#to get us to step away from that and recognize its flaws

[spywitch]

Its so hard trying to find out how to just feel feelings instead of intellectualizing them. Like ppl always say thats what you need to do but thats like telling someone who’s constipated they just need to shit… like YEAH ok awareness of the fact that its not normal to only shit once a week and have a really hard time doing it every time is the first step in fixing it, but then you need to learn what diet changes and maybe pelvic floor related exercises you should be doing, and in some cases laxatives and supplements you need to make it so you Can Shit. So like what are the ways to Feel emotions fr

[everythingisamazing]

In defense of Jayces words & the true intention behind them

There is valid criticism of Jayces Quote in the astral plane:

“You’ve always wanted to cure what you thought were weaknesses. Your leg. Your disease. But you were never broken, Viktor. There is beauty in imperfections. They made you who you are. An inseparable piece of everything I admired about you.”

I didn't like it at first. But I have since found an interpretation that I believe honors the positive intention behind it. Let me explain:

1. Jayce, for a long time, doesn't understand Viktor: Especially in S1, he fails to truly empathize with him. He cares for and obviously WANTS to do right by him but remains egotistical (as V points out), while deluding himself into thinking he isn't. The ultimate example: Breaking his promise about the hexcore, not because of what Viktor wants, but because Jayce can't stand losing him. 

2. Viktor lacks empathy for himself: Arcane writing is not black and white, but shades of grey. Viktors goal of helping is not purely good, cause it contains the seed of what turns it destructive, via his disregard for his own imperfections: He constantly overworks, denies himself the spotlight, pushes away Sky, downplays his achievements, hurts himself and, most importantly, never openly asks for help. So if Jayce needs to be less egotistical, I’d argue that it would have served Viktor if he had been more so. 

3. Falling down the ravine is the turning point for Jayce - he recognizes his failings (depending on interpretation alongside the true nature of his feelings) and regrets them deeply. He wishes to fix everything and that's when he meets the Mage:

4. I am going to have to fill in some gaps here. As we know Mage Viktor succeeded in the glorious evolution, only to find out perfection is not all it's cut out to be, then travelled to other timelines, looking for a way to a) stop his alternate selves from dooming the world and b) finding out that Jayce is the key to this. But how could he tell Jayce is the component that changes everything? My assumption: There must be "good" time lines, where Jayce treated Viktor right earlier. This is why the emphasis of the scene is on "Only you can show me this." and not "Go kill me in the commune" - because the latter is not the final step. Mage Viktor saw how everything would turn out, up to the point where Jayce gets pulled into the hive mind - hence the calm resolution on his face when it happens.

So we get to the quote. Considering everything mentioned, I’d argue it’s actually deeply empathetic: Jayce voices and tries to take away Viktors unspoken insecurity which the hexcore preyed upon. 

“You were never broken” is essentially saying: I understand why you did this - but you never needed to in order to have my love/admiration. It’s not implying "you should not want to cure your disease" but that Viktor is beautiful to him, all flaws included. It’s “I dont admire you in spite of but BECAUSE of them.”  Because Jayce did not fail Viktor by not helping him enough - he tried to, saved his life and even brought him back from the dead. Where he failed was not showing Viktor, that wether he was cured or not, did not change how he felt about him. And thats what the quote is trying to convey.

At least that's how I see it. Maybe if the writers had dared to use the word "love" or if Jayce verbally acknowledged his shortcomings, it would have been less easy to misinterpret. Maybe they felt it wasn't necessary because of the voice overs in the ravine or they wanted to avoid making it seem like he is choosing to die with Viktor out of guilt, which brings me to my last point:

5. The beauty of Jayvik (and why it’s a love story at its core) is that their separate journeys reach the same conclusion: That the other one is the answer to what they have unconsciously been looking for. What Viktor needed was to let Jayce in - to stop trying to carry everything alone, but let another person share the burden (As it is literally shown by them holding the rune together, with Jayce putting his hand over Viktors). And what Jayce needed was to (re)discover that magic was never about feeding his ego, but about who first made him experience the beauty of it - Viktor himself. 

And if that isn’t a thematically satisfying climax, then I don’t know what is.

[biscuit-buddy]

MORE FUCKED UP JOHNNY PLEASE OMLL ITS SO GOOD AHH

More? If you insist ❤️

Fucked up Johnny doesn’t understand why you’re always hiding from him :(

You’re holed up in the guest bedroom of the apartment, especially when Simon is at work. Johnny can be heard pacing up and down the hallway outside your door at least once an hour. He’s halfway to scratching and whining at the wood like a pathetic, lovesick puppy.

When you finally leave the room for whatever reason, probably to use the bathroom or get one of the pre-prepared snacks Simon leaves out every morning (he doesn’t trust either of you alone with knives or fire, so no cooking for you), Johnny’s shooting up from wherever he was sitting to come to your side.

He’s practically bouncing, asking you questions and prodding you for some kind of attention. He’s so lonely all day, why won’t you spend time with him?

Simon says it’s because you’re still adjusting to Johnny’s tactless kidnapping. At least once a day he reminds him how much easier the transition would have been if they’d stuck with the original plan.

Johnny tries so, so hard to make you like him. He does everything right! He’s always being so helpful by reaching things for you, a hand on your waist. He’ll ask you if you need anything: some water, a snack, a cuddle? But he can only take so much rejection.

You get the call on the restricted landline screwed onto the kitchen counter just before Simon’s due home for the day. He’s gonna be late, might be midnight by the time he’s home. While you sink at the realization you’ll be without your buffer for the rest of the night, Johnny is ecstatic!!

So, when you try to slip away for an early bedtime he stops you. His frame covers the entire entrance to the hallway, blocking any chance you might have of slipping past him and hiding under the covers for the rest of the night.

“Let’s watch a movie,” He suggests as if he’s giving you a choice. When you tell him you’d rather not, it’s like a switch flips. He’s past his limit of rejection for the day. You can see it in his face as his eyebrows draw together in confusion, then quickly morph into anger.

“Why don’t you like me?” When he asks it, you have to fight the urge to scoff at him. Isn’t it obvious? But for him, it isn’t. He’s been the perfect boyfriend since the day you got here. “Why are you always runnin’ from me?”

“Because you kidnapped me!” Your voice, rarely above a whisper these days, rings out through the apartment.

Something in his eyes flashes as he recognizes your words, you think. For a brief second you hope maybe he’ll finally understand what he’s done, but he shakes his head clearing the thought away.

He steps towards you, big hands reach out to grasp your shoulders and hold you firmly in place. He smiles, but it’s not quite right. It’s not like the happy grins he usually shines on you. Something darker lurks behind his expression. “I didn’t kidnap you, bonnie. You were mine the second I saw ya. You can’t take something that already belongs to you, can ya?”

You shake your head. His logic is flawed, and you don’t know if it’s because of his head wound or if he’s always been a fucked up guy. Maybe both.

“Exactly,” he squeezes your shoulders once in what he might have meant as a reassuring gesture. As he turns you around to steer your stiff body back towards the living room couch he asks, “Now, what kind of movie do you want?”

That night Simon comes through the door well past midnight. He hadn’t expected to see you and Johnny asleep on the couch while the credits of a movie roll on the TV. He takes in the position the two of you are in, Johnny laying on his side with his back against the couch and your back plastered to his front with his chin resting just above the crown of your head. He’s got one palm spread across your stomach, tucked under the oversized shirt you’re wearing. Very domestic. He even notices the tears that stain your sleeping face. Must have been a sad movie.

[sohnric]

BELOVED — E. SOHN

pairing: eric sohn x fem! reader

genre: hurt/comfort, friends to lovers. angst, fluff. the tiniest bit of swimmer! eric for some reason. wrote this in a moment of weakness handle with care!! :~)

word count: 2.4k

warnings: reader is said to be red in the face from the cold (alludes to specific skin color - im sorry i wrote this for me only and yall just get to read it), swearing, insecurity and jealousy, unspecified mental illness (?)

a/n: once again thank you to @csenke for beta reading and encouraging me to post this :p and also for existing. ily <3 btw swimmer eric is such a concept it gave us both whiplash maybe i need to revisit this in a full fic....

The coldness of the crisp evening makes you sniffle, your bones freezing and fingers going numb even in the comfort of your coat pockets. Your brain is full of thoughts fighting amongst each other, running around and hitting the corners of your head, slowly causing you an annoying migraine. You now regret not taking your headphones with you, because the music could help you drown out the noise of your inner voice, but the you from an hour ago that decided to go on a walk to clear your head had other plans for you, so you now have to suffer the stream of your thoughts instead. The stream is so loud you swear you can hear it resonating through the silent campus, but you know that’s a foolish thought, so you fight it away with a bitter chuckle.

Eyes zeroing on the orange fluorescent lights coming from inside of the building you’re standing in front of, you start feeling a little silly for coming here. It’s not like you think you’d be sent away, but there’s also that little bugging voice inside of your brain that keeps reminding you that you weren’t invited. Your feet have dragged you here without your consent or order. One moment, you were walking down the river, shuddering from the cold, and the other, you found yourself in front of the pool– as if the tugging of your heart was stronger than your own brain, stronger than your own thoughts.

Sometimes you feel bad for taking it all out on him. At least that’s what you suppose you’re doing– with your annoyed remarks whenever he checks in on you, with your sighs whenever he asks what’s wrong. It’s not like he’s incorrect with his suspicions– he always somehow knows you’re in a bad mood, no matter how hard you try to mask it– you just don’t often feel like discussing the matter with him. Or anyone, really. Sometimes, you feel bad for pushing him away or not texting him back. Sometimes you feel truly shitty for the fact that you can’t open up to him, no matter how hard you try. 

And sometimes, you just truly think that he wouldn’t care. It’s weird how your mind works– someone could spend so much time with you, making memories together and laughing at your jokes, yet, your mind could convince you that they don’t really like you at all in the first place. That this is some sort of a game they’re playing, trying to see how long you can stay convinced that they enjoy your presence in their life before you notice and they step away. You don’t even know where this conviction is coming from. If you knew, maybe you could fix it. If you could locate it, you’d try to delete the flawed code from your system. 

Sometimes, you think he doesn’t care about how you are, what you’re doing, what you think. It has nothing to do with the way he treats you; more so with the anxiety nibbling at the corners of your brain whenever he talks to anyone else– with the constant fear of being replaced, of having him find someone better, someone less difficult to be friends with. In its full essence, the image is terrifying. You think your world would crumble if you lost another person in your life.

More so, you think your world would crumble if you lost him. You recognize that there’s a constant desire in the depths of your heart to be someone’s favorite– his favorite– to be the person someone would choose in a room full of people. To be the one they walk up to first with a smile and their arms wide open. 

And it’s silly. You’re his best friend. He tells you so every day. It’s the way you’re introduced to everyone out of his circle that you meet on parties or at campus.

Admittedly, you like hearing him say it. Best friend– the title shows you’re the best at something: at being his companion, at making him laugh, at being there for him, whatever it is that you do to earn that sticker. The title shows that you’re somebody’s favorite– his favorite– and it makes you deeply satisfied with yourself. It makes you proud, even. 

Some days, you still have a hard time believing it, though. Some days, you still feel stranded. Lonely. Isolated. It’s weird. 

Somehow, your heart, your feet and the unconscious part of your brain took you right where you knew you’d find him. You didn’t choose to go here– if you realized you were nearing the building, you would’ve even tried to stop yourself– and as you contemplate turning on your heel and going back home, hell, you even take the first step away from the pools, the sound of the main door opening and his voice calling for you makes you halt in your movements, gluing you to the pavement. 

Sometimes, the heart knows what it needs even before you get a chance to register it.

“Y/N! How long have you been standing there?” he calls after you, making you bite down on your lower lip. There’s no escaping him now– you guess it’s for the better, though.

Turning towards him, a guilty look spreading over your features, you shrug. “Not long.”

“It’s freezing out here! Why didn’t you come inside?” he asks, a wrinkle forming in between his eyebrows as he walks closer to you, his friends from the swim team patting his back and saying their goodbyes to the two of you as they pass the commotion on their way out.

“I didn’t want to intrude your practice,” you peep, sniffling a little from the cold.

“Gosh, you always do this,” he says, rolling his eyes at you. He almost looks mad at you, and by the way he raises his voice and throws his arms in the air in frustration, you think you’re correct with assuming he might be. “I texted you the whole day! Hell, I called, even though I know how much you hate phone calls. And I get that you probably didn’t feel like talking, but a simple ‘I'm okay, don’t worry’ text would’ve been nice!”

Dragging his hand through his hair in defeat, he shakes his head at you. “Besides, you can’t just keep shutting me off every time you are having a hard time, for god’s sake! Not only do I worry, but I hate seeing you suffer all alone.”

Chewing on the inside of your cheek, you listen patiently to his lecture. You know he’s right– he almost always is, because the rational side of your brain ceases to exist every time your insecurities fail you– so there’s really no aim in trying to argue or fight with him. 

Eric sighs as he steps even closer to you, adjusting the strap of his duffel bag on his shoulder before he reaches for the hood of your jacket and puts it over your head. “You could’ve texted me you were here, I’d leave practice early for you,” he says, voice now softer as he stands in front of you, not really wanting to scream straight into your face. 

You shrug in response, not really knowing what to say. Telling him you contemplated leaving  just seconds before he found you here would make him even more mad with you, so you choose to gloss over that fact. Besides, it’s kind of comforting, the way his words work. The way his presence calms you, makes the screaming match of your thoughts drown out with his firm comments and scolding remarks. His words, although full of frustration, make your insides warm up and your muscles relax, like you’re coming undone.

His face shows concern. His actions speak even louder than his words when he tugs the sides of your hood closer together at your neck, the hole for your head previously exposing your bare skin and making you shiver. “Couldn’t you dress more warmly? Do you want to catch a cold?” he mutters, shaking his head in disbelief. “You scutter here all unannounced, wearing close to nothing, and expect me to not be frustrated with you?”

You study his expression for a while. It’s not often you get to see Eric from so up close, but even in the darkness of the evening, you recognise the familiarity of his close-to-flawless features. Anchoring yourself into his gaze for a second, you move to study the sculpture of his cheekbones, the furrowed nature of his brows, the slope of his cupid’s bone. His hair falls into his eyes, making you instinctively drag your hand up and move his bangs out of the way, having the male wince at the contact of your fingers with his skin. “Hell, your hands are cold! You didn’t even take gloves? It’s minus five degrees outside!” he grunts.

It makes you chuckle. You did something nice for him, yet, there he is– complaining about the fact that you have yet again failed to take care of yourself. “I’m not even surprised, y’know, since you didn’t put on a scarf either, but sometimes I wish this little brain of yours,” he point his finger to the side of your temple, “had better self-preservation instincts,” he finishes as he fishes for something in his pocket.

Taking out his own gloves and holding them up to you so you can slip your numb fingers into the fabric, he continues on with his little tangent. “Next time,” he adds when you’re successfully wearing the warm garment, “text me as soon as you get here, okay? And look outside before you go out, so you know what to wear. Maybe open that little weather app on your home screen, even. Might be helpful,” he jokes, although a little dryly, as he brings out a scarf from his duffel bag, tying it around your neck and almost suffocating you with how tight he wraps it, making sure you’re defrosting under his tender care.

When he’s done dressing you up like a doll, you’re left staring at him speechless. Eric reciprocates the gaze, something gentle, yet worried mirroring behind his dark orbs. There’s comfort lingering in the air now that you’re not so cold, and with the added essence of his existence, the act of living doesn’t seem like such a hassle anymore. You feel lighter, in a way.

“Sorry,” he hums after a heartbeat of silence, “how are you feeling?” he asks, an apologetic look sent your way when he realizes he slipped into a heated lecture again, not knowing that this is exactly what you wanted and unknowingly came here for. (For his furrowed eyebrows and the crease in between them, his worried orbs and words tinted with frustration, showing you that he cares and wants you to be safe. For his little tangent, yet also gentle touches as he takes care of you and makes sure you’re staying warm. For the familiar look in his eyes, whispering to you that you’re the only thing in the whole world that matters to him right in this moment and always, forever.) 

You smile at the clueless boy. It seems to make something in him settle into a more comfortable place. “All better now,” you reply.

“Good,” he says. “God, you look awful,” he jokes– laughing airly to reference the state of your frozen face– cheeks and the tip of your nose red, eyes watery from the wind, hair messily sticking out from the bottom of your hood– as one of his hands comes up to cradle your face and squish your cheeks together, turning your chapped lips into a big pout. The contact of his skin on yours makes your stomach feel light with the contrast of his warm hand on your cold face, all your senses coming alive when his voice drops a few octaves lower, seriousness tinting his tone. “Promise me to take better care of yourself from now on?”

Nodding, not really having it in you to even make a noise, you watch as the male studies your face for a while. In any other circumstance, his gaze would make you shy away, but not now. Not when everything seems suddenly so simple, not when all your worries seem to slip through your fingers. When his eyes point towards your lips– your puckered, dry mouth– a sense of expecting takes over you, a strange kind of excitement buzzing in the tips of your fingertips. When you breathe in through your half-clogged nose, the mixed scent of his fabric softener coming off the scarf tied tightly around your neck and the smell of the shower gel he uses to wash the chlorine off after his swimming practice hits your nose, making you a little light-headed. No words are spoken as the male suddenly leans in and presses a quick peck to your lips.

His warm lips meet with yours in what seems to be a second-long contact, but it’s enough to have the ghost of his touch lingering, enough to make your stomach churn in joy.

The action was so painfully casual– as if it was second nature to him. As if there was no reason for him to contemplate the decision– as if this was what he wanted to do all the time, and so he did it. Sometimes, actions speak louder than words.

Selfishly, though, you must admit you need both– you need the words just as much as the actions. Good thing Eric knows you so well– sometimes you think it’s even more than you know yourself.

“Now come on, let’s get you home,” he hums, hugging you to him with his right arm as you two walk down the sidewalk, “wouldn’t want my beloved girl to freeze to death right here.”

His beloved.

The words resonate in your brain. This time, it’s a good type of screaming match happening with your thoughts– all worries battled, using his sentence to cut out the bad parts like a sharpened knife. This time, your mind is full of fireworks and excited buzzing, sending the happy signals all across your body, helping you fight winter with the power of gentle loving. 

And sure, you know that those feelings might come again. There’s no way of telling when the skeletons will appear, hunting down your happy thoughts. But you know that even if they do, you will always somehow find your way back to Eric, and he’ll make sure to remind you of what you need to hear, and you’ll be okay again.

You guess The Beatles were right after all. Maybe all you need is a little love sometimes.

[hrizantemy]

So firstly, I feel like my post comes off like I hate Mare, and I don’t—she’s actually one of my favorite FMCs. She’s the character that got me into reading in the first place. My criticism isn’t about disliking her; it’s about analyzing her arc, especially in Glass Sword.

Second, I know I skipped a lot of the in-between. That’s because I’m currently doing a reread and I’m only on page 163. So my focus right now is on the early signs of Mare’s hypocrisy—like when she insists she wants to give new bloods a choice, but then immediately denies Cameron that very choice. When you compare that to how she acts later in the book, it becomes even clearer how far she’s slipping.

You’re right that Mare is a flawed FMC who actually faces consequences for her actions, and I love that about her. She’s not glorified, and Aveyard doesn’t shy away from showing her moral decline. But that doesn’t mean I can’t call out specific moments where her actions contradict her own ideals. That’s what makes her such an interesting, complex character—she messes up badly, and then she has to live with it.

Mare’s trauma is one of the defining forces that shape her character, and we see its effects on her constantly throughout the series. She’s not just reacting to what’s happening around her—she’s carrying everything that has already happened to her, and it directly influences her choices, for better or worse.

1. Her Time as a Pawn in the Silver Court – Mare spends months being used as a puppet, forced to lie, to play a role, to watch her every word and movement just to stay alive. She hates how powerless she felt, how easily she was manipulated. That experience fuels her obsession with control—because to her, losing control means being vulnerable again. It’s why she refuses to let herself be a pawn ever again, even if it means making ruthless decisions.

2. Trust Issues & Isolation – Mare struggles with trust from the very beginning, but after the betrayal in Red Queen, it only gets worse. She convinces herself that she has to carry the burden of saving the new bloods alone, pushing away the people who care about her. She thinks detachment will make her stronger, but all it really does is isolate her, making her even more emotionally unstable. We see her grappling with this—she knows she’s alienating herself, but she doesn’t know how to stop.

3. Her View on Power & Responsibility – Mare goes from being a powerless Red to one of the most powerful people in the world overnight. That’s not something she adjusts to easily. She doesn’t want to be like the Silvers, but she also knows that power is the only thing keeping her alive. The more she fights, the more she justifies making harsh, morally gray decisions—because in her mind, if she doesn’t, then she’s as weak as she was before. We constantly see her struggling with where the line is, and how far she’s willing to go before she becomes the very thing she hates.

Mare isn’t just a character who goes through trauma—she’s shaped by it, and we see her struggling under the weight of it every step of the way. That’s what makes her such a compelling protagonist.

Me calling out Mare’s hypocrisy doesn’t take away from the fact that it stems from her trauma. I know exactly why she makes the choices she does—I know she’s acting out of fear, control, and desperation. I know that every mistake she makes is a direct result of everything she’s been through. But understanding why she does something doesn’t mean I can’t still acknowledge what she does.

Her trauma explains her actions, but it doesn’t excuse them—and that’s the whole point of her character arc. She’s flawed, she contradicts herself, and she struggles with the weight of her own decisions. That doesn’t mean she isn’t a great character—it makes her an even better one.

So yes, I criticize her. Yes, I point out when she’s being hypocritical. But that doesn’t mean I don’t love her character or that I don’t recognize why she is the way she is. If anything, it makes me appreciate her arc even more.

Mare isn’t just a soldier or a leader—she’s a symbol, whether she wants to be or not. From the moment she’s exposed as the Lightning Girl, people project their own hopes, fears, and expectations onto her, and it weighs on her constantly.

1. She’s Not Just Mare Barrow Anymore – The moment she reveals her abilities, she stops being just another Red girl from the Stilts. To the Silvers, she’s a threat. To the Scarlet Guard, she’s a weapon. To the new bloods, she’s a savior. But who is she to herself? She barely has time to process what’s happening to her before she’s forced into a role she never chose.

2. People Either Fear Her, Hate Her, or Need Something From Her – Very few people in Mare’s life treat her just as a person. To many, she’s a monster—Silvers hate her for breaking their world order. To others, she’s a beacon of hope—new bloods see her as the one who will lead them to safety. Even within the Scarlet Guard, she’s not fully trusted. Almost everyone around her has an agenda, and she’s caught in the middle.

3. She Feels the Pressure to Be More Than She Is – Mare is 17 years old, but she’s expected to lead, to fight, to win a war. The Scarlet Guard and the new bloods look to her for guidance, even though she has no idea what she’s doing. She’s learning as she goes, making mistakes, and every failure feels like another weight on her back. The pressure to be strong, to be right, is unbearable, and we see it breaking her piece by piece.

4. She Falls Under the Weight of It – Mare knows she’s not invincible, but she forces herself to act like she is because everyone expects it. She isolates herself, believing she has to carry the burden alone. But the more she tries to be the perfect leader, the more she crumbles. She loses sight of herself in the process, becoming colder, more ruthless, and more willing to justify things she never would have before—because if she isn’t the Lightning Girl, if she isn’t strong enough, then what’s left of her?

Mare’s struggle isn’t just about fighting a war—it’s about holding up the expectations of everyone around her while trying not to lose herself in the process. And for a long time, she fails.

I think Mare is so much stronger than I was at 17—I could never go through what she did. The sheer amount of pressure, trauma, and responsibility she carries is insane, and the fact that she keeps going, even when she’s breaking, is honestly admirable.

And just to be clear, I actually agree with a lot of what you’re saying @imjulia-andilikecats. I love Mare as a character, and I don’t want my criticism to come across as me hating her or dismissing her struggles. Pointing out things I don’t like or moments that frustrate me doesn’t mean I think she’s a bad character—if anything, it’s because I care about her arc that I even bother analyzing it. So I don’t want what I’m saying to be taken the wrong way or for it to seem like I’m trying to start anything. I just love discussing her complexity!

[wingsfreedom]

The Past and Present

"Perhaps you were right about me,"

A scene inspired by Ozai’s last walk to the Throne Room in chapter 371. However, I took it a step further in order to symbolically represent Azulon's presence: the most constant and influential figure in Ozai’s life.

...

Ozai was one of the most engaging elements in Gladiator. His level of focus and relevance as well as pivotal connection to both protagonists led him to become the third most important character in the story, in my opinion, behind Sokka and Azula.

One of the interesting things I noticed about how his character was handled is how every important bond in his life has its features largely defined from the start, contrary to Sokka whose bonds change considerably from the first meetings/impressions. His father's abuse felt realistic, too (from personal experience at least). It was hard to read sometimes.

Ozai’s richest arc was in Part 3. While Azula's part in it for a long time focused on bonds and rebuilding strength, his was about exploration and transformation.

Additionally, I've been thinking about what best to describe his story... specifically, would it be accurate if we labeled it as a tragedy?

Note: below is an overview/review based on a fanfiction. If anyone is interested in my opinion on canon, it is here.

HAPPY APRIL FOOL'S DAY

Alright, just kidding. First things first. Now, here's the real thing:

Ozai could be argued to be a tragic figure largely due to his sympathetic villain origin story (i.e. inability to properly control his emotions especially anger because he was forced to not genuinely express them/suppress them, developing narcissistic tendencies due to growing up constantly getting humiliated by his father, consciously or not coping behaviors from him...est) and for possessing a fatal flaw (i.e pride); a characteristic often associated with the Tragic Hero trope.

Furthermore, his fatal flaw is what provoked his pursuit to surpass his father to prove him wrong: he becomes his legacy in an attempt to destroy it. In addition to believing in the wrong ideology of the warmongering nation he was raised in.

However, tragedy as a genre is often hard to define, two sources pointed out.

Personally, during his adult life, the only things I would describe as tragic were his death and separation from Ursa. However, I wouldn't describe his arc at the end of Part 2 and majority of Part 3 (thus far) as a tragedy, rather only as a reversal of fortunate which happened on two fronts, with one resulting in the other:

When Ozai became the destroyer of Azula's world and her jailer, Sokka became the destroyer of his: externally (i.e by taking back all of Ozai’s war accomplishments which he used to be proud of) and internally (i.e. by taking Azula away). Though, while Ozai’s destruction of Azula was negative, Sokka's destruction of Ozai was ultimately positive, even to the Fire Lord himself.

The moment he bowed down to Sokka could not only be interpreted as a political sign of surrender but also as his acknowledgment that Sokka was superior to him: embracing the respect he always felt for him, thus relinquishing the foolish pride; something was unthinkable for him to do that he would rather die fighting until he decided to because of Azula and for her sake. More importantly, he acknowledged that he was a bad father to Zuko and even recognized in him the strength he lacked in himself.

The purpose of his final plan (destruction of both sides) was revenge for Azula's death and to stop their enemies from obtaining a complete victory: two reasons that came undone to him by Azula's survival and his surrender through putting an end to the 100 Years War; a choice that stood as the ultimate sign of his change of heart.

I believe the moment he stood before Firelord Azulon's portrait to admit their similarities and entrusting the future to Azula was the most important moment of recognition: by coming face-to-face with the bitter truth that would allow him to make better decisions later (sound chakra to light chakra :P). Though, he was still ready to die as Azulon's heir at that point, evidently by how he was going to fulfill Azulon's last order before following him to hell. This is where Azula's key role in his redemption played: by revealing and offering him further soul searching and more importantly freedom of Azulon's shackles which extended through him and Shaofeng; a further needed development that allowed him to leave the past for good and embrace his better self.

Eventually, just like how his humanity and that of his opponents' is what spared his life, in an outcome not so unexpected, who was responsible for his poignant death and almost that of his daughter's too were neither Sokka nor the invading army as Ozai anticipated but the political allies and inhumane constants who kept him in power all these years: whose existence a sign of his corruption. His last moments too focused on love and the importance of company; something he was lacking and even craving for a while after distancing or losing those who he loved or loved him: family and his only friend, especially Azula and Ursa. This struggle of his paralleled canon Azula to a degree... only that love was felt and real.

In the end, ironically so, he got to see himself (not so purposely) avenged and his daughter protected at Sokka's hands: the man who he thought to be the end of them both instead. The moment he knew who was his true enemy; was the moment he no longer looked upon Sokka as one.

Azula's attempt to reach out for him and save him was not in vain. Her success in opening his heart chakra allowed her father to be reunited with her mother (though a brief, farewell reunion); fulfilling a wish Shaofeng prevented Ozai from for a long time. It also soothed Ursa's heart to meet him to a degree, regardless of how painful it was, too. Their romance had the implication of being as special as the bond between Sokka and Azula. Therefore, it was unsurprising when their souls transcend the physical releam to meet/connect on a spiritual level, at least from Ozai's side.

Therefore, it's debatable whether or not his story in general could be labeled as a tragedy in the classical or subjective sense (at least because he was more bad than good and he hurt more people than he was hurt). Regardless, we still could feel sympathy for him in the end. And while many of us could see the people who hurt us in him, I think few of us could also see part of ourselves in him and learn something from that. This is what Aristotle meant by how tragedy should evoke fear and pity.

Bonus:

An interesting coincidence because Ursa used the sun to flirt with him in their first meeting; something was mentioned again at least once deep in their marriage.

P.S. I think an AU where Ozai lives would be if Azula's gold fire succeeded at sealing his wound. This one diversion (if memory serves right) would change nothing in the flow of events: Sokkla would still save the day, only with Ozai included. He'd have still lost so much blood and would be in a coma for some time, ironically similar to Zuko, but would get to see the new world that Sokkla bulit and would be part of the family again [this artwork came to mind]. However, that's only one possibility.

Reference and credit for the original artists of the portrait: [ATLA Lore Archive and Art of the Animated Series book]

[omegastation]

Once saw someone describe ME as copaganda and honestly... I feel like that's a 100% accurate statement. It honestly dampens my enjoyment of the saga. Genie is out of the bottle, as they say.

Open contempt for civilian agencies, check. Repeated instances where they present fascism as a Good Thing Actually, check. Cops and military almost unilaterally depicted as correct and just, check. Ones like Harkun are treated as merely bad apples and hand-waved away whereas any and all politicians are treated as incompetent at best or outright corrupt/malevolent at worst. Not to mention the whole thing with Khalisah al-Jilani.

Idk. It all just feels so dim-witted and mean-spirited.

There are a lot of good things that make me love it with all my heart, and things that are not so good. I try to do my best to acknowledge the bad stuff and remain critical. So yeah, I do agree that some elements of the trilogy should be analyzed closely because it's kinda fucked-up.

Genie is out of the bottle, I find that the expression explains a lot. Because Mass Effect is a product of its time and place, and /insert the speech from LOTR/ the world has changed. I don't mean to say that it was never this bad, because I think it was, but we now are getting images, videos and live updates all the time showing us exactly how bad it is. We see so much suffering and injustice. And it's us "outside". Some are inside, and they're the ones showing us how bad it is. So... It's harder to see specific themes, stories and characters that are unchallenged. It's harder to see injustice being portrayed, even if the content doesn't always condone it.

I also think we are more critical in general. We are, unfortunately, used to specific issues so it's easier to recognize when they appear in fiction. I can really see that in the way people talk about specific characters. People idolize less, and I honestly think that's an improvement, because idolatry, at least how I see it, is not about seeing characters or stories as they are, but putting them on a pedestal. Characters are complex and flawed, and that's what makes them interesting. Real growth happens when characters change and adapt and rethink their position. Sometimes it means they have to look inside themselves and see the ugliness, and that means we get to see the ugly too. Not only that, but we can also contemplate what is ugly inside us, and see what we can do to change and grow. But not so long ago, before my hiatus, it was really hard to step away from "this character is a god" or "this character is flawless and if you don't see it you're not a fan" and "no no i can't see this issue at all, doesn't exist, lalalala" talk. Now it's harder for people not to see the issue. But the issue was always there.

You talked about Khalisah. I saw a meme on FB recently that says that if we can't hit someone like Khalisah in the new Mass Effect, we shouldn't bother playing it, which to me is 1. disturbing, 2. missing the fact that wars need journalists and reporters, even someone like Khalisah who is not always playing fair. I don't understand the option to hit her. I've ranted about it enough here. If you don't hit her, you get to encourage her and reassure her. It's obvious she's falling apart and she needs to be reassured. One of my favorite quotes in the game is what Shepard tells her: "Keep asking the hard questions." That's what is needed in a time of war. And sure, this one beautiful interaction and line won't take away the fact that some choices can feel mean-spirited but to me, it means it's not black & white. I see the ugliness, I do, but I also see the beauty.

IDK where I'm going with this. I guess that Mass Effect was never flawless and unproblematic, and in a way, I think it's a good thing that issues are seen and we can have a critical look at the worst parts of the trilogy.

But what is very specific to you, anon, is what you can tolerate, appreciate or enjoy. Some parts of the trilogy make me sad and or angry but it doesn't stop me from really enjoying the whole. If you find that you don't get to enjoy it anymore, because too many elements make it difficult to appreciate and it's now a real dislike, don't forget that you can step away. I'm not telling you that you have to do it. You can do what you want, but don't forget that you don't have to force yourself to love something. It's okay to move away from things because you now find them disappointing.

[prettyboykatsuki-moved]

pls read me for filth bestie: intj eldest daughter 🤓

ahhh. fellow intj. this one might be mean sorry. once again i am working on assumptions so disclaimer yadda yadda

intjs are usually known for being cold, calculated and intelligent as a result of introverted intution which is shared with your fellow NJ pairs and for the most part this stereotype is true. most intjs are gifted in early childhood and do well academically with good insight for pattern recognition. youve probably one point felt yourself to be better than your peers

the two way consequence of this being true is that you definitely have semi abysmal social skills. intj women(or just generally speaking fem presenting intjs) tend to make-up for this by capitalizing on their physical appearance in their later years if possible. intj men tend to be mildly insufferable because behaving that way is accepted as masculine and tolerable. this lack of understanding in relation to socialization comes two fold from your last function being extroverted sensing and your third function being introverted feeling.

like most introverted feelers you take things incredibly personal which wreaks havoc in your relationships. as you grow older and experience more things (and more trauma) your sense of basic sympathy allows you to overlook the things that you used to bother you day-to-day but you do have to actively realize that not everything that happens to you is a personal matter. in fact most things are not and your paranoia that they are worsens greatly under stress. a lot of shit has genuinely nothing to do with you

intjs are interesting in that they do actually get along with several types of people and tend to fall in the camp of open minded. you have a tendency to make quick judgements about people and you're rarely wrong on your first impressions but you sometimes allow them to cloud your judgement. you don't prefer leadership roles but you will handle them well when they are forced upon you which they often are as a result of you being technically competent and talented at compartmentalizing. how are u dealing with that one haunting impulsive decision you made btw

most often intjs get in relationships they can hide behind in some way. extroverts are ideal for this but it's mostly anyone who can comfortably shield them away from public scrutiny as they pressure of being around others is rather annoying to you though im sure you do fine. you've developed some specific culturally relevant social skills to keep you afloat but you need to recuperate more oftne than you care to admit.

you probably similarly had a phase of total hedonism in your late teens and young adulthood in a way that wasn't obvious to everyone else as you discovered your extroverted sensing and the concept of sensuality.

you have inadvertently developed a desire for validation of something you can't actually recognize. intjs are typically well accomplished in some aspect, but the validation you're seeking is actually entirely emotional and you will benefit a lot from realizing this. your ideal relationship is not someone who will simply shield you, but will allow you to be yourself and push you in areas you need pushing while fully understanding who you are and not who you are very good at pretending to be.

its fine to admit some parts of you are sloppy, irritable and irrational. the extremity you treat his part of yourself with is overblown in the first place and being around emotionally in tune people makes you self aware of this.

you date people you assume you'll have emotional control over and years later understand doing that is also exhausting you. the cycle will repeat until you can find someone who can view you with sincerity and all your flaws and acknowledge them without stepping on your toes about them all the type.

you can pretend that happy-go-lucky people exhaust you all you want but having at least SOME to balance you out is literally important to your nervous system. if dating a dumb himbo and the false sense of emotional security he gives you is what fixes you let it happen its fine no one else will be able to tell but them.

despite all of this, ultimately no one is harder on you than yourself which is why many people in your life forgive you for things most others would not. your expectations for your accomplishments as a result of your talents and somewhat your ambition suffocate you but your health is more important and it's fine to put those thoughts to rest eventually. not everything needs to happen at once for you

try not to let your perfectionism completely disconnect you from the one artistic hobby you have and work hard at that - it contributes more to your sanity than u will ever give it credit for and it is that deep. u can't pretend its not lol

it will be fine btw

[tatters-the-bat]

I haven't made a sufficient loredump about Fauxtail City here, and so I shall

Fauxtail City is an Original Universe (OU) of mine, featuring a large chunk of my anthro/furry characters. It takes place in the titular city, a large central metropolis on the Ambiscale Continent. It is notable in that it is divided into districts catered to the needs of different species; typical cities in the region will focus on one subset, so different 'kinds' of species have had historical difficulty intermingling.

Lots more below the cut!

The city was founded 60 years prior to the main story's beginning, by the late folk hero Aldrich 'Faux-Tail' Fletcher:

So named because, as a leopard gecko, he was capable of dropping his tail; and in doing so in a dangerous situation once, some injury or defect prevented it from regrowing. Thus, he had a fake one made, and continued to be a strong leader figure. Once he and his team of explorers and pioneers settled down, after encountering many other civilizations that had to turn several of his crew away due to differing needs, Fletcher vowed to create a city that would be open to all!

Fauxtail has five major districts - Forest, Aquatic, Heights, Sand, and Polar. The Polar district is very new, having been made due to cold-preferring species finding the aquatic district inadequate; they're currently up in arms against the city council due to the... rather shabby implementations of the cooling technology.

Overall, Fauxtail is a nice place to live, and Fletcher's vision is upheld, with all citizens freely permitted to travel between districts. There are many freedoms, and despite the current council being... kind of incompetent, it's a strong presence in Ambiscale.

One major flaw of Fauxtail, however, is its active crime. In particular, a major organization of thieves operates, seeking valuable items and grasps for power over the city. This organization is known as The Butterfly Knives.

Headed by Elegy Witherwing, codename Emperor, the Butterfly Knives always seem to be one step ahead of the authorities, and have quite a reputation. They avoid undue violence, mostly operating similar to phantom thieves, with rather showy heists and bold declarations - though they certainly do not often send advance notice.

Their newest member, Lexi Fallows, joined up after facing hardship on the streets. A free spirit from the rural southeast Ambiscale, after her family moved, she left home as soon as she turned 18, for a myriad of reasons.

She found difficulty finding any income, and, left desperate, she found a home in an old metal shack in an alleyway behind a restaurant with a kindhearted owner. Still needing to pay rent and happening to see a lot of little injustices as direct result of the incompetency of Fauxtail's recent administration, she decided to seek out The Butterfly Knives. She was one of the few to recognize Elegy unmasked, and Elegy ended up recruiting her, both out of respect for her spunk, and also because of a protective motherly instinct.

Lexi is by far the most showy of the Knives, her heists often ending in a tense police chase, which drives Elegy crazy; but, she can't find it within herself to fault Lexi. After all, she gets the work done!

The story focuses on Lexi primarily, codename "Torch", as she navigates her heists... and has to avoid being found out by local magician-turned-detective, Miles Whiptail.

Miles is a born psychic, who's mostly trained himself in conjuration of illusions and telekinesis. His family shunned him for his abilities, and he ended up going independent as soon as possible, taking the only job he could - doing parlor tricks in dive bars around the city.

However, when he saw one of Lexi's heists covered on the news, it struck a chord - just how badly was the state of this city?! He had seen that hooded figure on the street just the other day, he was sure of it!

Wishing desperately that he had trained his divination more, he still sought a better use of his abilities, and thought that perhaps the law would find him useful. He found the November Detective Agency, headed by detective Sketch November, an independent investigator. Meeting with Sketch, he landed a job as an assistant investigator, now put on the case of the Butterfly Knives. Lexi has the most of his attention, as he often seeks her out and interrogates her, while she remains really good at deflecting his attempts.

Fauxtail also has a number of other storylines that interweave with the Butterfly Knives'! These include:

Alloy Netson, a tarantula girl, grapples with difficulty in her dating life, fearing loneliness despite her popularity in the club she frequents with her main friend group. With the realization that she's a lesbian, things seem to get even more difficult.

Cici Kyler, a premier pop star idol with a personal gimmick of being surprisingly accessible to talk to and interact with large swathes of fans, has to deal with the occasional consequences of her actions, while staying true to her heart.

Briar Deepfall, a famed sea serpent actor who stars as a movie monster, finds themself washed up and exhausted, seeking a change of pace from their usual movie stunts.

Shiny, an explorer cat who idolizes Aldrich Fletcher, finds herself falling for the pawn shop owner she sells her treasured finds to, Glossy the Crayfish.

Riley, a rural girl like Lexi, moves to Fauxtail and is enamored by the big city life, deciding to take up a job as a mailperson to fully learn the nooks and crannies of the city.

All of their stories build off of each other, whether they realize it or not, and may eventually set in motion one big domino effect... perhaps orchestrated by a more sinister presence than even the Knives.

This story is one of my favorites I've created, even though I'm not entirely sure how I want to eventually present it; for now, I will happily continue to keep drawing glimpses into the world and its stories, because I love these characters and have been working on this for quite some time now.

Thanks for listening to my rant! If anything interests you and you want to learn more, please feel free to send a DM, an ask, or reply on this post, I ALWAYS love talking about my stories and would love to answer questions or tell more about the characters or world!!

[qqueenofhades]

Is it selfish and entitled to be optimistic? I know a lot of shit is happening but a lot of good stuff is happening to and I just feel like their are people who are not right wing who just want the rest of us to give up.

Er..... no????

Sorry, this is just the exact kind of question that, when I see it, makes me wonder what sort of insane terminally online brainworms are invading the Discourse (tm) now and both be surprised and not at all surprised that you feel the need to ask. So much of online culture is about nihilism, especially in social media: everything's terrible, everyone's doomed, if you don't recognize that it's Doomed then you're either delusional or "lol neurotypical," and any attempts to change that narrative, push back on it, point out the good things, or insist that meaningful action is both necessary and able to make a difference are somehow Morally Wrong. It's tied into the entire idea that doing nothing is the best course of (non) action, we're all doomed anyway, and that it's better to accept that and aggressively insist that others agree, because conveniently, if everything's terrible and past hope anyway, there's no obligation to try to fix it. It's the real-world corollary of the grimdark fiction insistence that only evil, depression, death, and cruelty are "real," and everything else is naive, stupid, simplistic, saccharine, or otherwise unrepresentative of the "reality" of the Big Mean World. And just like... come on. That's not true. We all know it's not true. Shut up.

It's the same kind of culture that glamorizes depression and poor mental health, insists that any basic steps to help yourself are "ableist," or otherwise does its best to cling to its negative and disempowered mindset, rather than taking any responsibility for either an individual or collective situation and attempting, however small, to make a difference. I'm not surprised that therapy-speak has been yet again weaponized to insist that anyone who has any amount of hope or positive outlook is "selfish and entitled," but as your Local Wise Tumblr Elder, I can safely assure you that it's bullshit and you're under absolutely no obligation to believe it, listen to it, or incorporate it into your worldview or actions. Giving up and throwing up your hands is easy. The hard part is actually trying to change things, accepting that we live in a flawed world, and that it nonetheless does not need to be unmitigated misery at all times. It will not be everything, but it will be something, and it will matter. It will also make you feel better, and very probably, other people as well.

Anyway: you're right. There ARE good things happening. They don't get nearly as much press or play as the bad things, but they still exist, and they should be pointed out. If you're participating in discussions or groups that are pushing the idea that only the bad things are valid, and you're "selfish" for insisting otherwise, I suggest that you drop them or otherwise cut way back or set healthy boundaries. Because, it's just not true, it deliberately disheartens and demoralizes you from trying, and the only people who benefit from that are the fuckwits who are largely responsible for ruining shit in the first place. So don't let them get away with it even more and automatically apply this mindset to yourself before you even try. Etc. etc. you are not obliged to complete the work, but nor are you free to abandon it. So yeah.

[shenanigans-and-imagines]

Kore Character Sheet

Thank you to @anxident for the incredible commission of my new D&D character Kore.

If you're interested in seeing her in action, come join us on Twich for Barovia by Gaslight streaming this Halloween 11am EST.

Basics

Name: Kore

Alias: Katherine, Selena, Maggie, Alex, etc. 

Age: 28

Sexual Orientation: Demisexual, Panromantic 

Gender Identity: She/They

Species: Aasimar

Personality

General Personality Traits: Cautious, Melancholic, Loving

Flaws: Fearful. Fear of being caught, fear for her own life and the loss of those she holds dear drives most of her decisions. 

Bonds:  Nothing is dearer to her than the family she managed to scrape together and their loss haunts her every step. 

Regrets: Running and not standing to fight alongside her husband.

Backstory 

To say Kore was born into a religious household would be an understatement. Both her parents were clerics of Cyric and her birth was considered a blessing not just to them, but their entire congregation; a sign that their worship pleased their god. Kore grew up not as a little girl, but as an object to be placed on a shelf until its use was necessary. 

Her natural connection to the divine meant she could be used as a battery in various rituals, leaving her often drained and in considerable pain. Of course, once the ritual was over, she was not left alone. She was well fed and had a comfortable place to sleep. Her parents would tend to her and praise her for her suffering. Of course, she wasn’t allowed to go anywhere without one of them being there. A lock was placed on her door. When she did go outside, they made sure to cover her markings and ensure her eyes stayed down so as not to draw attention. 

The older she became, the clearer why they did all this. They did not want to kill their proverbial golden goose. What they didn’t count on was for her to pick up on a few things in the many sermons to the gods of lies. 

She ran away at sixteen and didn’t look back. 

For the first few years she simply wandered from town to town, getting what honest work she could and keeping her head down. She learned to cover the gold markings on her face. There was no hiding her eyes, but in a world of tieflings and magic, odd eye color could be easily dismissed. Of course, her parents wouldn’t let her escape that easily and eventually she’d have to move on. 

During one particularly close call, she ended up running straight into a young man named Ezra. The moment they made eye contact, they recognized each other as Aasimar. Without a second thought Ezra helped her back to her feet and pulled her some place out of the way, safe from her pursuers. He later revealed he thought they were after him. He and his party had a way of attracting unwanted attention. 

He led her to an out of the way area of the city where he and his companions were laying low; all of them Aasimar with similar stories to her own. They had all found each other in different ways and decided it best to stick together to keep each other safe. It didn’t take much convincing for Kore to join them. 

Kore spent the next ten years with them, moving from town to town, but never being without people she could rely on. 

It was also during this time she and Ezra became closer, falling in love and finally marrying much to the entire party’s joy. 

Despite all the danger and never knowing where they were going next, she felt well and truly safe with Ezra and her makeshift family. 

Of course, it couldn’t last. 

While staying in a quiet village, someplace they thought was safely out of the way of prying eyes, a group of mercenaries descended on the party. 

This wasn’t the over zealous cleric or opportunist thief they had dealt with in the past, but a coordinated attack. The party was quickly overwhelmed, but Ezra managed to get himself and Kore away from most of the fray. Making their way towards the cellar, Ezra swore he was right behind her, only she shut it closed the second she was through and locking it shut. 

Kore tried to push against it, but hearing the commotion overhead frightened her, making her freeze. Her silence possibly saved her life as the assailants never did go looking for the cellar door. 

She didn’t know how long she stayed down there. She didn’t move until there was complete silence overhead. 

Slowly she crept out of the cellar as was met with carnage. Her friends didn’t go down without a fight. Many of those who attacked them laid dead, but it was plain enough the mercenaries won in the end. To her shock though, she didn’t see any bodies of her companions. It was enough to give her hope. Maybe Ezra wasn’t dead. Her parents and others knew Aasimar were more use to them alive. She just needed to find him.

[tr0ub13d-t33n]

Abandon all Compassion

She saw the devil

Under the clear night sky

Entering the bar

Full moon, not a cloud in the sky.

Hotter than normal

Stuffy and dry

Enough to draw blood from her nose.

No tables

Just the isle around the pit,

Humid,

For only 2 people

Being 6 seats apart.

The reflection looking back

Someone I can no longer make out.

The more glasses

The less I can see myself,

Recognize myself.

By the 6th shot

Numbness ensures

Nothing is felt

Only a pair of eyes

Examining me

From the corner of my eyes

From the corner of the bar.

She saw the devil

Before she can say goodbye

Pulling a cigarette

Lucky 7

Down to an even 6.

Stepping out

Aiming to release the demons

One inhale at a time.

Lighter hanging on for life

Empty I suppose

A spark yet no flame follows.

A flame emerges

A lighter that is not my own

A black zippo

L engraved in Red

Held by the man

Who watches me from the corner.

Unexpected, caught by surprise

No indication of where he came from

A face hard to forget.

6’6

A blank expression

Not a wrinkle

Not a flaw

Jet black hair,

No tattoos, no markings

Well kept to say the least.

Reached in his pocket

Reds

100’s

6 down to 5.

A breeze picks up as he stands by my side

Not a word uttered

Enjoying the silence between two strangers

Under the flickering street light.

She saw the devil

In human form

The last thing before he made himself truly known

Him: “They call me L

Her: Whose they

Him: Can’t say

Im not from around here

You?

Her: Not from this area

Him:Which area do you belong too

Her: Can’t say

Him: Hm…

Her: Why were you looking at me in there

Him: You remind me of someone I once knew

…

Her: What brings you here?

Him: I can ask you the same question

Him: To have a drink

You?

Her: To get away, I wanted somewhere to go. I feel lost in my life

Him: Well I guess now you’ve been found.

I saw the devil

I though he existed only in my head

“I guess now you’ve been found”

Strange to say the least

But not unexpected at a place like this.

“Abandon all Compassion”

Is the last thing I saw

Before I entered to get my things.

Written on the walls as I exit

Never noticing it when I entered.

A long walk home

The worst time to wear heels,

What was once a humid night

Now sends shivers down my spine.

Not a soul in sight

As I walk under the city lights

6 more to go until

Im abandoned,

Walking in the shadows

The moon being my only light.

Caught in the middle

Lighting a smoke to warm me up,

Struggling to light the flame

In the distance I see a red light.

Engine grows louder the closer it gets

Full speed like its running away…..

Or chasing after something in the distance.

Running

Not wanting to find out what happens if I stay

Getting closer and closer

Cant seem to get away

Collides with me,

Landed a feet ahead

Impact so strong

Ive seemed to have hit my head.

I open my eyes

As if I had woken up from a dream

It felt so real

Unsure of where I am now.

Some man hovering over me assuring im okay

His bike parked in the middle of the road

I can’t seem to see his face.

Pitch black

No light between us

I can’t find the moon in the sky.

Just wanting to get home

I hitch a ride.

Something feels different

I no longer feel cold,

I feel lighter on my feet

Heels no longer holding me down.

Sitting in the backseat

As the engine begins to turn

The lights go.

I look back

A body lays in the distance,

A blood trail leads to the bike,

Only to realize the man that found me

Was no man at all.

Horns as sharp as knifes

Protruding through his skull

Once well kept

Now red and disfigured

With a menacing smirk on his face

As we drive off into the night.

I saw the devil

Before he un alived me, leaving me for dead.

GSC 10/26/22

[rachellaurengray]

Breaking the Illusion: How to Recognize and Avoid Idealization

Idealization is a slippery thing. It often begins innocently, with the desire to see the best in someone or something, to believe in the potential, or to dream of a future that sparkles with possibility. But when the Moon Square Neptune energy is in play, that gentle tendency to focus on the positive can quickly turn into a foggy, distorted perception of reality. Under these conditions, it’s easy to slip into seeing people or situations through rose-colored glasses, magnifying their virtues while conveniently ignoring their flaws.

The problem with idealization is that it clouds our judgment, making us more likely to project our desires and fantasies onto others. Instead of seeing things as they truly are, we see them as we want them to be. And this can be dangerous—because reality has a way of asserting itself, often leaving us disillusioned, disappointed, or even heartbroken when things inevitably fall short of the vision we’ve created.

How do you know if you’re idealizing someone or something right now?

Start by checking in with yourself. Ask:

Am I holding this person or situation to an impossibly high standard, expecting perfection?

Do I find myself ignoring red flags, brushing aside doubts, or pretending that everything is fine when it really isn’t?

Is my perception of this person or situation more about my hopes and fantasies than about the reality of what’s happening right now?

Have I overlooked important facts or practical details in favor of an emotional narrative that feels more comforting?

These questions can help you recognize when your perspective is being influenced by idealization rather than objectivity. The tendency to view someone or something through an idealized lens often comes from a deep emotional place—our desires, needs, and even fears. But when we fall into this trap, we risk becoming disconnected from what’s truly present, and from the flaws or challenges that are part of any real relationship or situation.

So, how can you avoid idealizing things right now?

Take a Step Back The first step is to pause. In moments of emotional intensity, it’s easy to get swept away. Take a deep breath and step back to evaluate the situation objectively. Ask yourself: What are the facts? What is actually happening? What are the actions, not just the words or promises? This helps you separate reality from illusion.

Ground Your Expectations Idealization often arises from unrealistic expectations—expecting someone or something to meet all your desires without fail. Revisit your expectations and make sure they’re rooted in reality. Reflect on: Are these expectations realistic? Can this person or situation genuinely meet these demands, or am I setting them up to fail?

Focus on the Present, Not the Fantasy Often, idealization is fueled by what could be, rather than what is. You might get lost in imagining the future, in the dream of what this person or situation could become. But idealizing the future only blinds you to the present reality. Ask yourself: What is happening right now? How does this person or situation show up in the present moment, not just in my imagination?

Seek Objective Perspectives Sometimes, we need an external viewpoint to help us see clearly. When you feel like you’re too emotionally involved to assess the situation impartially, seek the advice of a trusted friend or mentor. They may help you see what you’re missing and offer a fresh perspective. Ask: What would someone who isn’t emotionally invested in this situation say? What insights do they have that I might have overlooked?

Embrace Imperfection One of the most beautiful aspects of life is its imperfection. If you’re idealizing someone or something, it’s often because you’ve focused on their best traits and ignored their flaws. But the truth is, we’re all imperfect, and that’s what makes us human. Reflect on: Can I accept the imperfections in this person or situation? What would it look like if I embraced the full picture, flaws and all?

Stay Grounded Finally, cultivating grounding practices—like journaling, meditation, or mindfulness—can help you stay rooted in the present and prevent you from getting lost in fantasies. A grounded mindset helps you view situations more clearly and make decisions based on facts, not feelings. Ask yourself: How can I stay present in this moment, and avoid getting swept away in an emotional fantasy?

Final Thought Idealization might feel comforting in the short term—it offers a sense of hope, excitement, and possibility. But the truth is, when we put someone or something on a pedestal, we’re setting ourselves up for disappointment. To avoid this, we need to see the situation as it truly is, not just as we wish it to be. By embracing reality—imperfections and all—we can cultivate more genuine, grounded relationships and make choices that are in line with who we truly are. Only then can we find the peace of mind that comes from seeing things clearly, without the distortions of idealized dreams.

[dnd-shenanigans-ensue]

Kore Character Sheet

Art done by the incredible @anxident. Please go support them however you can.

This is a repost from my other blog as I try to consolidate all by D&D rambles into one place.

If you’re interested in seeing her in action, come join us on Twitch for Barovia by Gaslight streaming every Thursday 11am EST.

Basics

Name: Kore

Alias: Katherine, Selena, Maggie, Alex, etc. 

Age: 28

Sexual Orientation: Demisexual, Panromantic 

Gender Identity: She/They

Species: Aasimar

Class: Rogue

Personality

General Personality Traits: Cautious, Melancholic, Loving

Flaws: Fearful. Fear of being caught, fear for her own life and the loss of those she holds dear drives most of her decisions. 

Bonds:  Nothing is dearer to her than the family she managed to scrape together and their loss haunts her every step. 

Regrets: Running and not standing to fight alongside her husband.

Backstory 

To say Kore was born into a religious household would be an understatement. Both her parents were clerics of Cyric and her birth was considered a blessing not just to them, but their entire congregation; a sign that their worship pleased their god. Kore grew up not as a little girl, but as an object to be placed on a shelf until its use was necessary. 

Her natural connection to the divine meant she could be used as a battery in various rituals, leaving her often drained and in considerable pain. Of course, once the ritual was over, she was not left alone. She was well fed and had a comfortable place to sleep. Her parents would tend to her and praise her for her suffering. Of course, she wasn’t allowed to go anywhere without one of them being there. A lock was placed on her door. When she did go outside, they made sure to cover her markings and ensure her eyes stayed down so as not to draw attention. 

The older she became, the clearer it was why they did all this. They did not want to kill their proverbial golden goose. What they didn’t count on was for her to pick up on a few things in the many sermons to the gods of lies. 

She ran away at sixteen and didn’t look back. 

For the first few years she simply wandered from town to town, getting what honest work she could and keeping her head down. She learned to cover the gold markings on her face. There was no hiding her eyes, but in a world of tieflings and magic, odd eye color could be easily dismissed. Of course, her parents wouldn’t let her escape that easily and eventually she’d have to move on. 

During one particularly close call, she ended up running straight into a young man named Ezra. The moment they made eye contact, they recognized each other as Aasimar. Without a second thought Ezra helped her back to her feet and pulled her some place out of the way, safe from her pursuers. He later revealed he thought they were after him. He and his party had a way of attracting unwanted attention. 

He led her to an out of the way area of the city where he and his companions were laying low; all of them Aasimar with similar stories to her own. They had all found each other in different ways and decided it best to stick together to keep each other safe. It didn’t take much convincing for Kore to join them. 

Kore spent the next ten years with them, moving from town to town, but never being without people she could rely on. 

It was also during this time she and Ezra became closer, falling in love and finally marrying much to the entire party’s joy. 

Despite all the danger and never knowing where they were going next, she felt well and truly safe with Ezra and her makeshift family. 

Of course, it couldn’t last. 

While staying in a quiet village, someplace they thought was safely out of the way of prying eyes, a group of mercenaries descended on the party. 

This wasn’t the over zealous cleric or opportunist thief they had dealt with in the past, but a coordinated attack. The party was quickly overwhelmed, but Ezra managed to get himself and Kore away from most of the fray. Making their way towards the cellar, Ezra swore he was right behind her, only she shut it closed the second she was through and locking it shut. 

Kore tried to push against it, but hearing the commotion overhead frightened her, making her freeze. Her silence possibly saved her life as the assailants never did go looking for the cellar door. 

She didn’t know how long she stayed down there. She didn’t move until there was complete silence overhead. 

Slowly she crept out of the cellar as was met with carnage. Her friends didn’t go down without a fight. Many of those who attacked them laid dead, but it was plain enough the mercenaries won in the end. To her shock though, she didn’t see any bodies of her companions. It was enough to give her hope. Maybe Ezra wasn’t dead. Her parents and others knew Aasimar were more use to them alive. She just needed to find him.

[fipindustries]

todos los demonios estan aqui

you've probably heard me mention multiple times that one of my favourite novels of all times is"la battala del calentamiento", an argentinian novel about a man who suffers from gigantism going on a trip to the argentinian south and encountering a strange little village there with strange people living in it and becoming the step dad of a girl with magical powers.

well, the writer of that book is called Marcelo Figueras, and it just so happened that a couple years ago he published a new book called "todos los demonios estan aqui". so, obviously, i had to read it.

it was fine i guess.

the book reads like a suspense horror movie, i could see A24 adapting this one day, with strong influences from stephen king. a psychiatrist is hired to work at a strange mental hospital, tucked away in an old mansion in a distant island in the middle of the Delta (an important argentinian river). soon he comes to find out that place is a lot stranger and much more sinister than he thought at first.

the twist at the end is that actually the institution, as well as all its franchises, are actually franchises of hell. the "patients" in those hospitals are all damned souls trapped in their bodies on earth, unable to access heaven. the goal of these hospitals is to treat those people and give them a second chance to repent and redeem themselves. our main character accidentally lets a patient escape and it turns out that patient was john gacy, the clown serial killer.

highjinks ensue.

its a pretty decent mystery book, the clues are doled out slowly and the reveal is satisfactory. although i feel the premise was never properly explored. as soon as the big twist is revealed we jump into the third act and we never really a breather to explore in more detail the implications of this (there is a throwaway line that hitler and stalin are also patients of this hospital in other countries) the only two "infamous people from history" we get to see are john gacy and ottis toole.

as a story its pretty decent but there are a couple of aspects that hold it back to me. first, as i said, most of the book is spent unraveling the mystery and once the premise is finally revealed in full we barely have any time to really explore it or let it sink before we rush to a typical horror movie third act serial killer type fare.

second, the main character is very unlikeable. he is a middle aged man who is EXTREMELY divorced, the most divorced man in the conurbano. with all the typical flaws associated. hates his ex, has only eyes for his son, is constantly oogling other women, he is a bit of an alcoholic, has a bit of a temper, is kind of a lonely loser, etc.

third, this book has what is probably the most out of place, shoehorned, tacked on sex scene i ever came across in a story. is completly ridiculous and the only explination i can find is that the writer got a sudden and uncontainable attack of hornyness as he was writing the book and he just had to type that scene with one hand while the other was occupied.

finally the happy ending kind of strains belief. the guy fucks up, he fucks up massively. he lets a serial killer escape from the hospital because he thought he was "harmless", the guy went on to kill two people, torture his ex and molest his son. a lot of energy and personel from the hospital had to be used to recapture the guy. the fact that he was not fired for this and gets to have a happy relationship with his son by the end of it all is absolutely ridiculous. it would have taken me out of the novel if it wasnt for the fact that it ends there.

honestly this book is more interesting for its premise and the fuel it gave me to extrapolate interesting stories in this world than for the book itself. like damn, who else is in these hospitals? how do they get them from the moment they die into these places? how do they make sure nobody recognizes them? i want to see how they handle guys like hitler, or charles manson or margaret tatcher.

in the epilogue we see the guy taking on a new patient, Mister J, who turns out to be his abusive father who was a colaborator with the military dictatorship of the 70's. i don want to see just a page dedicated to that, we could have had a whole novel based on that alone!

so yeah, competently written but with a few stumbles here and there that end up making the whole experience a lot more frustrating than it needed to be

7/10

[rayclubs]

Ever since watching Live Action One Piece, I can't stop thinking about how good the writing is in the actual show, so I'm going to seriously analyze it for my own fun and pleasure.

OP is kind of notorious for being nonsensical, whimsical, goofy and not particularly loaded with themes and heavy-to-grasp concepts, so a lot of people think of its arcs as mere sequences of events without an underlying thematic structure. This is what the Live Action gets wrong, but to the original show's credit, the formula is so intricately woven that you can't easily define it like in other serialized media. It's also a bit more... Nebulous? Okay, I can explain.

At least four of the earliest arcs follow the same formula. I'm sure it applies to later arcs too but they get longer and things become muddled down the line - not in a bad way, the core concepts still apply, just differently, so I'm only going to talk about the first four important ones. The formula is this:

The main character, Luffy, is introduced to another character who, in one way or another, displays a character flaw that prevents them from achieving their goals and dreams.

They encounter a foe who displays the exact same flaw in a different way.

Luffy confronts the foe on moral grounds and demonstrates a virtue that overcomes and overpowers the villain, leasing him to victory.

The newly introduced character, inspired by Luffy's example, experiences a change of perspective, which helps them overcome their own flaw and take a step towards their goal.

If you're thinking that sounds about right, then holy shit, our wavelengths. If, more likely, you're thinking "this is kinda far-fetched", then oh boy do I got proof of concept for you.

It's incredible how clear and well-executed the parallels between heroes and villains are. Like, okay, listen, here's Zoro's arc.

The villain, Axe-Hand Morgan, is a self-assured, self-centered tyrant who treats his comrades and subordinates as expendable tools and has no loyalties except to his own greatness.

Zoro isn't a tyrant, he's kind-hearted and has a strong moral compass, but he is still flawed: like Morgan, he doesn't have any loyalties except to himself. He's self-assured as hell. We learn later that he used to have mercenary friends but they went their own separate way at some point, and when they meet again, Zoro shows no clear loyalty to them - he's kind-hearted, so, of course, he cares, but he was never bound by their alliance and obviously considered the three of them to be drawn together by coincidence.

And to be clear, in the world of One Piece that is a flaw. Most characters swear allegiance to factions - pirate crews, marines, revolutionaries, other groups - and draw strength from them. Villages and towns are shown to survive hardships through unity and companionship.

Even Zoro's ultimate goal, the person he swore to defeat in mortal combat - Mihawk - although he appears solitary and not "bound" to a crew or a cause, we learn later that he is affiliated with the government. But that's a bit off-track.

While trying to save Zoro from execusion by Morgan, Luffy demonstrates a stubborn determination to work together. As soon as he recognizes that an injustice has been done to Zoro, he works not to solve the problem by himself, but to help Zoro deal with it. While another character tries to free Zoro from captivity directly - literally untie the ropes that are holding him - Luffy hands him his swords first.

Notably, Zoro is the only main character who defeats the main villain of his arc, all others are defeated by Luffy. I say "notably" because Zoro specifically is ony able to achieve this through cooperation with Luffy.

As the show goes on, Zoro's loyalty quickly becomes one of his core traits.

That's just one of them, so let's do Usopp's arc next.

The villain, Kuro, is a pirate captain who gave up his name and title. He is trying to turn away from who he is, remake himself into someone new through deception and trickery.

Usopp is doing the exact same thing, albeit in a decidedly more innocent way. He lies about his heroic feats and achivements, about his strength and the size of his crew, about practically everything. His lies aren't a flaw per se, as he never stops lying in the future. It's not his cowardice, that doesn't change much either. It's his conflict with himself. He's a pirate but he isn't. Pirates are coming but they aren't. He's proud of his heritage but he doesn't really get to be proud all that much until Luffy comes along.

Luffy defeats Kuro by being a better pirate, or by being better at being a pirate, or by being a pirate at all. Luffy has simple, clear-cut views and ambitions, he knows what kind of person he is and what kind of person he's trying to be, and he lives by it. That's the virtue.

As Usopp says his goodbyes before leaving his village, he gathers his little "crew" of kids together and makes them state their ambitions - one wants to be a writer, another dreams of owning a bar, etcetera - this is him imparting a lesson he just learned himself, on knowing who you want to become and living to be that person.

Usopp's best friend Kaya, inspired by him, resolves to become a doctor.

All this is also a showcase of Usopp's legacy, but don't get me started on legacy in One Piece, we'll be here for an hour.

So there we go. Let's do Sanji's arc next, it's way easier than Usopp's 3D chess pirate-gender.

The villain of the arc, Don Krieg, engages in malicious dishonesty to secure advantage in battles because he doesn't believe himself to be prepared enough for the journey he's undertaking.

Sanji is exactly the same but without the trickery. He justifies his inaction with the vague concept of being indebted to his mentor, even though his mentor considers the debt fully paid and sincerely wants him to live his own life.

Luffy defeats Don Krieg via stubbornness, bravery, endurance and ingenuity. It's similar to his other fights and not emphasized enough, which is probably why it's always been one of the more boring parts to me personally, though it's still wonderfully executed.

More importantly, Luffy reduses Sanji's mentor's journal, stating he wants to have his own adventure, not follow in someone else's footsteps. This is almost word-for-word the lesson Sanji needs to learn. Get out of there and do your best, you're ready, you'll never be more ready than you already are.

And finally, Nami's arc.

The villain, Arlong, believes himself to be inherently superior to those around him. If he recruits help, it's out of convenience, not necessity. If he forms bonds, they're business, not camaraderie. He does care for his fellow fishmen but that has more to do with the extended fishmen backstory and politics than anything so I won't touch on it.

Nami is equally flawed by hubris. She thinks she's better, more competent, more capable than the people around her, she has that complex you get when you don't have any friends in high school and end up doing all the group projects by yourself.

While fighting Arlong, Luffy makes a point out of stating and showing his own reliance on his own crew, and even lists off the skills they excel at that he himself doesn't possess. It's very on the nose but still awesome to watch.

He then absolutely fucking wrecks Nami's old prison-slash-workshop, demonstrating symbolically that, while her skill is great and important, it's not the main reason he values her as a crewmate and friend.

Nami gets over her hubris, begins to rely on others as allies more than assets, and relaxes a little about her paranoid hypercompetence. Good for her.

Okay so hopefully this convinced you. This was also going to be the part where I go on a long tangent about why Live Action One Piece fails on so many levels but then I realized I'd need a whole separate post for that, so I'm just gonna state the main point and leave it at that.

Netflix screenwriters seemed to have watched One Piece (roughly up to episode 130) and decided the arcs did not have any thematic uniting element even though they clearly did, as per above. They proceeded to rework the plot to introduce what they thought would work as unifying elements (introducing Baroque Works early, having Coby in every episode, cutting out Don Krieg and replacing him with Arlong) which inadvertently undermined the story structure and ruined the show.

Anyway, there's more. One of the earlier arcs is Buggy's arc which follows a different format. It doesn't see any new additions to the crew but it does see Luffy's worldview challenged by an outside force. This is an early example of a Luffy arc. Other examples include Loguetown, Jaya/Skypiea, and Foxy's arc (regrettably). Also Marinford and the events prior but that's, like, self-evident, I think. This story format borrows from classic romance literature and is way more straightforward. Buggy being an early example of it in the show, while being a comedic element himself, also introduces a lot of these story concepts. His journey could also be considered somewhat parallel to Luffy's, but that's a bit of a stretch, to be honest.

I completely forgot how I was going to end this analysis but hopefully reading it was worthwhile anyway. Live Action One Piece sucks. Cheers!