few cultural references and language things that would be lost in the translation, in an attempt to keep them I included notes clarifying things.

Some things, like Aro and Carlisle's very old man way of speaking, are easier said than done to translate, you'll have to bear with me there.

Additional notes are that I added a few things to this version, many of them because translating is hard, but a few because while translating I thought "oh you know what would be much funnier-" and then wrote that.

Alright, without further ado:

When Renée left Charlie she did not go to Florida, she went to Oslo. And she went all in to make her daughter a true Norwegian, hiring Norwegian nannies and making sure never to speak English around the child. Since transatlantic flights are expensive, little Bella Swan rarely got to visit her father, and as such she never did learn what should have been her native language.

She quickly forgot what English she did have in favor of Norwegian, with the exception of words like “Yes”, “No”, and “I’m Bella”.

The few trips she took to visit her father were all the more awkward than in canon since she couldn’t play with the Black kids. Let not the blame fall upon Charlie: he took Norwegian classes and speaks conversational Norwegian. He can’t speak to Renée, because her Norwenglish is incomprehensible even to Norwegians, but he can communicate with Bella.

Not that he’s had a lot of chances to do so.

Bella makes it to seventeen years old, she’s in second grade at Handels* and is a major outsider among the preps there, and then Renée marries a handsome skier**. Together they shall travel the continent all winter to participate in as many skiing races as they can, and in the summer they’ll take gigs at Hurtigruta to see the coast.

*“Handels” is the nickname for an Oslo high school infamous for its pupils being rich and beautiful blonds who are going to be CEOs when they grow up.

**Skiing as a sport is huge in Norway

***Hurtigruta is a famous ferry that travels across the Norwegian West coast

Bella, who sucks at skiing and is too young to work at Hurtigruten, takes the hint.

With dread in her stomach and dictionary in hand she goes to her father in America.

Where she doesn’t speak the language.

Faen.

Charlie gives her a car, and I wish this meta was set in the present because I could have joked about electric cars and the automat only driver’s license*, but Twilight is set in 2005 so I can’t. The car part proceeds without drama.

*An increasing number of Norwegian youth take the driver’s license for automatic cars only, and we’re the country in the world with the highest percentage of electric car purchases.

School is worse than in canon, because she is now a thousand times more sensational than if she was merely the new student. She is from another country! All of Forks keels over with excitement.

To make matters even worse, our girl doesn’t understand a word of what people are saying.

She is too awkward to let them know she doesn’t know English. It’d become a thing, and they might think she’s dumb. To be fair, it’s not good that she’s been through primary, secondary, and now a year and a half of high school and still sucks at English.

So she nods, smiles, mumbles “Hi, I’m Bella” to the new faces, and blushes heavily when anybody says anything.

People assume she’s shy. That’s a bit boring, but oh well.

She has her biology class with the redhead hottie she noticed during lunch. She watched him and his family, they were fascinatingly pretty, but she doesn’t know anything more about them. Sure would have been great if she could have asked the tiny girl (was it Jess?) about them.

Biology proceeds as in canon - Edward badly wants to eat the delicious girl, but fortunately doesn’t.

She runs into him in the office when he tries to switch to another biology lesson, but she has no idea what he’s saying so she only has the suspicion that this somehow concerns her. Which is still uncomfortable, but Bella is probably the problem here. The hottie surely can’t be.

He’s missing from school for a week, Bella finds that weird.

He returns, and to her great horror he starts talking to her.

“Hello”, he says.

Bella dies inside. He’s too handsome!

"I'm Edward Cullen," he continues, and ok, she got that. The hottie is called Edward, that’s good to know. She’s not sure she caught that last name, though, Köln?

He says something else, it’s gibberish to Bella even though she’s concentrating, and at the end there he says “Bella Swan”.

She gulps.

"I'm Bella Swan," she confirms and nods. That should be correct. God, she hopes it’s correct.

He smiles a crooked, boyish smile. She’s awed. She didn’t think it was possible to be so beautiful.

He says something else.

Bella didn’t catch it.

She blushes even harder, she hasn’t been more embarrassed in her life. Here he is, the most handsome guy in all the world, and she has nothing to say to him. Literally, they don’t speak the same language.

She should tell him.

It’s one thing to chicken out of telling the town she doesn’t speak English, but there’s something different about Edward Cullen. He deserves the truth.

But...

He’s the most beautiful person she has seen in her life. He is American, too, so the odds of him knowing Norwegian are microscopical. If he finds out she doesn’t understand a word he says he’ll stop talking to her, and selfish as she is she doesn’t want that.

So with a slightly guilty conscience (but not enough to fess up) she contributes to the conversation with enough words and smiles to pull through. "Yes", "No", "Thank you", and "That's nice".

He is surprised by several of these answers, but instead of giving her odd looks and losing interest he grows more invested in the conversation.

Class ends.

The next day the near accident happens, and he saves her. She is stunned - dear god, did he just pick up a whole car? After teleporting across the parking lot..?

Soon she’s in the ER, and more than a little bit stressed about that fact since she knows the Americans have a terrible healthcare system.

She hopes Charlie has an insurance.

An insanely beautiful man walks into the ER, and Bella is shocked. He is just as handsome as Edward and Edward’s lunch friends!

He introduces himself as Carlisle Cullen, and Bella can only assume this is someone’s older brother. Possibly related to the blonde girl.

He smiles at her, says something, and she answers, "I'm Bella Swan."

He frowns.

That must have been the wrong answer, then.

His hands return to investigating her scalp, and to her great surprise he switches to perfect Norwegian, "kjenner De* noe ubehag når jeg holder her?" Do you feel any discomfort when I touch here?

*De is the Norwegian polite pronoun for “you”. Du = thou = the French tu, and De = you = the French vous. These polite pronouns went out of use in the 1980’s, save for when addressing royal persons, and would be considered antiquated in 2005.

He hurries to add, "Norsk lærte jeg i... fjor sommer. Det var et nettkurs." I learned Norwegian… last year. Online class.

"Hvilket da?" Which one? Bella asks, because Charlie needs to hear about this. The doctor has beautiful, if slightly outdated, pronunciation.

The doctor’s smile turns uncertain. She gets the feeling there’s something he doesn’t want to say. "Husker ikke," I don’t remember, sier han etter en litt vel lang pause.

That’s a shame. And weird.

"De hadde hellet med Dem i dag, som ikke ble truffet av den bilen." You were lucky today, not getting hit by that car. he then says, noticeably changing the subject.

"Det var ikke hell, det var Edward," It wasn’t luck, it was Edward, she replies sharply.

The doctor definitely looks uncomfortable.

She continues, "Han krysset skolegården på et blunk, og plukket opp hele bilen. Jeg så det," He crossed the schoolyard in a moment, and picked up the whole car. I saw it,

The doctor laughs. "Om han kunne det hadde nok gymkarakteren hans vært meget bedre. Nei, frøken Swan*, jeg beklager å si at det høres ut som at De er litt omtåket. Det er helt normalt ved hjernerystelse." If he could do that, his PE grade would be a lot better. No, Miss Swan, I’m sorry to say you seem confused. That’s normal with concussions.

*Addressing a young woman as “frøken” is even more outdated than using polite pronouns.

Why does Bella get the feeling he’s lying?

She’s discharged.

We’ll jump ahead to her trip to La Push - that trip uneventful, since Jacob knows she doesn’t speak English. They stick their hands in their pockets and stare at the sea.

The next day she’s shanghaied to Port Angeles, because apparently she said “Yes” at the wrong time when talking to Jessica (Turns out Jess’s name was Jessica!) and accidentally said yes to a day trip to Port Angeles.

Like in canon she wanders away from the others, and as in canon she is nearly gang raped. And again as in canon she is saved at the last moment by Edward.

He buys her dinner, and she can’t believe her own luck- and misfortune. A date with the most handsome guy on the planet (hence the luck) and she can’t say a word to him (hence the misfortune)!

He says things to her, lends her his jacket, and really this is it for Bella, she’s peaked, life can’t get better than this.

(That’s a lie, it would be better if she spoke English.)

He’s so amazing.

She’s gotten pretty good at navigating conversations with him, so she nods and aha’s her way through.

In his car on the way home the tone takes a more serious turn.

He asks her about something, and it’s a serious question, that much she’s gathered. She answers in the confirmative.

He is silent.

Did she say anything wrong?

(Edward, on his end, just asked if she knows what he is. She said yes, so calmly, not even a trace of fear in her.)

A few days later he takes her out on a walk in the woods.

He shows her a meadow in the woods, and when he steps into it he lights up in the sunlight.

Bella is in shock.

She knew there was something different about him, but- holy cow. This guy isn’t human.

Is she dating a god?

She stumbles into the clearing after him, and they spend a day together where he says things, and she can barely hear any of it (nevermind understand it) because she’s so distracted by how pretty he is.

The next day he takes her to a house in the middle of nowhere. She doesn’t want to guess that this can be where he lives. Surely gods don’t live in houses?

He shows her inside the house, and introduces her for Dr. Cullen and a lady with a name she doesn’t catch.

Bit weird that these two are acting like a couple of parents, they’re far too young and divine for that.

Edward shows her around in an old-fashioned office, and she doesn’t know what to make of i when she sees a painting of Carlisle. Edward launches into a long story when he sees her watching it, unfortunately she doesn’t catch any dates or artist names. At one point she heard the word “suicide”, though, and that’s not good.

She doesn’t get much out of the story.

The baseball game doesn’t happen because Bella didn’t pick up on what Edward wanted and didn’t realize she was being invited to a thing. They spend the afternoon watching a movie instead.

The relationship continues, impeded slightly by communication problems, but she’s mostly able to cover those up.

Until her birthday comes around.

She gets a papercut.

Jasper lunges at her. Edward throws her into a glass table, and then everyone is leaving.

Carlisle is kind enough to switch to Norwegian when he’s stitching up her arm, perhaps remembering the last time she was his patient. "Jasper har ikke vært på dietten vår så veldig lenge." Jasper hasn’t been on our diet for very long.

"Diett?"she asks. She’s never seen Edward eat anything. She wasn’t clear on what the Cullens ate, honestly she thought they were above such things. She was thinking maybe photosynthesis. The knowledge that they apparently eat food astounds her, but diets?

"Dyreblod istedenfor menneskeblod," Animal blood in stead of human blood, Carlisle clarifies.

Whachasay?

Carlisle gives a slight smile. “Jaspers liv som vampyr fikk en brutal start." Jasper’s life as a vampire got off to a brutal start.

...

Vampire?!

Bella’s missed something here.

Oh dear lord, oh fy faen, she has missed something.

“Åja”, uh huh, is all she can say, and suddenly she’s very aware of the fact that she’s sitting there with a bleeding arm.

And Carlisle.

Who is a vampire.

Over the course of the following conversation Bella makes a host of discoveries.

Edward has been a vampire this whole time, and he’s a telepathic vampire. Whether Bella should be a vampire too or not has been a matter of hot debate, but due to religious reasons Edward doesn’t want that.

Carlisle also brings up how Edward died of the Spanish flu.

"Jeg var under den oppfatning at Edward fortalte deg bakhistorien min?" I was under the impression Edward told you my back story? Carlisle asks at one point, and Bella just has to ask very nicely if he’d be so kind as to repeat it.

Turns out the guy is nearly four hundred years old.

Jaha.

Jahahaha jaa ha.

That’s… a lot.

She wanders out of the house in shock, and hardly notices Edward’s strange behavior over the next couple of days.

One day he picks her up at school, and takes her behind the house.

That works out.

He’s a vampire, but he never hurt her. He is endlessly beautiful, perhaps easier to love now that she knows he’s not a god. He’s her Edward, and that’s suddenly easier now that she knows.

They can still be together.

But now that she knows this about him, it’s about time he knows something about her as well.

It’s time to finally be honest with him.

So when he opens his mouth, she opens her mouth as well, but she doesn’t get any further than to “Edward-” before he launches into a monologue.

She’ll have to wait until he’s done before saying her piece. It’s a bit embarrassing, but it doesn’t seem like he intends to stop talking anyway.

And what he’s saying seems to be serious, so it’s probably best to let him finish.

Edward concludes his monologue by kissing her forehead. Then he disappears.

Where did he go?

A big unsure, Bella goes back to the house. She’ll just have to wait until he gets back.

She doesn’t know what to think when Charlie returns from work and tells her the Cullens have all left.

Oh, god.

Edward must have found out she doesn’t speak English.

She made a mockery of him.

He has every right to leave.

Knowing this doesn’t make it any easier to live with.

Bella sinks into a depression.

The hallucinations begin, as in canon, though Hallusinward speaks Norwegian. Thank god for small mercies.

The friendship with Jacob (dictionary in hand) blooms, as someone has to help her see those hallucinations.

The cliff diving happens, and Alice shows up. Bella’s not sure what this is about, but she has gotten good enough at English to know that something bad happened, and Alice wants them to do something.

She’s a bit surprised to find herself on a plane to Italy, though.

Alice tells her to “Run to Edward” and ok, she got that, actually.

So she saves Edward.

After that she’s taken into the sewer, which turns out to house dozens of vampires.

Bella, Edward, and Alice are received in some kind of hall, where an unusual vampire has quite a bit to say. She understands some of what he’s saying, at least the part about “la tua cantante”. She knows a bit about Italian, see, so she knows that he’s talking about a song now.

She wishes she knew the context.

At one point he takes her hand, and appears fascinated by it. She wonders if he’s a palmreader. Not very vampirey, but what does she know.

He asks her a question.

"Yes," she says.

Saying yes has gotten her this far, after all.

But when he lights up and claps his hands together, and Edward and Alice stare at her in shock and betrayal, she knows she must have said the wrong thing.

The two are dismissed from the room before Bella can do or say anything, she’s just listening to Edward make a racket outside in the hallway.

Not good.

The unusual vampire brings her further down in his sewer palace to a basement, and she is given comfortable clothes to wear.

This is getting terrifying.

The vampire leans towards her - and she chickens out.

"Jeg snakker ikke engelsk!" she squeaks. "Non habla ingles!" I don’t speak English.

Han stanser, og ser forvirret ut. "Que- Hva behager*?" I beg your pardon? spør han etter et øyeblikk.

*A very formal, and slightly outdated (you can use it, but people will think you’re putting on airs. And they will be right) way of saying “excuse me?”

Sobbing, Bella tells him the whole story, from how she didn’t want to be the weird kid in school to how she’s now somehow in Italy without knowing why nor what she just agreed to.

When she’s done the vampire starts laughing.

"Dette forklarer jo en hel del," This explains quite a bit, ler han. "Men, kjære Bella, jeg er redd det ikke endrer noe." But, my dear Bella, I’m afraid it changes nothing.

He tells her that she has agreed to serve him and his army of undead warriors into eternity.

Well fuck.

"Du skal få slippe det, når du ikke visste hva du samtykket til - men skjebnen din forblir den samme. Loven er loven." You’re released from that promise, as you didn’t know what you agreed to - but your fate remains the same. The law is the law.

After a moment of silence, during which she looks terrified, he hurries to add, "Vi har en lov. Du må bli en av oss." We have a law. You must become one of us.

A law that Bella Swan has to become a vampire?

People are finally speaking Norwegian, and Bella is still lost. And it’s too embarrassing to keep pestering this poor, polite man with questions.

So she nods.

He gives her a glittering smile, and bites her.

When she wakes, Aro offers her an English course. A language course that, naturally, leads to her staying in Volterra. Why not learn a few more languages while we’re at it, dearest Bella?

Some time later Edward breaks into Volterra to save his Rapunzel, only to barely recognize her now that she’s a vampire who says things. Lots of things, she talks all the time now. WHAT DID ARO DO TO HER.

Too mortified to admit that she never spoke English, Bella claims she’s been brainwashed.

Aro is having too much fun to correct her, and the whole sad affair sets off a regrettable flood of rumors.

[weirdmageddon]

btw please i need yall to stop taking shitty mbti tests and learn about cognitive functions. fuck sake its so hard for me to bring up the mbti because i dont wanna be dismissed about it being “stupid as fuck/its wrong” because 99.9% chance you say anything about there being a problem with it YES I ALREADY KNOW. we’re basically not even talking about the same thing. i know all the stereotypes. i know the limitations of the system in the way you probably understand it. i’m well past that. they piss me off too!

that’s why i went into the trenches, learned through trial error and experience, and came out so that i can teach others what it’s supposed to be in the right way, and i don’t want to be dismissed for that when my understanding isnt even fundamentally the same as yours. trust me i hate 16personalities and readers digest articles on the types as much as anyone else. i hate type stereotypes. i hate how watered down the system has gotten in pop culture. i completely understand why you’d be hesistant, i would be too. but trust me it’s not the same as the 4-letter E/I N/S T/F J/P dichotomy bullshit. hell i hate how watered down and stereotypical the cognitive functions themselves have become, defined based on emergent properties and not the processes themselves.

i have loads of resources that are actually good because i know what im talking about and ive been around the block saw what works what doesnt and ive curated resources, including my own knowledge, for both newcomers and existing people with an interest in typology alike. please feel free to share it! mi casa es su casa

1) a master document that has a lot of info ive been working on sporadically. covers misinformation and ways to curb it. still largely a wip and is mainly a dump of my thoughts, it’s more meta about the type system itself. but still useful for anyone to have a look at. explains what goes wrong in why public perception and understanding of it is so wanky. more broad in scope than the second document below

2) this document i made, basically a cleaner and more straight-to-the-point version of the first document that’s helpful in understanding the building blocks of jungian typology; i picked out the best sources i’ve come across that best explain the function axes and concepts at their most fundamental. i introduce them in an order that builds on itself so that it’s not as nebulous to grasp. it’s essential to understand what these things are broken down, and most people don’t which is unfortunate, and also the reason so many people treat it as a joke because yeah the way they understand it IS a joke. more narrow / in-depth with cognitive functions and actually typing.

3) my new sideblog @functionaxes where i’ll slowly be making some more posts. its a work i progress still but im in college

4) my pdb account has cool shit that gets into more specific topics you wanna check that out

i prommy it’s not goo goo fake astrology shit if you actually dive deeper below the surface. and this is coming from someone skeptical as fuck and knows why people are skeptical as fuck. what it does is gives descriptions to fundamental axes of cognition that we all experience and is supposed to be used for self-understanding and growth, makes you aware of your weaknesses and strengths and why those are your weaknesses and strengths (and the “why” is something i need). it’s not a tool to box you in, but a tool to explain what already exists. it’s a lot more flexible than you think.

it’s not the end-all-be-all of personality, the range is HUGE, for example i have the same type (INFJ) as both adolf hitler and jesus christ of nazareth. the system is not defining who you are or what your motivations are, it’s giving semantic definition to the processes of perceiving and judging the world completely separate from your motivations and attitude. you also have to consider enneagram type to serve as a complement (i also have resources for this on my pdb profile) and more to even get closer to completing a detailed profile of yourself.

anyway sorry for getting heated i’m just sick of being dismissed when i really wanna talk about it but i need people to really understand it and be on the same page with me first. i cant keep containing this special interest to myself anymore on this platform lol. ok to reblog in fact i greatly encourage it (this post may update so be sure to check the original post for any changes)

[strawberryjamsara]

Keiji and Sara’s relationship throughout yttd

In which I analyze the found family dynamic between Sara and Keiji then nobody reads it. But jokes aside, I realized back when that anon asked me for my thoughts on Sara that I had enough thoughts on the relationship between these two alone for its own meta so here goes. What Sara and Keiji’s relationship means in the grand scheme of yttd.

ALSO THIS IS NOT SHIPPING SHIPPERS GET THE FUCK AWAY

Sara when she meets Keiji is distrustful of him. And how can she not be? The guy has some creepy bags under his eyes, doesn’t seem to care about the situation, and for no reason is gravitating towards her. And his response when she asks why the hell he keeps putting a random stranger in charge? “Because you’re cute.” Yeah. I’d stay within 50 feet of this guy too Sara. Especially when he’s not spilling a word about himself.

Alright we might as well get the gross part out of the way. To clear things up. In the Japanese version, the word he uses “Kawai” can be seen as a more fatherly word to use with a kid. But the comments about going on dates from himself and from Shin? Those are still there. And I still think they’re really uncomfortable and wish they weren’t in the game period but we can get thematic significance out of them.

We still don’t know Keijis reasons in game for being attached to Sara. My theory? She’s his handicap. He was told to get close to the higher scorer who could easily backstab him, and he’d be stuck with her. It just kinda makes sense to me. But since that’s just a theory I won’t lean to heavily on it for support. But let’s talk about his comments.

Keiji… well, it’s shown at many points in the game that Keiji just thinks of himself as doomed to be a bad person. It can be seen during his day two negotiations when he calls himself a killer and explains he can’t even trust himself so Sara shouldn’t really bother and more explicitly so is the classroom scene between him and Ranmaru where he says he isn’t fit to protect Sara because of his sins. The flirting is both a way to distract people, and to put distance between himself and Sara. He’s not really “protecting” her.

Okay gross bit nobody wants to talk about is over I promise we won’t talk about it again. Let’s talk about Russian Roulette. In this scene, Keiji once again tries to make Sara the leader with no explanation, but then, Sara yells at him, something he didn’t expect. And through this he actually reveals something huge. The source of his trauma. His shooting. For Keiji to have actually revealed something that big, I think that this is the first moment he began to see Sara past whatever reason he first started making her a leader. This is the beginning of their bond.

This bond gets solidified over chapter 1-2s investigation. Keiji is still putting her in charge because his handicap said to build her up for whatever reason, but they’re able to have chats, and she keeps picking at his armor. He reveals his dark sense of humor to her, and she, suspicious just sort of keeps him at arms length. Also she rides his shoulders to screw in a light and he complains which is funny. The scene post Nao also helps the two of them sharpen investigative skills together, as they discuss the mystery of Miley, and Mishimas head.

Then another significant scene. The white room. I call this scene significant because, instead of letting Sara investigate the gruesome scene of the first trial, Keiji for the first time, allows Sara to walk out. Something that will become relevant later but until then, Keiji has begun to put Sara’s well-being above serving whatever purpose he had by building her up. So keep that in your pocket while we go over the main game.

There’s only two points for the main game I want to cover. While Keiji and Sara do put their heads together a few times, Sara still doesn’t fully trust him, so I will only go over 1. When Shin brings up Kai’s emails. Keiji has been fully logical this whole time, questioning everyone’s alibis including Nao’s who he saw the emotional plea from, but when Sou brings up potentially damning evidence of Sara, he just asks if he read the emails wrong. 2. When Sara is panicking over being chosen for the final round, Keiji loudly shouts “GET A GRIP SARA!” With a serious expression. Before quickly backtracking and going back to a devil may care expression. This shows he is both already emotionally attached to Sara, but unwilling to stake himself towards giving himself to a new cause.

Anyways, he stops her from pressing the button blah blah blah, onto chapter 2! I’ve made a post about this before but it seems as early as here, Keiji is trying to talk Sara down from pushing herself further. But at this point, Sara has already dedicated herself to the role because her best friend died due to her priority to protect everyone. Keiji sees the problem and he tries to get her to rest up, but he still doesn’t spend the time to have a serious talk about it because as he says in the classroom. He isn’t fit to protect her. He doesn’t think of himself as a good person who can help her. He thinks of himself as a murderer and he doesn’t allow himself to recover from the trauma.

Sara however is starting to rely more on Keiji. He’s been willing to comfort her in her times of grief and furthermore, she has something to relate to him on. They both have deaths of important people in their lives they feel responsibility for.

There’s also the fact that Keiji sees a lot of his old self in Sara. An idealistic person, being beaten down, and worrying over the idea they might be becoming a bad person. He feels the same as her.

Not to mention… Keiji follows through on his promises. He actually tells Sara about the person he respected like he said he would which establishes a further sense of trust.

However, something that tears that sense of trust apart is the tokens scene. When Keiji doesn’t even let Sara hold 50 tokens, it raises suspicion. Sara already knows he shot a person- what more could he have to hide? That scares her away. The negotiation event is an attempt for Keiji to win back her trust. But it slowly turns into Keiji’s self-loathing session. And his declaration maybe Sara shouldn’t trust him.

However, time passes enough (and Keiji supports Sara enough in the final attraction) for them to get together and investigate in 2-2. And there’s a lot of moments I can talk about there so I’ll be just doing a few rapidfire things. So first, Sara is in peak weird girl mode and Keiji can hardly control her chaos. Second, Keiji makes a full on decision at one point to go against Sara when she’s putting herself in danger of getting caught for their search so they can hide. Third, his response to “I don’t intend to die” when he asks “will you die with me” is that’s a good answer.

And fourth… a moment I really wanna touch on… Keiji watches something that could easily incriminate Sara. It’s not just some word of mouth thing like with Shin who lied about things several times before this point. But in that moment, he still relies on Sara and says he wouldn’t feel bad betting his life on her. The message is clear. Keiji supports Sara unconditionally.

Now let’s talk about Keiji totally dropping Sara’s ass with the card trades.

The way Keiji makes his trades is very telling. He first, steals a keymaster card from either Sou or Kanna to give to Sara. This is supporting Sara, but it’s doing it in a way that supports his view of himself. That he’s a scumbag who would steal someone’s immunity just to give it to someone he likes more. And would a shithead like that be “worthy” of sacrificing themselves and taking the card for Sara? (And he knew she had it. Qtaro had to tell him for their plan to happen) no. Instead he essentially opts for a revenge plot. A plan to ensnare Shin and kill him for pawning off the sacrifice to Sara. Basically, he wanted to fuck up Shin like how he fucked up Megumi. Nice going Keiji. This is… kind of his low point in the story.

But 3-1….. man this chapter hits in all the right ways. I don’t remember 3A that much, (although I do know that Keiji shows a lot of concern over Sara potentially being triggered by Joe memorabilia) and also if you fail the Keiji Midori fight you can have Sara attempt to tag Keiji and he rejects. And how can we forget… the mr policeman flashback. As Sara says, this is Keiji’s first time opening up on his own.

And then… coffin saga. Sara through everything is not willing to let Keiji die. Although she’s had her ups and downs with him, leaving him to die is inconceivable to her with everything they’ve been through together. So she opts to sign the contract both times she is offered it.

Keiji clearly is somebody important to Sara. Important enough that Ranmaru bringing him up is enough to snap her out of her murderous trance. Enough that she throws logic out the window when she has a sign he’s okay.

Likewise, the scene in the classroom for Keiji is… a huge step. When he’s alone with Ranmaru, who is unstable, in that classroom, his priority is Sara. He turns his back to the threat to hold Sara and try and make sure she’s okay- dumb move, but it shows how far he’s come.

And again, I want to reiterate- Keiji is Sara’s anchor. At the banquet when Sara is about to give up, she imagines Keiji talking to her which brings her back in the game. Much like Joe did back in chapter 2. The message is palpable. Keiji is Sara’s new Joe. And when Keiji comes back to comfort her? He’s now fully willing to sacrifice himself. It winds up not being needed seeing as Qtaro is the one that died. But in that moment, we see Keiji has made a huge leap from chapter 2. He almost sacrificed himself for Gin. And he would’ve used his final moments to comfort Sara. He’s embraced that he’s a father figure. He allows himself to be a good person.

Anyways I don’t know how to conclude this and I’ve been writing for hours. Bababooey.

[tackyink]

I’ve read a few comments about Conqueror’s Haki being something that only chosen ones have and how it diminishes the theme of freedom and I see their point but I also instinctively disagree and I’m having trouble dissecting my own thoughts on the matter, which is why I’m going to make a post with my own disorganized thoughts... Don’t mind me.

Ever since the introduction of the concept of Conqueror’s Haki I’ve assumed that it runs on willpower. While it can be specifically trained, most of the time when we see someone awaken to a type of haki is under huge pressure, which already selects for only a handful of individuals: they either rise to the occasion or they crumble under it. See for instance Usopp in Dressrosa. He didn’t magically become a better sharpshooter, he awakened to Observation Haki because he could not let Luffy fall and he knew everything hinged on him and he could do it. It was a huge display of self-confidence from someone who rarely has it and it paid off.

Conqueror’s Haki has been rendered as King’s Disposition too and I think it’s the clearest rendition of the concept: it’s not that you’re born with it, it’s that only very few exceptional individuals will develop a willpower so massive that it physically manifests. I know the wiki says “one in several million people are born with this ability,” but what the Kuja say in the manga is that only one in millions has it, and that makes way more sense tbh. Toddlers in the OP world don’t go knocking out people when they’re throwing a tantrum. It’s something they develop with time.

Every user we’ve seen so far has been the kind of person who wouldn’t stop at anything, no matter how senseless their efforts seemed. Many people can have an extremely strong force of will but see the insurmountable odds and think that maybe it’s better to give up. People who manifest Conqueror’s Haki do not. Going forward is the only option. It requires stupid amounts of confidence and just the right kind of being touched in the head. It isn’t an innate capability so much as it is an attitude. People like Garp, Dragon, Luffy, Ace, have lived lives where determination and sheer force of personality are key to keep oneself afloat. It’s not because they have a D in their names. They survived, and to do so they had to be like this. Did Rouge have it? Who knows, though she certainly kept her son safe in the most unhinged and impossible way I can imagine. Saul? Not likely. Law’s family? Nobody, so far not even him I have thoughts about this too but this is meta for another post.

I think it’s less that a few chosen ones are the ones destined to rise to the top and more like the world of One Piece is so full of literal and metaphorical monsters that it naturally selects for them. Note that many of the users we know don’t have or didn’t have a Devil Fruit power when they awakened their Conqueror’s. It evens the field for them. There’s no telling how many farmers with potential to awaken for Conqueror’s are out there, but they don’t need it while they’re tilling the fields. Or maybe there are Devil Fruit users who could have it too, but they’ve never been in a situation where they needed to tap into it instead of their powers. It’s only in extreme situations that this need arises, and then they either sink or swim. We only get to see the ones who don’t sink. It’s survivor’s bias. The ones getting screentime are the people who are still alive, pulling off spectacular stuff.

[immaturityofthomasastruc]

#5: The One With Astruc's Self-Insert

In my introductory post, I said the main inspiration for this blog was @hypocrisyofandrewdobson​. For those who don't know, Andrew Dobson is an infamous webcomic artist known for drawing webcomics that tend to demonize people he's come across in public or people who disagree with him online (either critical of his art or his political views), while portraying himself as the victim or wise man calling them out on their differing beliefs.

If you want to learn more about this guy who I consider to be far worse than Astruc, check out the blog in question. And no, I don't know why he draws himself as a blue bear.

Why am I talking about this? It's one thing for some schmuck on the internet to use his work to respond to criticism, but the creator of a popular animated series dedicating an entire episode to attacking his critics and trying to get others to feel bad for him is another story.

The second episode of Miraculous Ladybug's third season, “Animaestro” served as a wake-up call for fans (myself included) to make them realize how immature Astruc could be. The plot centers around the premiere of a movie about Ladybug and Cat Noir directed by Thomas Astruc, who voices himself in the original French dub.

And this isn't just a brief cameo like what Stan Lee did in the MCU. Astruc is the Akumatized person this episode, so there's naturally a lot of focus on him. Throughout the first half of the episode, Astruc portrays himself as this timid man who nobody recognizes or respects, like this idiot who doesn't know what animation is.

Doorman: This is a private event, sir.

Astruc: Huh? Excuse me? I'm Thomas Astruc, the movie director.

Doorman: You filmed Cat Noir and Ladybug? What are they like in real life?

Astruc: Er, it's an animated movie. It's all cartoon characters. We don't actually film anyone. See, there's this whole team that draw the chara—

Doorman: Whatever. Who would want to see Ladybug and Cat Noir as cartoon characters?

Get it? Wasn't that meta joke hilarious? This is how much I was laughing:

And Astruc continues to get about as much respect as Rodney Dangerfield when he interacts with other characters like Jagged Stone and Chloe.

Jagged Stone: Ladybug is one of my best buds! I can't wait to see her movie!

Astruc: Well I—I'm the director, so actually it's more my movie, so to speak.

Jagged Stone: Oh, so you're the one who created the story?

Astruc: Well, technically the screen writers wrote the story, inspired by Ladybug's exploits.

Jagged Stone: Oh, okay. So you did all the drawings?

Thomas: No, no. The animators do all the drawings.  

Jagged Stone: So what do you do then?

(Later on...)

Chloe: So you're the one responsible for this movie?

Astruc: Yes, yes! Exactly! That's me!

Chloe: Then you were the one who left Queen Bee out of the trailer. You're lame, utterly lame.

I can't believe Astruc had a scene where he interacted with Chloe and didn't insult her at all.

The episode is determined to make the audience feel bad for Astruc. Nobody respects him and what he does. Isn't that saaaaaad? Nobody cares about animated film directors like Walt Disney or Tex Avery anyway. Not even these stupid children understand how hard Astruc works.

Several Children: Ladybug! Where's Ladybug?

Astruc: Hey there, kids!

Teacher: Ladybug isn't here children. We came here to meet the director of the movie. Children: (frowning in disappointment) Aww.

(Astruc looks visibly disappointed.)

Way to insult your primary demographic, Astruc. I thought you said kids have a better understanding of these stories when people criticized the writing of a certain episode (It's that scene in “Puppeteer 2” if you're curious/don't value your sanity).

It's almost like you're using that as an excuse to half-ass your work while still getting to claim this show is so groundbreaking.

In case you can't tell, “Animaestro” is one of those episodes. The ones where the showrunners decide to dedicate an entire episode to attacking critics of the show in a blunt fashion. Whenever a show addresses criticism, they either create an obvious strawman character to parrot the opinions of fans who don't like their work, or have someone defend the show and insult the critics directly.

The problem isn't that they're ignoring criticism. It's their show, and they aren't obligated to listen to critics or fans who don't like the direction the show is taking. On the other hand, they aren't obligated to fight back like this and treat their audience like crap. Any show that does something like the three clips I showed you usually comes off as petty and immature because they dedicate so much time to insulting the critics. 

Even during the Akuma fight, Astruc has to call out Ladybug for having problems with his movie in-universe, obviously representing critics of the show Astruc claims have no right to criticize the show while it's still airing.

Ladybug: What's with that trailer too? I am not scared of cats, at all.

Astruc/Animaestro: You haven't even seen the movie and you're already slamming it?

Cat Noir: He does have a point, you know.

Ladybug: I wasn't slamming it. It's called constructive criticism!

Yeah, how dare Ladybug be angry that this movie is portraying her as a powerless coward dependent on Cat Noir as opposed to a confident and brave superhero. She just doesn't understand the genius of Thomas Astruc!

And of course the character Astruc claims is “perfect” is the one to take his side.

And that's another problem with this episode, the metatextual references. Before he gets akumatized, Astuc says he spent three years of his life working on his movie. I get that time in this show is weird (we somehow had episodes taking place on the first day of school, Christmas, Valentine's Day, and the first day of Summer), but how did Astruc's self-insert work on a movie based on a superhero who has only been active for a year? Meta-wise, it's an obvious reference to the scorn Astruc has gotten from fans after working so hard on his show, but the only people who would get that reference are the ones who are aware of Astruc's reputation online.

Self-Insert aside, I actually think the titular Animaestro is one of the more visually impressive Akumas featured on the show. Animaestro takes on several forms based off several different forms and eras of animation, like flash, anime, rubber hose, and they all stand out. Granted, some of them are obvious parodies of other characters like Goku or Sailor Moon, but the actual Akuma fight is fun to watch. According to the Mexican Miraculous Ladybug Twitter account, this episode took two and a half years to create, and it shows. It's too bad the story behind it is completely insufferable, almost like the cartoon equidistant to Pixels.

But then comes the part that honestly makes the episode worth it, mainly for how unintentionally hilarious it is. Do you want to know what Animaestro's weakness is? Do you really want to know?

Animaestro is physically incapable of moving unless someone is watching him. I am not making this up.

Ladybug and Cat Noir literally defeat Animaestro by getting everyone to stop paying attention to him.

I could make so many jokes with this, but I can guarantee you're already thinking of something just as good, if not better, than whatever I write.

And there's the end where Astruc gives Marinette his ticket to the movie, which prompts Marinette to kiss up to him for no real reason.

Astruc: Sorry, I guess you don't know who I am either.

Marinette: Of course do. You're Thomas Astruc, the movie director!

Astruc: She recognized me. Somebody actually recognized me!

Nothing happened to make her change her opinion on the Ladybug movie, she didn't really say anything to him earlier in the episode that connects to this exchange, and outside of a few lines Animaestro said, she doesn't even know why he got akumatized (even though ironically she and Chloe accidentally contributed to it because of the awful subplot involving Kagami I talked about last time). If anything, it comes off less like she actually appreciates Astruc's work, and more like she's stroking his ego just to keep him from getting akumatized again.

So yeah, this episode is awful, and the fact that it came out right after the controversial “Chameleon” only proved to show what kind of direction the show was taking this season.

But honestly, even if Astruc still wanted to make about how he doesn't get enough respect the episode could have potentially. All he had to do was make a simple change: Instead of making it about validation for Astruc as a creator, make it about validation for animation in general.

It's a common misconception that animation is only used for shows and movies aimed at children, so the episode could reflect it. Instead of the huge turnout where several celebrities appear at the premiere, instead, the turnout could be a lot smaller, with the media dismissing it as some stupid kiddie flick. Instead of getting akumatized because he gets humiliated in public/getting no respect from anyone else, Astruc gets akumatized because he sees the audience didn't go wild for the movie after the premiere. All he can hear them say is that it's just “kids stuff”.

So when Astruc is Animaestro, he goes on about how important animation is. How it's helped produce propaganda since World War II. How it helped improve special effects in big blockbusters. How the medium is used to create movies that simply can't be filmed on a physical set.

After defeating Animaestro, Ladybug shows up to talk to him. She had seen the movie earlier, and actually enjoyed it. She had a few problems with the story, but they were just minor nitpicks and inaccuracies Astruc wouldn't know about, and she was blown away by the animation. She tells Astruc not to be deterred by his critics, and continue to do what he does. As a designer in her civilian life, Ladybug knows the joy creating brings her, and both she and Astruc want to spread that joy through their work.

Back at the premiere, Astruc thinks about what Ladybug said to him when he sees some kids reenacting a scene from the movie. Astruc walks over to them and asks what they thought of the movie. They said they loved it and how energetic it was. When he tells them he is the director, the kids' faces light up and they say they want to do what he does when they grow up, bringing a smile to Astruc's face.

Isn't that a much more humble approach instead of what we got? It would have helped Astruc come across as more sympathetic, especially with animation fans. But instead, we got an entire episode of Astruc whining about how misunderstood he is.

And you know the footage used for the movie at the beginning? Remember that, because I have a huge rant about it saved for a later post.

For now, here’s an example of a creator appearing in his work done right.

[takanova12]

My thoughts on the final chapter of shingeki.

I just wanted to say that I liked the ending, but it could have been better. If we had two or three more chapters it would have been better because somethings could have been fleshed out more. Mostly, there should have been more focus on ymir's story. I had expected for quite some time now that she was attached to king fritz but it wasn't a well thought out opinion because it sounded wrong in so many ways. Basically, this plotpoint should have been explored more.

Second besides mikasa, I wasn't really impressed with the conclusion of any other character arcs. They were all just thrown together in one room and were given meaningless dialogues. I was really disappointed how Reiner's last thing in the story was sniffing a married woman's letter about genocide potentially being the answer to their problems. So, I can understand why some people are upset that their favourite character's were either used for a poor attempt at some sort of comical relief or just nothing. Still, I personally think besides reiner there really wasn't anything to add with the rest of the cast.

It also got me wondering what was the point of connecting Mikasa to hizuru? At first, I hoped it was at least hinted that she was going to have some sort of role with hizuru. But then I realized mikasa was never interested in political dealings and my girl already made the ultimate sacrifice and ended the titan curse. It was her who cured ymir's pain and in return helped cure the world of titan curse. She doesn't need to concern herself with war anymore. She should live peacefully, far away from all the mess. She already did her part, so yes thank you isayama from keeping her away from all of it. And we should know that mikasa would never ever have wanted to be celebrated for killing eren. She would never want to be remembered in history books as someone who killed eren. So isayama did good by her.

And she is not alone, the possibility of her joining the alliance is open, they are coming to paradise; mikasa tells eren. She looks healthy, well-dressed and peaceful.

People were also complaining about the story promoting genocide which I don't think is the case. I think the initial translations were off which gave the wrong impression. And some amazing meta writers have already addressed this topic and I don't think I can handle this subject matter well because it's a sensitive topic so I'd rather not.

I saw some eremika stans complaining why eren and mikasa didn't get a more positive ending compared to the rest of the cast. And I have only one thing to say to this, a story as tragic as snk wasn't going to give a happy ending to it's heroes. Listen I don't mean hero in the traditional sense when referring to eren. What I mean by hero in this context is that Mikasa and eren made a huge sacrifice to give others a chance towards a better outcome. Eren didnt want to die. He wanted to be with people he loved. He was scared. Mikasa didn't want to kill eren but she did because that was the right thing to do despite the fact that it was the most painful thing she ever had to do. Mikasa embodied courage, loyalty and moral integrity. Isayama did right by her.

And it has always been a tragic story. Eren is the one who gave paradise and his friends a chance at a better outcome and mikasa is the only one who could have assisted him in actualizing this goal.

Eren told armin, he didn't know what Mikasa would do. And that nobody knew why it was mikasa who could save ymir. But we reader's do, we know why it was her. Mikasa showed ymir that loving someone doesn't mean you have to enable their worst traits, love doesn't mean blind devotion. It doesn't mean that you have to compromise your morality and ideals.

It's been evident since the start of the story that mikasa has always been in love with eren, and she followed him everywhere because she wanted to protect him but also because eren had never done anything to give mikasa any chance to doubt his humanity. To mikasa , eren was a kind soul and he was. He was humanity's hope for a long time and mikasa admired that. She thought eren would never hurt anyone because why wouldn't she? Unlike, mikasa eren couldn't bring himself to fight annie even though she was the enemy and eren innocently admitted the importance of his friends. So, why would she not follow the man she loves who also happens to cherish her and his friends so much. Why would she not follow him when he also happened to be humanity's only hope.

Then things changed, eren went and killed innocent civilians and children and mikasa couldn't follow him anymore. No matter how much she loved him and that troubled her. She was struggling between her morality and her love for eren. This is why post-timeskip the focus of her arc was about learning to let her morality and love for eren co-exist. To be able to call him out on his actions despite still loving him wholeheartedly. To be able to decide what is right. To be able to separate love from blind devotion. To be able to love the person she loves for who is. To love eren for all of him, the good and the bad. To realize that she can't be selfish when it comes to eren. She can't let eren destroy every life outside the island just because she is selfish to lose him.

Mikasa made the ultimate sacrifice. Let her mourn. It's her beloved's third death anniversary. Let her grieve. But don't reduce her pain to not getting over eren. We don't ever get over our loved ones. We move on with life but we keep mourning them. We never forget them. Don't bash mikasa when she is mourning her beloved who she had to kill for everyone's sake. Please respect her pain. She is so strong for it. And she was never wrong about her eren. He continued to love his friends till the every end. He is just a broken child, a broken man. He is a mess, he is a horrible mess. The confusion between all those memories from past and future f*d him up in the head. Mikasa and his friends are not wrong in humanizing him because at the end eren wasn't the fanon chadren who enjoy killing people or hurting his friends. Like the meta writer linkspooky once noted, eren is a crying child.

Understand my dishearten eremika friends, that mikasa sacrificed eren/her love for the greater good. How can she get something that she already sacrificed because it wouldn't be a sacrifice then, would it? At least not in our world or isayama's world who enjoys nothing more than inflicting pain.

Let me tell you, you are not alone, I also wished these two had a happy ending. I wish they got to be together. But they just weren't meant to be. Even if they got together, eren would have died after 4 years. Mikasa would have been miserable because she would have eventually lost armin to the curse. She would have been hunted for her ackerman or hizuru blood. Warriors dead too, the eldians in the world would still be prosecuted. Parents would keep losing their children to the 13 year curse. Eldians would have continued to be used as weapons or just completely wiped out. So, at the end, it all came down to eren and mikasa. They could have never been happy abandoning their friends only to lose each other eventually.

I don't lie when I say that everytime I come across a panel from this chapter, I can't stop myself from crying. I haven't been successful in distracting myself at all. I really want to. But I thought letting some of it out might help. So here it is...

We are all in this together.

[asleepinawell]

Been having a lot of Thoughts about the nier series recently and the larger themes of both games and wanted to jot them down and toss them into the void of the internet.

Massive spoilers for nier automata follow, including for ending e. Do not read this if you ever intend to play nier automata. There are spoilers for nier replicant as well, though not for ending e.

One of the biggest themes both nier games tackle is the tragedy of an uncaring universe. Bad things happen to good people, people who think they're good and doing the right thing find out they were actually committing atrocities, the very idea that there's 'good' and 'bad' people is dissected and rejected. At the end of the day, the universe doesn't give a shit about any of us and none of it matters. Enjoy your existential despair!

In nier replicant, the main character starts off as an optimistic young boy who wants to save, not only his sister, but the entire world. After the time skip, nier is a young man whose optimism has (partially) been tarnished and whose goal has narrowed down to just saving his sister. As you move through each route you understand more and more how tragic the world is and how, despite your best intentions, you are only adding to the tragedy of the world. The original 4 endings of nier replicant are all tragic in some way. Ending D has a glimmer of hope in it in the form of nier being able to save kainé at the cost of his own existence, but it's a bittersweet ending and the world is ultimately doomed anyway.

Which brings us to nier automata. Even more so than replicant, automata hammers home the meaningless of everything, the uncaring universe, tragedy both avoidable and unavoidable. The main characters are locked in an endless loop of violence and despair. The worst that could happen, does, again and again. It thrives off the type of tragedy porn I usually hate.

Except....

Except it doesn't. If endings a and b are the opening statement, endings c and d are the facts and body of the essay, but then there's ending e, the concluding paragraph which takes everything we've been told and gives you the chance to draw your own conclusion from it.

Route e starts after you've gotten both ending c and d and is no longer about the characters in the game at all. Route e is about you, the player, and what you believe. It says "we've given you a story of complete despair, we've shown you the universe is unfair and doesn't give a fuck about you, we've shown you things that end in tragedy. despite all of this, do you still believe it's worth fighting for the hope of something better?"

And then it asks you to prove it.

Route e is the ending every fan has asked for when they've said "I'll fight the creators to give my favs a happy ending." Today is your lucky day!

Route e is the ending credits of the game, except that the ending credits have turned into a bullet hell mini game. In fighting the actual credits themselves, you are fighting the game devs. You are saying fuck you I don't believe that everything is pointless. Fighting for better is always worth it. The meaning that we imbue in life is important to us and that matters.

The bullet hell of the end credits starts out fairly simple and gets harder and harder as you go, lasting something like 15 minutes total, which is a brutally long time to be playing something that requires split second timing and 100% of your focus. It's meant to feel insurmountable, just like the challenges the characters in the game faced (the larger plot challenges, not the combat). You will likely die a lot and check points are few and far between.

But there's more to it than that. The first time you die, a prompt comes up:

And then when you die again:

Except now, there’s a message on the screen. A message that appears to be from another player, somewhere in the world.

And again:

(this one really fucked me up, but that’s for a different post).

And then finally:

(thank you user MR-YE-1996)

When you accept the rescue offer, you go back to the bullet hell again, but now you have a wall of other players around your weak little avatar, shielding you from harm. The music, which has been a single vocal track up until now, gains an entire chorus of voices to represent the army of actual players who’ve shown up to save you (and there’s a lot I could say about the use of the (exquisitely good) music in the nier games, and especially about the difference in lyrical themes between ashes of dreams and weight of the world). Every time a bullet hits one of the players surrounding you, there’s a message saying that user’s data has been lost. Users from all over the world are sacrificing themselves to help you. It’s a very nice, heart-warming moment that you still don’t understand the full impact of quite yet.

After you beat the credits, you’re rewarded by a final cutscene. The android protagonists have been reconstructed and will receive a second chance at life. The narration at this point talks about how life exists within the spiral of life and death we are all trapped in. One of the two pods talking points out that even though the androids are being given a second chance at life, there’s a possibility that things will go just as poorly once again. And the other pod agrees, but adds: “However, the possibility of a different future also exists.”

And then the scene ends with this quote: “A future is not given to you. It is something you must take for yourself.”

And this is really the final conclusion of the game. There is no inherent meaning in the universe, so the meaning we give our lives is the most meaningful thing. (And the ‘you’ here isn’t necessarily an individual either. It can be, or it can be humanity as a whole, or even one group). And you, the player, thought that it was worth fighting to give these characters a second chance, and other players out there in the world thought it was worth helping you to do so.

It’s such a wonderfully beautiful piece of meta interpretation posing as a game ending, and also a departure from the final conclusion of previous Yoko Taro games. It feels like a much more mature and nuanced interpretation of the world than the ending of replicant was (I won’t comment on the new ending e of replicant just yet since it didn’t come out that long ago). (Also, for the record, I love nier replicant and the characters in it with my entire heart. This post is not bashing it).

But the game has one more surprise in store for you. After the cutscene ends, you’re given one last choice. The game asks if you have any interest in helping other players the way you were helped. And if you say yes, you’re told that the only way you can do this is to sacrifice all your save data.

I think that sacrifice hits differently for different people. Some people genuinely won’t mind that at all. As someone who probably still has save data from games I played 20 years ago, it felt like a gut punch. To me, save data represents all the time and emotion and energy I’ve put into a game. Games are so deeply important to me in so many ways and have been since my childhood when they were one of the few ways I could escape from a lot of terrible shit going on in my life. (There’s a reason my blog title is what it is). I could talk a lot more about that point, but I’ll leave it by saying that when I saw what the game was asking of me it felt like someone had knocked my legs out from under me.

For more practical players, it also is locking you out of chapter select, the best way to go back and get all the things you missed and grab the achievements/trophies you still need.

The game will point out that you’ll get nothing in return for this (not a lie, there’s no secret reward), that you will likely never know if or who you helped, that you won’t be thanked, that the person you help could be someone you intensely dislike, etc. And with all of this comes the realization that all those people who came to help you in the credits had already done this. Those people whose data was sacrificed to help you get to the final cutscene had already sacrificed their save data to help you.

We’ve now gone from a world where everything is meaningless, to a world where other real actual human beings out there have sacrificed something that represented hours of their time and a varying amount of emotional investment without any hope of reward to help a stranger see a message of hope.

When I was younger, I was more drawn to dark, hopeless stories. Stories about how dark and meaningless the world was. The world was a terrible place then too. 9/11 happened when I was in highschool (an incident that influenced yoko taro’s creation of nier replicant and had a huge impact on me at the time), the pointless wars that happened after and the recession and a million other things seemed to infuse everything with hopelessness. In that world, stories about everything being meaningless and hopeless felt correct. They felt validating. Yes, everything really does suck that much!

That sort of story lost its appeal for me later on. Pointless and horrible things continued to happen, and still continue to happen. The world events of the last few years have been an unnerving reliving of those earlier years, except even worse. The cycles of tragedy are still there with no end in sight. I’m exhausted from all of it. It really does feel hopeless a lot.

But stories that stop at that point no longer appeal to me. Stories like nier automata--stories that say yes, things are terrible, but there’s always hope, you can create your own meaning, it is always worth it to fight for better even if you fail, your life is worthwhile simply for existing--those stories are the ones I think we all need more than anything.

[springsteenicious]

I don't think any Donna fan thinks Donna's flawless. But, -leaving aside that it’s fair that Donna fans would rather not focus on her flaws since everyone else in fandom is already talking shit about her- I think the fact that it comes out like that is an after-effect of trying to have character debates on tumblr. It’s also the reason why we should really go back to forums. See, this happens in practically every fandom : …

… 1. Fandom decides to hate a character to death, to the point of making those who do like the character uncomfortable. 2. Fans of the character try to do a proper analysis of the character acknowledging both their virtues and flaws. 3. Haters dismiss the virtues, take the flaws as munity and double on them 4. Fans give up on having respectful conversations about the character's flaws and instead try to explain and defend everything about them in an attempt of shooing away the haters. …

… I'll talk about HP since it's one of the biggest fandoms out there. Ron bashing was HUGE back in the day and it still goes on. Fans –mainly Dramione and Harmony fans, don’t think I need to explain why– went on like a broken record about what a dumb, jealous, insecure dirty coward Ron was and how these were all unforgivable flaws for which Ron should stay far away from the group and hopefully die. …

… Ron fans obviously didn't like that and tried to give perspective, pointing out that while some of those things (not all of them) were true, Ron also had many good qualities that made him a great person to have around. But bashers didn't want to talk about Ron's good side, and instead doubled on his insecurity, which Ron fans had admitted to be there. So what did Ron fans do? They started to blame everyone else for Ron's insecurity. ...

... Now it's Hermione's, Harry's and the Weasley's fault for subtly abusing Ron through his life, and any agency he may over his mistakes is erased. Hermione shouldn't have talked about other boyfriends in front of Ron, Ginny should never pick a fight with her big brother, etc. Not everyone takes this stance, but bottom line is that now there's an "anti-Hermione” tag, which would've been unheard of back then. …

… Again, this happens in every fandom. Why? ‘Cause in tumblr it's very easy to come across unproperly tagged character hate, and it's open for everyone to see. But in a forum, everyone's a fan of the same character. No one's scared about admitting their fave's flaws, ‘cause everyone there loves the character and are glad to discuss them in a caring way. And if a hater appears, the mods can block them. Anyway, I'm excited to read your meta!! (Man I really need to make an acc for these things)

Thanks for sharing this!

This is going to sound like a 'not-all-men' argument (which, blech), but... I don't think this happens in EVERY fandom. Most television/movie fandoms, yes, but not all. When I was in the IT fandom, all seven losers were appreciated. Mike and Ben sometimes got hate because of the fans' racism or fatphobia, but that wasn't the fandom deciding to hate their characters for the actual characterization. We were all focused on hating Pennywise and Bowers and Eddie's mom. At least, when I was in the fandom that was the case. Don't know what it's like now.

I used to be interested in Harry Potter. I read all the books, watched all the movies, was even active in the Marauders section of the fandom briefly. Then I got a little older and I learned about JKR's blatant and terrible transphobia, and I stopped participating in the fandom completely. JKR's transphobia really turned me away from the whole HP universe. So I have no way of verifying any of this, but I'm sure you're right. It sounds about right. And, again, I was into the Marauders, and that was all just Peter Pettigrew and Snape hate.

I'm not personally afraid of haters. I have a lot of ways to destroy people with words and be really mean when I want to, so I'm not scared of people sending asks that hate on Donna.

Also, yeah, Tumblr sucks. It's great, but it also sucks. The website itself has some... design flaws. And you can block people on this site too, but it's hard to if they're an anon. And even when you've blocked someone, you can still see their account and posts and they can still interact with you through reblogs. I know because I had someone blocked for good reason, then they reblogged a post of mine (we're in the same fandom) and past events had to repeat themselves, much to my dismay. I just have to try and stay away from that account now because I can't rely on Tumblr blocking them from my dash/notifications.

But despite stuff like that, I really do like Tumblr. I've met some really cool people, in both this fandom and the classic rock fandom, for which I have another account. So if you're thinking of making an account, I say go for it! As far as fandoms go, That 70s Show has a pretty good one. The bigger accounts in the fandom are all run by super kind, creative, awesome people and I'm really glad I've gotten to know some of them 😊

[katierosefun]

Heyy, just wanted to say I LOVE your stories (and all you headcanons and tags hehe) I'm new here and wanted to ask how and when you started writing fanfiction for star wars and if you have any tips 😊

hello! thank you for the kind words :’) and of course, welcome!! 

so if we want to get really technical about things, i started writing star wars fic like,,,,waaaay back in 2013, and i kinda cringe a little when i think of those fics now because lol i was thirteen years old then--and i wrote for a little while until maybe 2016-ish? and then took a break because of mental health things, and then got back into writing fic in the past year and a half or so! 

as for the how, i wanted to write star wars fic mostly because as a thirteen year old, i was devastated by the season five finale (back then, that was when the show just got cancelled and the season five finale was the only series finale we were gonna get!), and i just kinda wanted to write all these stories about the tcw fam actually being happy. filling in the gaps and all. (lol considering how my gut reaction to the tcw season seven finale was also to write as much fic as possible, i can safely say that some things just don’t change.) 

as for tips! i got a little into writing gen fic specifically here, but as for writing fic in general: (and under the cut because i,,,as usual, went off for a while.)

1. rewatch/reread source material! this is something i usually do when i’m trying to refresh my memory on a certain episode--i won’t watch through the whole thing, sometimes i’ll just kind of jump around, but i like to get some quick look back into the source stuff to put myself in the right headspace to explore how to extend/expand the story somehow. 

of course, if you’re writing something that’s an AU then you don’t really have to worry about this, but!! rewatching the source can also just be super helpful when you’re trying to characterize properly/try to get a feel for what the characters’ voices are like. 

2. wookiepedia is your  best friend, but if you don’t have enough info on something, either search through fanon star wars meta or!! just make up something on your own! like, i cannot tell you the amount of times i’ve wanted to tear my hair out because i couldn’t find enough information on x or if i had to stop and be like “wait, but does star wars even have y??” sometimes, wookiepedia is helpful for providing those answers, and other times, blogs like @gffa really provides a big, broad look at all the stuff in star wars, and her blog kinda runs like wookiepedia itself, so i can guarantee that you’ll find some useful stuff if you’re ever kind of lost about what certain jedi customs/culture or in general, what different cultures were like in the galaxy far, far away. 

but also, as i’ve mentioned, i think it’s okay to just kinda ignore the technical stuff and just make something up in star wars as you go along. you don’t like that glass in star wars is called transparisteel? then use glass. you’re not sure if star wars even celebrates the new year? screw it, why not? you’re the writer--you get creative license!

3. there is no such thing as “too much” of one trope. so, idk if you might struggle with this, but just in case you do--sometimes, fic writers will hit a wall and be like “no i can’t post this because so many people have already written about this/used this trope/etc.” to that, i say pffft, nah. there’s a post floating around here on tumblr about a cake analogy and how like,,,to you, you might have just brought another cake to a party with already so many cakes, and you might feel kinda embarrassed about that, but to the large majority of people? all they see is more cake, and who doesn’t love more cake? 

what i’m basically trying to get at here is!! write whatever you want and don’t worry about if someone’s already done it, because everyone in fandom lives to see their favorite storylines expanded over and over and over again/everyone lives to see their favorite tropes used over and over and over again. fic is wonderful for that very reason, and you shouldn’t deprive yourself of enjoying that. 

4. this might seem kinda trivial, but spellcheck and formatting is...mostly important. the unfortunate thing about fic is that sometimes people will click out the second they see a huge block of text like so: 

“this is just a practice run,” i say as i start this paragrah. i don’t really know what i’m writing about but this is an example, and i know that this is probably going to look really, really ugly on the screen but here we go oh the things i do for explaining fic i already know that this has gone long enough but who is to stop me you know? wait no i haven’t made any spelling errors yet to prove my point so okay let me think of a common spelling error i can’t think of any right now but hm let’s see i will causally say that i have made a spelling error. oh look! i have made a spelling error (well, not a spelling error, more like a mix-up of words) because you can tell that instead of writing casually which would be more correct i wrote causally and those two are very different things. but there are other spelling errors that can sometimes be a turn-off for readers like when they notice that the k in kenobi isn’t capitilized and once or twice that’s all fine and most people will overlook that, but if you do that consistently then most people will be turned off and click into another fic and oh dear it seems that i am actually explaining things so i guess that means i should stop with this ugly paragraph and actually move forward. “move on!” i shout to myself now. (and just pretend that something like this continues for a good two or three pages.)

do you see how ugly that is? it’s an eye-strain to most people when they read, and you can write the most beautiful fic in the world, but if the formatting and the spelling is off, then most people will move to a different fic. (which is, again, unfortunate, especially for younger and newer writers, but! ‘tis a thing that comes with fic.) 

5. have fun! don’t get yourself caught up with appealing to the crowd. write what you want to write first and foremost, because at the end of the day, it’s you who’s putting in the work and the effort to craft a story, and if you’re about to invest your time and energy into anything in your free time, then it should be something that brings you at least some joy and comfort. so go on and write, and keep writing if you enjoy it! no one can take that away from you. 

hope that all helps!! 

[kaypeace21]

i’m a survivor too, and i found that certain scenes/stuff will said just really struck me as ‘csa-survivor’-like? i felt a bit uncomfortable about headcanoning it happening to someone else, especially for a fandom as wild as this one, but your metas have really been a comfort to me because they’ve been able to pick out and explain things that i couldn’t necessarily find the words for myself.

and yeah, i would love to have a character like me that is powerful and who finds love and who gets a happy ending. the people who call the theory disgusting always kinda hit wrong with me because although csa is a difficult subject, we shouldn’t be ashamed about sharing it. they sound like they’re trying to say that it’s a bad topic to talk about and implying that it can’t happen to kids, which uhhhhh-

(i’m sure that’s not what they mean, precisely, but it’s still what they sound like, and i wish that they would stop implying that we can’t exist, especially in popular media. we do, and i’m not gonna pretend we don’t, and if they feel uncomfortable with the topic they can just use the block button. we deserve to have some well written representation just as much as anyone else. also, i really really hope that will gets a happy ending.)

anywayyyy i love your theories and i can see your post in the tag so i think you’re fine?? have a good day ❤️❤️❤️

SORRY, this ask took so long to respond to. It always warms my heart to hear other survivors speak and say they found comfort in my theory.

Yes, I think I and a lot of c*a/r*pe victims (subconscious or otherwise) were triggered by some of the symbolism/visuals in s1-3. And s3 made it hard for most of us to ignore the past imagery- since s3 wasn’t as subtle.

I get why people have reservations about the theory. But the debates to the contrary are usually just plain offensive. Or people trying to be respectful but being the opposite. There’s the obvious bad-apples . I got many anons after part 1 of my DID theory saying it “ruined/tainted byler”, and “if that happened to Will i’ll stop shipping byler” , or that it  “ruins the best gay character” ,  and to “remove the post immediately”. And this was when I was open about being a gay c*a victim. I obviously blocked them. Many survivors don’t come forward because they’re afraid people will see them as “tainted”, “ruined”, “ just their trauma”, or blame them for what happened. So yeah, it pisses me off when people say similar stuff about Will (and thus other c*a victims). Not even diving into the messed up psychology about byler/mileven shippers (knowing i was a lesbian c*a victim) but purposely spreading bs rumors about me being a p*do that was into Will/Noah-all because of the theory. -_-

Then there’s the people who try to be “respectful” but literally do the opposite.

I’ve heard numerous times it’s somehow “less offensive” to just use r*pe imagery to make monsters scary. Rather than have  the monsters have that imagery cause Will created the monsters from his memory/imagination-and st is a story of Will healing from that trauma. SORRY- I disagree. Using the worst experiences of peoples’ lives (and triggering their trauma) for no real purpose- except to make their monsters scarier to the normal/general audience who haven’t gone through it so won’t be triggered like us - is MORE OFFENSIVE to victims! NOT LESS! At least to me.

Then there’s the people who say “c*a should never be talked about (in stories).” Which I disagree with. V*ctims have already been told by ab*ser’s  and enablers of the ab*ser- to never talk about what happened to us  . So it rubs A LOT of us the wrong way when people say this.  Because (subconscious or not) you remind some of us of the people who used to hurt/silence us. People say this -simply for their convenience (like ab*sers) and cause deep down they’re uncomfortable with our existence and equate the despicable act to us the innocent v*ctim ...or just want to deny the horrible reality of the situation (like many enablers who deny the truth and hurt us because they don’t want to accept reality) . And 1) It brings us back to a time where they told us to NEVER talk about it- and makes us feel like we did something wrong when we didn’t! 2) Every psych professional says with-holding/keeping the ab*se a secret is detrimental to our mental health.

Plus, there’s a HUGE difference between sugarcoating/minimizing trauma or WORSE glamorizing, condoning, or romanticizing C*A in stories (ex: pretty little liars) VS showing how the action is wrong, causes trauma, but showing recovery and happiness is still possible for v*ctims.  if the story shows how accurately traumatizing it is (instead of minimizing/glamorizing it)- it’s incredibly rare for that character to get a happy ending. Having a story about recovering from that type of trauma and finding happiness despite such hardships would be amazing for US survivors! We rarely get stories with a happy ending-  it’s more harmful to us survivors to never see ourselves get happy endings in tv/film/books. How can some survivors (in a dark place) think there’s a light at the end of the tunnel- if it’s never shown?Also if Will has DID too- it’s good mental health rep, along with queer rep (and survivor’s rep.) All 3 groups rarely are treated well or get happy endings in media. A lot of people may feel more heard, seen, and a bit more hopeful for the future - If Will (and other characters) get a happy ending.

And even though st has many themes- like say homophobia. To try and hand-wave all the disturbing  r*pe imagery away  as ‘Will is just gay so the monsters are like that”. IS SOOOOOO offensive. Trigger warning for examples. I’m sorry what part of Max saying when Billy had c*nsensual s*x it’s “good screams” but when possessed by the mf he causes Heather to do “bad screams” read as gay???! Having the possessed ch*ke/dr*g people before throwing them in trunks (like it’s implied Lonnie did to Will -since Jonathan checked Lonnie’s trunk for Will in s1)?Tying their arms and legs up/ g*ging  them and  getting on top of them and saying “stay VERY still it’ll all be over soon”-before a monster shoves it’s tentacle into someone’s mouth and inserts a goo - just gay??? Similar to the sentient vine/shadow monster forcing itself down Will’s throat. Let alone Will saying things like “he made me do it”, “i felt it everywhere”, or being tied to a bed and screaming “help! stop! it hurts! let me go!” While Jonathan is the only one who’s visibly triggered by this and has to literally turn away and hug someone . Or barb, billy, and El spiting up a white liquid from their mouth (similar to will spitting up a slug and lying to his mother about it ).El/billy touching a suspicious looking slime with their hand and looking at the substance confused . El drawing Papa with 3 legs (the middle one being shorter) ,  trying to undress in front of the boys , and Benny saying “I think she’s been ab*sed or something”.The theme of ab*sive dads- brenner , Lonnie, and Neil . Even when the demogorgan (called in d&d the “deep father”/ in the show “a man without a face”) attacked Barb it’s chopped up with scenes of Nancy having c*nsensual sex (the monsters are doing the opposite symbolically). There’s way more examples but NO- to try and hand wave /equate ALL OF THIS to just “gay imagery” or an “a*ds metaphor” is WAY more problematic. And just offensive (specifically to gay people) than just admitting what it may actually represent. R*pe imagery and gay imagery is NOT THE SAME THING!

Also ST has never been a kid show- maybe rewatch the show and see the rating of tv-14 . Goodness sake- s1 has a st*ged su*icde, k*dnappings, m*rder, discussions of physics, h*mophobia, and s*x (with stancy in s1 & jancy in s2-s3). S2/3 discuss at their finalies recovering from tra*ma . S2 had gra*ic de*ths,  a man causing a women br*in damage/ and faking her m*scarriage, and a gang of vigalantes k*lling criminals. s3 had critiques on capitalism /media/s*xism, many d*eaths, and questionable imagery like the prior seasons. The Duffers constantly reference  movies & events from the 80s (capitalizing on 80s nostalgia /subverting 80s motifs that middle age people  from that time remember)! Those people were their intended age demographic . Most 80s centric refs go over most kids’ heads (heck a lot went over my head too since I wasn’t alive in the 80s XD).The Duffers even said in the book “worlds turned upsidedown”  “it’s not a kid’s show despite having kids”. And maybe it’s a coincidence but when Lucas in s3 hands Will the “devil’s baby” firework (a hint about Lonnie) he says “18 and over only.” Which idk is a weird/random af line unless it’s foreshadowing that the show will get darker about various themes- and maybe even change ratings.

I get people wishing nothing bad ever happened to Will or Jonathan. And being apprehensive and not trusting the Duffers to do such a story justice (cause it’s difficult to do). But personally i trust them to do so tastefully with tact and not be exp*itative, (overly gr*fic) or offensive to v*ctims. You can disagree and think the show is about something else (or not trust the Duffers)- but it’d be great if people could stop using these other messed up talking points. While trying to appear ‘(fake) woke’ and like they care for victims- cause we see through it that you really don’t.

Have a lovely day anon ❤️ ❤️ ❤️

Update- I just really agreed with and appreciate the tags in this reblog

[evax3]

what’s your opinion on parallels ppl like to draw?

like

sansa & lysa vs Sansa & Cat

Jon & rhaehar vs jon & lyanna

Aegon & Rhaehar vs Aegon & Elia

Dany & Aegon I vs Dany & Aerys

Arya & Lyanna vs Arya & Brandon

Sansa & Lyanna vs Sansa & Cersei

Arya & Cat vs Arya & Ned

Thanks so much for stopping by anon and for leaving this really cool question! I’m such a sucker for parallels and symbolism, so I do have a few opinions about these characters (Sansa, Dany and Jon under the cut – no opinions about Aegon) and had a lot of fun writing them down!! ❤️

Arya

What I really liked, and what stood out for me the most (in the show), is that after Arya accepted that she wasn't No One but indeed Arya Stark of Winterfell and came back to Westeros, she very much took on Ned's appearance. She gets dressed and wears her hair the same way Ned does, and shows confidentially that she takes right after her father, where her being the only one in the pack (beside Jon) who inherited the Stark-look (long face, brown hair, and grey eyes) wasn’t something she was actually proud of as a child. 

There are many more parallels between these two (the Baratheon friendship, the dislike of the southern culture and the people at court, their sense of loyalty, …) but what I like most is her understanding of the death sentence and how Arya has internalized Ned's teachings. The one who speaks the sentence must also carry out the killing. It is the opposite of what she is taught by the faceless men and in the end it is also one of the reasons why she realizes that she can never be truly No One. Which, I guess, is why she showed her face to every one of her kills that was on her list of names (at least in the show, but I'm sure it will be similar in the books).

I never thought much about the parallels to Lyanna, except that she also had the typical look from the north and was also much wilder than is expected for a noble-born woman. Probably it is one of the reasons why Ned encourages Arya’s nature instead of scolding her for it. But I think it says more about the relationship Ned had with either his sister and his daughter.

As for Cate I think the most striking parallel is probably their cunning. Which Sansa also inherited from her mother, and Ned unfortunately never managed to master, because he is too driven by honor. As women, all three are underestimated in this world, and yet (and perhaps because of this) manage to outsmart the men around them. For example, when Arya names Jaqen H'ghar as her third name in order to escape from Harrenhal, that was pretty damn clever and something that her mother would have done as well. 

Also, and sadly, their desire for vengeance is something that shapes and drives both characters (referring to Lady Stoneheart in the books) too. Because of that, I'm really curious if they will ever meet (if the next book ever gets published) and if there will be any revenge for Arya against the Frey's at all. 

Sansa

Just as Arya takes on Ned's appearance, Sansa does it with Catelyn's in the later seasons. I think this is particularly interesting because in the beginning, during her time in KL, she copied Cersei's hair and clothes, and later she copied Margaery’s. It shows her role models at each stage and it's particularly striking that at the end she takes on her mother's look, just as Cersei adapts that of her father Tywin. 

Even if the comparison between Arya and Lyanna is drawn much more often, I always found that Sansa and her aunt have much more parallels. The beauty of the two is something that is often highlighted in the story, emphasized, for example, as Rhaegar names Lyanna the queen of love and beauty at the tourney at Harrenhal, similar to Loras giving Sansa a rose at the Hand's tourney. I suspect that for both women this circumstance has led to their intelligence and other abilities being greatly underestimated, if not overlooked, in their very male-dominated world. 

Fortunately, Sansa has the chance to evolve into self-empowerment, which I think is the main focus of her journey, whereas Lyanna died way too early to achieve that. She was forced to marry a man she didn't want (Robert), (as was Sansa btw), so Lyanna saw the only way to prevent that in running away with Rhaegar. And I can imagine that early Sansa, the little romantic that she is, would have made a similar decision. 

I don't like that many say Sansa acts like Cersei in the later seasons because she admires her. I don't think that's the case at all. Cersei only acts out of self-interest (and sometimes, especially in the books, quite stupidly). Sansa, on the other hand, does what is right for her people. She combines her mother's strength with her father's understanding of the Northerners. 

She is cunning as Cate, which is not a bad quality per se, and develops an understanding when someone tries to manipulate her. At the same time, she always has the well-being of her people in focus, which Cersei definitely doesn’t. Which is why I think Sansa is a good queen and is just right to take Robb's place (the obvious choice if she were a man) and Cersei is absolutely terrible at her job.

Jon

I have to say, for Jon it’s almost the hardest to give an accurate answer, because the character (especially in the later seasons) differs a lot between book and show.  Regarding the show, I would say that Jon doesn’t have much in common with his birth parents, because he really is the reincarnation of Ned, the honorable fool, as he calls himself. Always trying to do the right thing, even if it goes against his heart’s desire.  

Rhaegar, on the other hand, does exactly the opposite in the plot for which we know him best. And even if his relationship with Lyanna is often categorized as incredibly romantic, it is one thing above all: selfish. Show!Jon couldn't be more the opposite.

Jon is a good leader, as Rhaegar was, or at least is praised to be. Both have melancholic tendencies, and at least book!Jon, has a tendency to sarcasm (at least in his thoughts) where it is said about Rhaegar , he often had an ironic undertone in his voice (according to Jaime)

Rhaegar is musical, interested in the fine arts, Jon doesn't really show interest in that. What they do have in common is a belief in something that is more than what the eye perceives. For Rhaegar this means believing in prophecies and such things, and Jon is not atheistic either, even if he lives out his beliefs in the Old Gods less than some other characters. Both of them are highly valued by their followers and I think also for both of them this is a quality that shapes their character a lot. 

Still, I have to say that for me the background of Rhaegar and Lyanna's relationship, the consequences especially for Elia and her children, but also for the whole country will always be in the spotlight.  

I've already read several metas that say book!Jon takes more after his birth father because his motives and actions are also less moral (e.g. only giving food to the people of the Free Folk who are willing to fight for the Night's Watch – a huge difference to the show version). Still, I would say Jon is more pragmatic than selfish, another area where Rhaegar would have needed to catch up if he’d been given the chance.

Daenerys

Whereas it was more difficult for me to think about Rhaegar's positive qualities in relation to Jon, I have to say that it was easier for me in relation to Dany. This might be because Daenerys is so frequently compared to Rhaegar as a compliment. Not only in her looks, but also with her intelligence, her determination and in the love that her people have for her. Ser Barristan calls him determined, deliberate, dutiful, and single-minded, all positive qualities that also apply to Dany.

As for Aerys, it's also hard to draw parallels. As I said in another post, I think the Targaryen madness is not really madness (being crazy) but more an obsession, whether it's about religion, dragons, or with Dany, her desire to liberate her people. What we know about Aerys, however, shows that he was indeed sick, paranoid, after his captivity. That is something different and not something I see or suspect with Dany. 

What I have found, though, are explanations about the young Aerys, which at some points apply to her:

In his youth, while not being the most intelligent, nor the most diligent of princes, he was described as having an undeniable charm. He was generous, handsome and resolute, although somewhat quick to anger. 

In the same paragraph, however, it is said that he was vain, proud, and fickle, qualities that made him easy prey for sycophants and sycophants. While Dany is proud, she quickly develops over the course of the story into a person who sees through the manipulation attempts of those around her and is clever enough to avoid them. 

There might be a possibility that through a traumatic experience (like for Viserys selling his mother's crown) her obsession finally drives her to take more drastic measures to achieve her goal. However, I think it's unlikely that Dany actually drifts into absolute madness like her father and burns down an entire city without thinking. She is much too reflective for that. Should she actually go completely ‘Fire and Blood’, then I think it will be a very conscious decision, rather than an impulsive one.

[thinkingisadangerouspastime]

I hate to be an asshole, but I see this a lot and I'd like your take because while we have differing opinions on some things, your metas are spot on (and I binged half your stories last weekend, oops) and I know you'll be straight up with me on this. What "chemistry" between Zuko and Katara? I keep seeing that and not getting it? The chemistry when he roughed up her grandmother and threatened her village? The chemistry when he tied her to a tree and violated her boundaries? (1/3)

The chemistry when he hired a trained assassin to stalk her good friend and if collateral damage happened, oopsie? The chemistry when he stabbed her in the back after she was nice to him in the crystal catacombs? The chemistry when he demanded that she accept him? Or the chemistry when he showed he didn’t know her at all? The chemistry when both of them were grossed out being thought a couple? Or is it the chemistry when he saved her and Katara couldn’t wait to kiss another guy? (2/3)

I dislike r/eylo from Star Wars fandom. I think it sends the wrong message. But as much as I hate it, there was chemistry there from the first. Rey is attracted to him and Kylo is attracted to her. They don’t want to be, but they are and it plays out in the next two movies. There was none of that in ATLA and I can understand z/ks saying it but other people? What am I missing? Where am I not looking? I’m not even that huge on Katara/Aang but Zuko/Katara chemistry where? (3/3)

Obligatory disclaimer: this is my personal response to anon’s questions and my personal thoughts on Zvtara’s chemistry. I’m not going to put this into the main tags - much less the Zvtara tag! - because while I believe this is a genuine question, I don’t doubt there’s at least one person out there who will misconstrue it as “hate” because the A:TLA fandom is, uh, aggressive in its ship wars lol. However, if I have any Zvtara shippers following me, I encourage you to reblog this post with your own thoughts! Please refrain from sending your commentary on anon unless you’re going to be friendly about it, lol; I like to keep my blog positive and welcoming! Thank you :)

Firstly, I am EXTREMELY flattered that you enjoy my metas so much and binged half my fics!! I was grinning so gleefully as I read that part of your asks,, y’all are too sweet to me. 💛

Okay. Moving on.

So, the main question here seems to be this: What chemistry exists between Zuko and Katara in A:TLA?

Short answer? None, in my opinion.

Longer answer? For all the reasons you outline in your asks, I do not perceive any romantic chemistry between Zuko and Katara within the series run of A:TLA. Note the qualifiers: “romantic” and “within the series run.” I’ll try to break down what I mean!

“no romantic chemistry”

For one, a romantic interest with anyone in the Gaang would have undermined Zuko’s entire redemption arc, full stop. Yes, I mean anyone. For Zuko to have joined the Gaang because of romantic interest* would have been… counterproductive. Zuko joined the Gaang because he realized - to put it very simply - that the Fire Nation was wrong. He realized how he’d been indoctrinated since birth. He realized that he could help the Avatar (instead of trying to, uh, kill him lmao) by teaching him firebending. He realized he could help Aang defeat the Fire Lord and bring peace to the four nations. Zuko realized he could help end the war. He could help break the cycles of violence and abuse that had in part made his own life so miserable. For him to join the Gaang because of romantic interest? Completely takes away from all of that. A key theme of A:TLA is dismantling imperialist power, propaganda, rhetoric, etc. Zuko’s decision to fight against Fire Nation imperialism is crucial to his redemption. He could not have been redeemed without making that choice. Thus, if Zuko had joined the Gaang because of romantic interest, it would have been completely counteractive to his redemption.

(*That is, the relatively popular [? I think?] implication that Zuko and Katara’s moment in “The Crossroads of Destiny” was romantic-coded and thus Zuko should have joined the Gaang at the end of Book 2 because he had romantic interest in Katara and she in him. I genuinely am clueless how people interpret that moment as romantic - like to me it’s honestly heartbreaking! Katara offers Zuko tentative sympathy only for him to stab her in the back minutes later - so if someone would like to share some thoughts, please feel free to do so!!)

On a similar note, for Zuko to take the lightning for Katara at the end of the series because of romantic interest would also undermine his redemption arc. Please note: this does not mean Zvtara shippers cannot interpret the Agni Kai as being romantic-coded. Of course they can! That’s what fanon is for! Transformative works! But in terms of canon, Zuko did not try (and fail, rip) to redirect Azula’s lightning because he was romantically interested in Katara. (I mean, in terms of canon, Zuko and Katara were both romantically interested in other people, too, so… Moot point, lol? But I digress.)

Zuko taking the lightning is about him learning to earn forgiveness and accept unconditional love from his family (both Iroh and the Gaang). It is a selfless act, and it directly parallels Zuko’s selfish act in “The Crossroads of Destiny” to stand silently while Azula strikes Aang with lightning, thus becoming complicit in Aang’s death. The point of his “sacrifice” is that Zuko would have taken the lightning for anyone (and don’t get me wrong - the moment is doubly powerful with Katara, as she’s a primary protagonist!). Zuko did not attempt but fail to redirect the lightning because it was Katara he was protecting; he took it because it was the right thing to do. Zuko has learned to differentiate between “right and wrong” on his own. To at last put others before himself. To make his decision about romantic interest? To make Zuko’s most selfless act in the series (not to mention one of his only 100% selfless acts!) about out-of-the-blue “romantic love”? That not only lessens the impact of his decision, but it is also reductive to Zuko’s entire character and arc. There’s no romantic chemistry there.

Again, of course, fanon exists for purposes such as interpreting Zuko’s failed misdirection of the lightning to protect Katara as romantic. Go wild!! I’m talking strictly about canon.

So that pretty much summarizes why romantic interest with anyone in the Gaang would have been detrimental to Zuko’s redemption, hence why Zuko doesn’t have any canon romantic chemistry in the Gaang. It just ain’t there! It would have screwed over his arc! And again, because of all the reasons you outline, I cannot comfortably interpret any romantic chemistry between Zuko and Katara within the series run of A:TLA. Personally, romantic Zvtara would have been too sudden, too unexpected, and too… well, as I said: uncomfortable. Why would Katara have romantic interest in a guy who’d hurt her so many times? Who she’d only just forgiven? Why would Zuko have romantic interest in Katara, a girl he barely knew for most of the series? Especially when he already had feelings for a childhood friend? I, personally, just don’t get it.

But. You know what Zuko and Katara do have in canon?

A phenomenal platonic bond.

It develops very late, admittedly; Katara has only forgiven Zuko for the last five episodes of the series (5 out of 61… Katara was only on good terms with Zuko for 8% of the series, lmao). But Zuko and Katara are very, very similar personality-wise, so it follows that (eventually) they’d be great friends! Yeah, Zuko acts like an entitled dick for a good portion of “The Southern Raiders” lmao, but he ultimately respects Katara’s decision to spare Yon Rha (love that scene so much 🤧). Katara recognizes that Zuko is trying his best (if sometimes falling short) to redeem himself and earn the Gaang’s trust, and she also understands how - while she is completely justified in her anger! - holding that hatred close to her chest isn’t good for her. So she offers him a third chance (and honestly, Zuko should be forever grateful for that lmao!).

So what can a strong platonic bond lead to? Well, if it’s in your taste, a romantic relationship!

“within the series run”

As aforementioned, I don’t see any romantic chemistry between Zuko and Katara within the series run of A:TLA. I think Zuko has hurt Katara in too many ways - and again, she has only just forgiven him by the end of the show - for there to realistically have been any blossoming romance between them. I think romantic interest for anyone in the Gaang would undermine Zuko’s redemption. I also think M@iko and K@taang are well-implemented romances into A:TLA, so romantic Zvtara would not have fit into the narrative. (Doesn’t mean someone has to ship them!! I just mean they made logical sense and had narrative purpose within canon. That’s all.) But again, Zuko and Katara have a great platonic bond. So while I don’t see romance within the series run, I can understand why people might be attracted to Zvtara in post-canon!

Post-A:TLA (disregarding LOK, which I haven’t even seen lol) Zvtara has some solid potential. I’m personally intrigued by the idea of how they’d navigate their relationship amidst all the politics! Basically, any relationship with a strong platonic bond can have potential for “more.” That’s why people ship T@ang, that’s why people ship Zvkaang, Zvkka, M@ilee, etc. So while Zvtara may not have romantic chemistry within the show - in my opinion! - they’ve got one of my favorite platonic bonds, so I can totally get people wanting to explore that bond in post-A:TLA and possibly translating it to romance.

So for some people, then, it might be less about “chemistry” in A:TLA itself, but more how their relationship could grow and change after the end of the series!

Quick sidebar: I mentioned that while I do not interpret the final Agni Kai as romantic, I’m fine when other people do. It’s fanon! Ain’t no big thing! But also, Katara has forgiven Zuko by that point. I, personally, am not comfortable with reading any of Zuko and Katara’s TSR-and-earlier interactions as romantic because of the imbalanced power dynamic. Example: I don’t think Zuko tying Katara to a tree and manipulating her with her mother’s necklace was romantic, and I don’t like the resulting implications when people do treat it as such. Zuko was still so indoctrinated by Fire Nation propaganda… Yeah, from Book 1 to about halfway through Book 3, I personally don’t feel comfortable shipping Zuko with anyone outside of the Fire Nation. Pre-redemption Zuko was not the most fun person to be around if you were non-Fire Nation.

But as I’ve said, these are all just my opinions! Again, if I have any Zvtara shippers following me, please feel free to reblog with your own thoughts! I would love to know where the idea comes from that Zvtara had chemistry within A:TLA, since I personally don’t see any romantic vibes (though platonic chemistry, of course, abounds.)

(For the record, I don’t know anything about Star Wars, which is why I haven’t brought up R.eylo, lol.)

TL;DR - To me, there isn’t any canon romantic chemistry for Zvtara. Narratively, I think it would undermine Zuko’s arc. Logically, because of how Zuko treated Katara for 92% of the series, I personally cannot interpret any of their interactions as romantic. But their platonic bond? Beautiful!! Thus, if people want to explore post-A:TLA, fanon Zvtara, I am all for it.

[thelightofthingshopedfor]

I guess the thing about the Loki show, and the whole reason I’m feeling equal parts excitement and something very much akin to terror, is like... [cut for length, not spoilers, because there are no spoilers in this post, just me trying to talk about something that might very well be kind of silly to begin with, I don’t know--and it’s also not actually negativity about the show, just me being worried about things and trying to work out what I’m afraid of, so there’s that too]

look, I love this character. I love this character a lot, probably more than any other character ever. I’m not sure if it would be totally accurate to say Loki’s my special interest, but it’s also...not inaccurate, you know? he’s has been my favorite character for about a decade, for a lot of mostly very personal reasons, and in that time I’ve assembled a pretty massive collection of Loki stuff, met a lot of wonderful people, found stunning fanart, and read an enormous amount of mostly incredible fanfic--but more importantly I’ve written a lot of fanfic, way more than what I’ve actually finished and posted. all that creative work is hugely important to me for a lot of different reasons, and it’s all heavily dependent on an understanding of Loki’s characterization that I’ve developed over--again--almost an entire decade of films, fic, meta, discussions with other fans, and a lot of just...thought and time and caring. I’ve put an enormous amount of myself into my attachment to this character, to be perfectly honest, nearly as much as if I’d created him from scratch myself.

and the thing is, I guess, I’m afraid to lose that. because my emotional investment into all of this is mine, and so it matters to me.

I don’t think it’s...particularly likely that the show will, say, so heavily retcon Loki’s characterization that it retroactively ruins everything for me and I can’t bring myself to return to my many, many WIPs (which would also mean I would stop writing almost entirely, at least for a while, because Loki fic is virtually all I write), or even that it’ll show me a Loki I still like but who is so different from the concept of the character I’ve built up that I just feel stupid about...everything, to much the same effect. for starters the other films will all still be there, with everything that built my concept of Loki’s character, and I have issues with automatically assuming I must be wrong if someone else has a strong opinion that contradicts mine but I also think it’s completely possible for people to arrive at multiple, equally valid interpretations of a text by engaging with it in good faith.

more likely is that I’ll be bummed if the show doesn’t hit on some things I really want and disappointed the more it pursues stuff I actively don’t want, but chances are very good I’ll end up liking most of it. might well even get inspired, by the show itself or by the fan response (as long as I can avoid most of the discourse, I guess). I will, probably, find ways to reconcile things I don’t like with existing canon and my almost-decade-long understanding of Loki’s character. I probably won’t lose a character that means a lot to me, and the show probably won’t be a reason to lose friends I’ve made through the fandom.

but. well. it’s not super fun knowing that it’s possible, you know?

I mean, shit, anything’s possible, I could die in a car accident two days from now on my way to the grocery store or something. but I could also lose something intangible that means a lot to me, and that’s an upsetting possibility.

anyway. I could make a disclaimer here about how this is probably all very silly and I’m putting way too much emotional investment into a dumb superhero canon, except that would also go against a lot of things I firmly believe about how much stories matter as a general principle and a universally human experience, and also I'm trying to stop feeling guilty/ashamed about completely harmless stuff, so I’m...going to try not to do that any more than I already have, and I’m going to go to bed and tomorrow I’ll get a much better idea of, I don’t know, where things stand.