#which does happen! and it's good! because we evolve! and that's a good thing!

[smalldeerofmine]

You've heard about "Historians would call them friends", now get ready for "Modern sources refer to them as gay"

[drchucktingle]

reverse call out post

i have noticed that SOMETIMES it really bothers folks to discover i am sincere and not playing a character. that tinglers are deep artistic expression. i think it  because these few buckaroos are often kind and even politically left but had problematic ways just a few years back

these buckaroos are forced to confront their previous assumptions about neurodivergence and queerness, which is bound to happen as time trots on and cultural landscape evolves. but this sudden realization they have about themselves apparently MUST be ignored and pushed away

theres BIG TIME buckaroos on this very platform who publicly made fun of and gatekept my autism. these posts are STILL THERE. folks questioning my bisexuality. and these are buds who at one time worked with chuck and were pretending to ‘like me’ in way that i now see was irony

these are a previous generation of liberal ‘comedy forum’ buds who laugh and laugh at ‘ridiculous bad erotica’ and wrote as a money scheme. those who would later say with concern ‘chuck tingle is homophobic for making fun of queer erotica’. the same THEY might gleefully write

and i think their reaction is a way to deal with truth that THEY were doing these things ironically and have ABSOLUTELY NO CONCEPT that someone else couldve been creating joyful queer neurodivergent art during the same timeline with sincerity instead of irony.

so now as chuck gets taken more seriously they have to confront something. question of ‘wait, was i laughing at a real person the whole time? was i calling someone homophobic when in reality it is much more homophobic to MAKE that accusation, because queerness is not a monolith?’

old posts calling out chuck as fake, dehumanizing me, gatekeeping my place on spectrum of autism AND sexuality are still up. they wont be addressed because these folks cannot ever acknowledge they treated someones very existence as a joke. they will not admit THEY needed to grow

and honestly buckaroos, I FORGIVE THEM. nobody is dang perfect and the internet is swirling with irony poisoning. those folks on old forums were BATHING IN IT DAILY. it does not bother me because it is the past, but pondering on it during moments like this i am compelled to write

i do not bring this up to punish for past, but to hope buckaroos remember lesson in the future: you do not need to gatekeep. you do not need to make yourself the arbiter of others lifestyle and identity. you do not need to score online points as a way of proving your goodness.

proving love is complicated sometimes, and a big part or that complicated journey is accepting there are some unique buckaroos out there, buds who actually ENJOY making neurodivergent art and expressing their queerness in unique ways. who need time to learn THEMSELVES through art

it is my belief and suggestion that buds allow others this space. to accept them as they come. to TROT WITH THEM INTO THE FUTURE. thats a heck of a way to prove love is real. i think we can make this trot of sincerity together and DANG am i looking forward to it. LOVE IS REAL

[clonerightsagenda]

May I ask what the 'no sex in space' rant is? Zero G sounds like fun :<

The space sex rant is my passion. Possibly because I have no emotional investment in the act so when it gets broken down into weird biology and mechanics by the cruel forces of physics, I find it kind of fascinating.

Sticking this below the cut because it will get long. My primary source is Packing for Mars by Mary Roach, but A City on Mars gets into the same issues. Yes, at least two books have entire chapters devoted to the space sex problem.

Note that this is all assuming microgravity. Many of the problems go away if you have artificial gravity, which we haven't cracked yet beyond building centrifuges. Your Star Trek fanfics are safe. So without further ado, and in no particular order, reasons why you probably shouldn't have sex in zero gravity and it probably wouldn't be that fun if you did:

The infamous 'no boners in space'. Since we're evolved to live in gravity, our bodies compensate for it by putting more effort into getting fluids above our heart. In microgravity, that's unnecessary, so you end up with fluid shift - more fluids, including blood, in the upper body. Your total blood volume also goes down. This would make an erection more difficult, and in fact most astronauts interviewed for whom this would be relevant claimed they didn't get any. The outlier here is Mike Mullane, but having read his memoir, he is the kind of guy who would lie about that. Now, as I touched on while despairingly liveblogging Barrayar, that does not prevent you from having a good time. However less blood flow would presumably mean less sensation in general for anyone below the belt. Or if you stimulated too much blood flow, with the lower total blood volume, perhaps that 'got dizzy because I got horny' joke will actually come true.

In microgravity, body heat and CO2 don't disperse the same way they do in regular atmosphere. Astronauts have to make sure they sleep in well-ventilated areas and are also trained on symptoms of CO2 poisoning. If multiple people are in an area exerting themselves, that buildup will happen faster and would need to be taken into account. It would be super embarrassing to suffocate crammed into a closet for some hanky panky.

The laws of motion are not your friend here. I've seen videos of astronauts pushing themselves across the room with a strand of hair. If you're trying to hold onto someone, you'd either want a relatively small space (maybe not a great idea, see point 2) or hold on really well. One astronaut Mary Roach interviewed suggested duct tape. Perhaps fuzzy handcuffs are critical here. Still you're going to need to put a lot of thought into every move you make.

Space is gross. :( Right now astronauts just wipe themselves down with clothes and dry shampoo. "Skin flakes" is a serious problem. Also we're still not entirely sure why, but astronauts develop awful body odor. According to Mary Roach again, while armpits are famous as a BO source, apparently the crotch is as well, it's just that those regions are typically further from our nose. So idk if anyone's going to want to get that close and personal with anyone else while they're up there. Then again I'm sure people have hooked up in grosser situations.

I'm probably forgetting some tidbits since I just woke up, but in summary, zero gravity sex would need to be carefully choreographed, require some equipment (fan, fasteners), and probably wouldn't even be as enjoyable as its Earthnorm counterpart. It's a good thing that's not what anyone's up there for.

[who-is-page]

I've seen (typically older) therians talking about how they feel that their subculture as animal-people and nonhumans is slowly disappearing. This is a point that, in all honesty, I'm inclined to agree with-- although I think I'd perhaps frame it less as "disappearing" and more as just "changing."

Because let's be honest with ourselves here: is the subculture actually vanishing, or is it just evolving into radical new dimensions as excited newbies join and find different focal points for their nonhumanity? As they express themselves in whole new dimensions and ways, as they explore a digital landscape that didn't exist ten, twenty years ago? As the older members lose touch with the newer members, and no one bridges that gap between the two?

I think I'm also extra frustrated because when I see these discussions go down, a lot of the time they're either 1) self-pitying, or 2) finger-pointing.

It's not bad or wrong to look around and realize that the community you found comfort in has changed in ways you could have never predicted and which leave you feeling off-kilter. But approaching these changes with a complete lack of curiosity, with an absolute woe-is-me sort of perspective, where you drag your feet and glare bitter daggers at everyone else, isn't the way to do anything.

And going around trying to pin blame on whoever happens to be at hand is an even worse way to approach it. "It's the furry fandom's faults!" "It's the alterhumans' faults!" "It's the humans' faults!" Who does this approach realistically help? What does this do, beyond ostracize people and make whoever is saying it feel temporarily vindicated in their solitude, in a vicious cycle where they never step out of their ivory tower and always use how alone they are as "proof" that they're right?

I think having discussions about the ways the subculture has changed is extremely worthwhile. But I think that they're at their best when enthusiasm over sharing takes a main, central point. When you see people excitedly telling others about Werecards for the first time, or when you get to introduce someone to the concept of personal websites and webrings, or when you link someone who's only just starting to learn that there's others like them to old and new groups and forums alike. These are the ways you keep those traditions alive, these are they ways you get people both informed of and really excited about them.

And like, maybe I'm just cheesy and optimistic, but building bridges is way more fun than building walls! And more than that, I also think it's fundamentally something that's significantly more helpful and productive. I'm always so hype when I see community projects taking off that involve connecting many different people, especially if they're centered on a specific group or identity, but I also think that those sorts of things are how we keep a community healthy and moving, how we avoid things getting stagnant and rotting away.

I've said it before in past essays I've published and I'll say it again: alterhuman communities survive through their internal momentum. We're still around and kicking because we're a bunch of opinionated, passionate animals and objects and entities and people and concepts and and and-- this is what we are! This is how we all, both together and individually as separate groups, continue to be around. We write. We argue. We dance. We leave tracks. And then others see all those things, months or years down the line, and they know they're not alone. They know that it's okay to join in around the campfire, and they end up leaving their own tracks, and the cycle repeats.

So I guess what I'm saying here is that I'm not just beseeching people to create, but I'm asking you to create with others. To extend that paw towards the people around you in your immediate community spaces and wider, and to realize that yeah, the digital grains of sand and time might erode and change the landscapes we're all in, but we can still have a damn good time exploring the new nooks and crannies around us and showing others our old hidey-holes and favorite spots to watch the sun set.

[lazyevaluationranch]

*pats askbox gently* there are more Thermoreceptors?

(I'm sorry ur dome was so hot; I hope its much cooler now!)

My bluff has been called! Hooray!!

I am not a neurologist, a biologist, or a scientist. If anyone with better credentials than "obsessed with emergent properties" contradicts me, listen to them instead.

Cell membranes include little portal proteins that open under certain circumstances based on the shape of the protein and let chemicals into and out of the cell. These portals are useful for all sorts of things: managing water and nutrients, sending messages to nearby cells, serving the whims of tiny intercellular cats. Science hasn't found the tiny intercellular cats yet, but we all know they're there; the existence of a door that can be opened necessarily implies an indecisive feline.

Some protein shapes open up if the temperature is within a certain range. This means that if a cell with that sort of protein in its membrane experiences a temperature in the right range, it will move some chemicals around. This is used to make nerve cells that send a message towards the brain whenever they experience a certain temperature.

Because evolution does all its best work the night before the deadline while on a Code Red Mountain Dew bender, the opened-by-temperature portal proteins are mostly copied from opened-by-a-specific-chemical portal proteins. All of them, in fact, still open for specific chemicals, which means there exist out in the world liquids you can put in a bottle that most animals will instead perceive as "a temperature between 8 and 26 degrees" So things can get a little weird.

Temperature-opening portal proteins:

TRPA1 Opens for temperatures below 12C (not air temperature, skin or body temperature, so you might be kind of in trouble when this happens). Used by hunting snakes to detect where heat isn't so they can find prey. Feels painful in an itchy sort of way.

This one also opens for allyl isothiocyanate. Many plants have evolved to take advantage of the existence of a chemical most animals perceive as itchy pain, especially horseradish and wasabi. Allyl isothiocyanate is harmful to plants, so they keep two separate components in tiny compartments. When an animal bites the plant, the compartments break open their contents mix to create allyl isothiocyanate.

"This plant tastes like itching" is a good defense against almost all animals, but some humans have taught themselves to appreciate the taste of itching.

TRPM8 Opens for temperatures between 8 and 26 degrees. Opens for menthol (peppermint, spearmint, wintergreen) and linalool (roses, orange blossoms, basil). Feels cool or cold.

"This plant tastes like cold" is a somewhat less effective defense against being eaten than "this plant tastes like itching" but it's a more widespread defense because TRPM8-activating chemicals don't harm plants and don't need elaborate two-part storage.

TRPV4 Opens for temperatures from 27-37 C. I'm not sure what this one feels like, or if even feels like anything, since it covers normal human body temperatures. Whatever feeling we get from this one, we're feeling it nearly all the time.

Plants do make a chemical that tastes like this temperature, and it can repel nonhuman creatures with different body temperatures: allicin, the flavour of garlic. Like allyl isothiocyante, it is stored in two compartments inside the plant, and combined when the plant is bitten.

Maybe this is why vampires abhor garlic. There is a feeling that, as humans, we always have. Something we don't notice, something deeper than touch. That feel disappears forever when you become a vampire, except those unbearable moments when garlic returns to you for a fleeting moment the experience of lost humanity.

TRPV3 Opens for temperatures 33-39 degrees. Opens for eugenol, found in cinnamon, nutmeg, bay leaf, holy basil, ginger, allspice, and cloves. Feels like warmth.

Plants with high quantities of eugenol, like holy basil and Japanese star anise, are sometimes sacred to buddhists because they smell nice and bugs don't like to eat them, so you can burn them as incense without worrying about all the little crawly guys.

Humans apparently think food that tastes like "warm" is comforting.

TRPV1 Opens for temperatures over 43 degrees. (The one I was experiencing in the overheated dome, which I had never felt from air before) Opens for capsaicin, the active chemical in hot peppers. Opens for the combination of temperature and acidity of fevers and infected wounds. This one we feel as pain, as burning, as flame.

TRPV1 says: Your flesh is failing, and your doom is very near.

Humanity says: This is incredible. We are going to breed plants that cause this sensation as much as possible, and we will spend thousands of years getting it right. We are going to dry this and powder this and flake it and grill it and ferment it and eat it with everything.

And when we leave earth and go into space, we take hot peppers with us. Without gravity, fluid builds up in nasal passages, and astronauts sort of have colds the entire time they're in space and can't smell food very well. But the Nearness Of Your Doom is not a smell and is not perceived by the nose, so - with their doom always on the other side of ten centimeters of insulated aluminum - astronauts can taste hot peppers. In 2002, Peggy Whitson, commander of the ISS, jokingly refused to let a replacement crew on board until they handed over the hot sauce.

We are a strange and wonderful species.

[marzipanandminutiae]

Do you know much about historical cuisine? Saw yet another anime with friends and they went the whole 'modern food always tastes better' bit. I feel tired of the trope and am wondering how different historical cuisine would taste compared to modern times. So anything you happen to know as a historian would be cool to know!

That varies MASSIVELY based on time and location. Like. Much more than fashion does, even, I'd imagine (in a given sub-region- I can talk about Mainstream European and Euro-American Fashion of the 19th CenturyTM but the food was so different in different countries that were dressing the same, if that makes sense? just as an example).

Food is often more globalized in a lot of places nowadays, so the characters might have more diversity of flavors from the regional norm than they're used to. But this could be a good or a bad thing- a woman from 17th-century Japan might love pizza and much sweeter Western pastries, or she might absolutely hate them. Which is not to say regional cuisines haven't evolved, too- a museum here in Boston used to have tastings of 18th-century-style hot chocolate, and it was very different from the modern sort. But that's the largest blanket difference across the globe that I can think of, food-wise.

Not sure what anime this was, so it could have been Japan-specific, but I feel like this gets applied the most to the 19th-mid 20th century UK and United States. The whole Captain America line about "food's better; we used to boil everything," for example, and the general belief that everything was bland mush in those areas until the 1950s and then it was incomprehensible Jell-O mold horrors until approximately the 1980s. And of course, none of that's true- there were plenty of dishes that used spices and different cooking methods, many of which are still popular today. See also: Jonathan Harker, a Normal 1890s Englishman, getting so rhapsodical about paprikahendl that he simply must have the recipe for his fiancee to make. There also WERE bland mushes and fluorescent nightmares, but there's less than ideal food today, as well.

(Note that I'm much less confident talking about the whole English StodgeTM thing as we get into the 20th century. That is outside my history wheelhouse and there's a lot of different stuff embroiled in it relating to class and such that I don't want to talk out my ass about. All I know is that I've seen plenty of recipes from as late as the end of the 19th century, from England and some from urban Scotland if I recall correctly, that made ample use of spices. Nutmeg, mustard, black pepper, rosemary, caraway, and cayenne pepper were especially popular (not all together obviously). There was a belief among the middle and upper classes that strong flavors of garlic and onion were distasteful to ladies, but the fact that cookbooks and such feel the need to mention it implies that those elements WERE being used in cooking generally, in the UK, at that time. So wherever the idea that All British Food Is Beige And Tasteless came from, it wasn't mainstream late Victorian cooking for adults as far as I can tell)

(They gave kids a fair amount of the beige and tasteless because they believed their digestive systems couldn't handle strongly-flavored- okay now I'm getting off topic. Read Ruth Goodman's "How To Be A Victorian." Anyway!)

tl;dr- The answer to "is modern food better?" is "that's literally impossible to answer as a blanket statement, since it's massively dependent on the character's original time, place, social status, and personal taste- and where they end up in the present, of course."

Now, I do agree that the trope is annoying the same way every single princess being totally shocked and appalled when her marriage is arranged gets annoying- not because it can't be true based on history and human behavior, but because fiction treats it as some kind of universal precept. Mix it up a little sometimes! Have a Regency character who comes to the present, finds out that her favorite local cheese isn't being made anymore, and loses her entire mind!

[bitter-hibiscus]

This is a very shallow analysis BUT most of my followers are Batman fans and not Green Arrow fans so it's still worth pointing it out:

YOU ARE WRONG ABOUT OLIVER QUEEN.

Oliver is NOT ABUSIVE !! Here's why!

We as a fandom talk a lot about core beliefs of the characters (because DC writers can't do their job right) but here's the thing about Oliver: changing constantly is his core trait. Oliver isn't like Superman, who is inherently a good person since the beginning of forever. He's not like Batman, who figured out how to turn his pain into something that can help people. Green Arrow's story is about evolving as a person. It's about learning from your mistakes and doing better.

Oliver starts his story as a complete douche. Seriously. Just read Green Arrow: Year One and you'll get what I mean. He doesn't care about people, or politics, or even his own life, really. But being stuck in that island changes him to his core. He feels first hand what happens when you don't have people around to give a shit about you. He understands the need for community only after he loses his'. He understands the need for growth and kindness with time. And he keeps re-learning it.

In Snowbirds Don't Fly, which is essentially the only thing that makes non-GA fans think Oliver is abusive, there's three main horrible things Ollie does: He leaves Roy alone for months to travel with Hal, he slaps Roy, and he kicks Roy out. Those are, obviously, bad.

But here's the thing: Oliver learns. After Roy gets sober, especially after Lian comes around, Oliver earns Roy's forgiveness by being better. He starts vocalizing his lofe for Roy, he makes an effort to be involved in Roy's life. He's supportive and helpful when Roy needs him. Oliver learns to be there for Roy. He regrets kicking Roy out and hitting him, and is very explicitly grateful that Roy is a stronger man than he is, that he was able to pull himself together without Ollie.

Most Batman fans (and I myself am guilty of this) expect characters to never change, ever, because we're used to the Batman mythos, which can only exist if Bruce stays the same forever. But that’s not Ollie, and it will never be, because Ollie needs to grow in order to be written well. If he stays stuck in his ways and doesn't learn from being called the fuck out (even if he gets offended) then that's just not a well-written Oliver Queen.

[literaryvein-reblogs]

Writing Notes: Plot

Rick Riordan's Writing Tips

Rick Riordan:

How I craft plot has changed radically over the years. With BIG RED TEQUILA, I did very little plotting in advance. I simply began writing, then went back later and tied up all the loose ends, of which there were plenty. With each successive novel, I've done more outlining in advance. Strangely, this has made writing no easier — it's only made the process harder in different ways. My attitude about plot and how one develops effective pacing is evolving, but below are five points I stand by:

RICK RIORDAN'S TOP 5 TIPS ON PLOT

Don't write the parts the reader would skip anyway.

I'm paraphrasing the great Elmore Leonard here.

Most readers, from time to time, have skipped over portions of a chapter to get to the "good stuff."

For instance, many readers will skip a long paragraph of description so they can find the next line of dialog.

One trick for keeping the reader's interest is to zoom in on the content they want to see and leave out the rest.

Writers, especially beginning writers, tend to over-explain.

Distinguish between mystery and confusion.

It is good to keep the reader guessing.

It is bad to keep the reader confused.

The key to successful plotting is giving the reader sufficient information to keep them interested and engaged, but not so much information that they no longer care about what will happen next.

The plot should be built in layers of compelling questions –

"What will he do?"

"What is his secret?"

"Why does she hate him so much?"

The reader should always have at least one question in mind, and be dying to find out the answer.

Get going!

Beginning writers tend to believe that they must "set things up" before they get into the real meat of the novel.

They want to introduce characters, history, and setting before they start on the central dilemma.

Chapter one is often limp, because of this.

Even worse, some writers are so hesitant to get to the point in chapter one that they put off the action even further by writing a prologue.

The problem is, until we know the dilemma, we won't care about the set-up. Get to the point!

Often manuscripts are better if they start with chapter 2, as Lawrence Block once rightly pointed out.

Identify the moral dilemma driving the novel.

The successful novel will haunt a reader because it deals with some ethical or moral dilemma that makes the reader wonder what he or she would do in the protagonist's place.

Action may hold a reader for a chapter.

A surface dilemma like a kidnapping or a romance may hold the reader for fifty pages or more, but only a moral dilemma will hold the reader for an entire novel.

The protagonist must exert influence to solve the problem, and the antagonist must exert influence to stop the solution.

The book must be about conscious choices, carried out in active terms.

It must be about conflict.

A book about random events happening to passive people will not be compelling.

Coincidence is taboo – things can't just happen.

There must be a cause and effect.

Source

[paper-mario-wiki]

I feel like I've ended up in the same spot as so transmasc before me: I have a lovely cis boyfriend who loves my tits which I love for him, but I am getting dysphoric to the point I wanna lift my lips and show a lil teeth when I see his hands coming towards them. Feels bad because they are his favorite and we haven't been fucking as much because as soon as he starts touching me I am out of it™ and get all in my head and freeze up. Any advice?

good god, brother. i am utterly baffled at why you have elected me as the strategist for this problem, and i'm even more confused as to why you have chosen to go into as much detail as you have.

but.

if i were to give you some advice on this

i'd say that you should consider a conversation with your partner about the long-term plan for the relationship. a "relationship" is two lives that are connected, right? and your life is not one where you're gonna have boobs for the rest of it (or at least based on what you've told me i would assume, should you have your way, those bad boys are gettin lopped off at some point), therefore it's pertinent that it be brought up, because it concerns your life, therefore it concerns the relationship, therefore it concerns him, yes?

now, the first and most obvious thing to start with out the gate is the boundary, made clear and concise: the hills are now closed, off limits to tourists. all discussions regarding this come next. make it clear that it's about something quite core to your identity, and something that does in fact cause physical pain (a panic response from the nervous system is pain homie).

this brings some followup questions (and remember, this isn't an interrogation, it's a dialogue to share): how does he feel about this? if he's against, why? for that matter, how much does it bother him? is there something he doesn't understand about your discomfort? is there some concern he has about your financial or bodily well-being with regards to the procedure? is it because it's vital to his attraction to you as a partner? if that's the case, would their removal be a deal-breaker?

now keep in mind, these question can be brought up whether or not you've got immediate plans to engage in the aforementioned lopping-off of your aforementioned Bad Boys, because the actual point of this dialectical exercise is to create a simple, easy to navigate, easy to understand conversation, which will set a foundation for further negotiations-- should you learn something new about each other, or yourselves, or the relationship as a whole.

either way, i do not think that letting it keep happening and keeping it to yourself is a good idea. i can understand feeling guilty about withholding some physical and emotional gratification you could give "easily" to this person you care dearly for, but trust me when i say that it's not the way to let it be. not just because it's unfair to your partner to secretly grow to resent them for a reason you don't want to vocalize, but to yourself as well.

you may not know it, but by keeping it to yourself you're slowly building up a resentment. that frustration actually shows up pretty clearly in your message. and even if what you're frustrated about is only that particular activity, that activity is irrevocably tied to another person. specifically, a person that you consider to be a pretty central pillar in your life. if that resentment grows, it can evolve into anger, hatred, fear, paranoia, and all sorts of nasty things. and even aside from the emotional and psychological damage that can do, it can grow into a physiological issue, where your brain wears out more and more due to the growing emotional distress ripping through your neurons with all sorts of "emergency" chemicals. like i said, the panic response is a physical pain, even if your body doesn't feel like it "hurts".

so. to summarize.

ABSOLUTELY bring it up. if you don't, it could become damaging to your relationship, and also your actual real life physical brain.

when you do bring it up, remember that the goals are to set a boundary, and to reach an understanding through mutual conversation. it's a dialogue, not a lecture.

when you reach an understanding, figure out if the relationship needs to be renegotiated in some way. that usually means new boundaries, or expectations. or maybe nothing! though surely your boyfriend can find more things to love about you.

that's as best as i can muster. you don't have to follow it, but hopefully it'll at least give you some ideas you can use.

[raayllum]

Rayllum's S7 Arc through the Lens of S6

By surprisingly popular demand (aka I thought the poll would get maybe 30-70 votes max, not 151 holy shit thank you) I thought it was time to look at S6's plotline for Rayla and Callum and how, in my personal belief, basically every single scene they have sets up their main ongoing storyline in S7. What storyline you ask? Well, I think there are basically there are 3-4 main threads that S6 either sets up or continually evolves for them

The possession plot line

Love > Mystery (Callum? + the cube and Aaravos)

The Greater Good

Love > Duty (Rayla) / the importance of breaking promises (Claudia, Runaan)

Most of these are pretty set in stone — only the 2nd one is what I would call speculative in regards to Callum's interiority next season leading up to the possession — so let's get through the most obvious one first, and start with

The Possession Plot Line

But wait, you say, Callum can't be possessed again. He fixed the hole in his spirit caused by dark magic which means Aaravos can't control him again.

Yes, and there is Ample evidence throughout the season (and prior seasons) that he will 1) do dark magic and 2) that they've kept on setting up the possession plotline throughout the majority of the season (6x01-6x05), which I'll start with in one of their first scenes in 6x01:

CALLUM: [Chuckles] It would've been a comfy and cozy death.

In a similar way that Callum's first scene in 4x01 involves the mirror (Aaravos) and has him stumble over his various titles establishes that his main arc will be about his search for control over his identity/self, 6x01 highlights this again: he's not a threat because he's Callum, himself ("It's just me") so Rayla can stand down. This of course ties back into the loss of identity that the possession brings ("I felt so weak and out of control. I was his puppet") and the promise Callum asked for in S4 that Rayla rejected (and we'll get to the reiteration of it in 6x03 later).

We also see that in how Callum's language has changed from season four both in his conversation with Rayla:

CALLUM: I'm not afraid that he'll hurt me. I'm afraid that he'll use me to do awful things, or hurt people I care about. (4x07) CALLUM: I don't know how, but I'm afraid... He's gonna use me. (6x01)

and with Soren:

SOREN: I know that mirror too well. My father was obsessed with it. [...] Callum, I-I know you love magic, but I hope you're careful. Because it can change people. (4x04)

to

CALLUM: As long as it's here or anywhere, it poses a threat, because Aaravos can manipulate people on the outside. Like he did with Lord Viren. And me. (6x01)

And, quite frankly, if Aaravos had already used Callum for his intended ultimate purpose, we would've seen the Callum pawn intro in S6 (the pawn intro that features the cube, I might add), neither of which have fully come to fruition. So. (But again, more on that later.)

We also have 6x03 directly renew the promise with Rayla's conversation in Runaan — who in many ways was the embodiment of "upholding your duty to the immense detriment of yourself and everyone else around you" — that Rayla's promise is going to come back around, and that literally can't happen unless 1) Callum does dark magic so 2) Aaravos can corrupt/possess him.

There is very, exceedingly little point to not only repeat a plot beat we've already seen in 4x07 just to have Rayla change her answer to the more dramatic, stakes-driven one, reaffirm it in the season finale, and then completely drop it.

This plot thread of the eventual possession fight is also set up through Rayla's encounters with Esmeray, Runaan, and the idea of monsters/corruption: "[After corruption] what life remains has been twisted into monstrosities" / "I'm a monster!" "You're not a monster!" "I remember I fought you. I tried to kill you! How could I?" / "You keep calling it a monster."

After all, if Rayla can restore their identities to Esmeray and her father... then why not Callum? ("I own you. I control you! Deadwood!" "That's not my name. My name is Elmer.") As 6x06 makes sure to tell us, the light-star ritual rids the body of dark magic, but with an added caveat: "But beware: if you ever do dark magic again, the darkness and corruption will overwhelm you."

There's also a lot of other reasons this kind of framing for it makes sense for Callum's arc and the show (which is all about making choices) in particular — but yeah, there's not a doubt in my mind that Callum is getting possessed in S7 and is doing dark magic again. Even their first scene together in 6x01 with "I heard you were up here losing your mind" which is what literally happens during possession and is a direct parallel to Zubeia's dark magic corruption ("Infected. Corrupted. I fear I'm losing everything. Losing my mind").

So let's talk about something a little less set in stone, which is Callum's journey to getting there. Specifically:

Love > Mystery

What is the mystery of Aaravos?

Well, there's a few. There's his initial motivations, which are now answered thanks to season six. There's his involvement with dark magic, which will likely be answered in season 7. Callum had the initial mystery of the mirror. Aaravos taunts Sol Regem over "the mystery that has haunted you for a thousand years" in the death/disappearance of his mate. Seasons four and five were dedicated to figuring out the mystery of his prison, though we still likely have more to learn about the imprisonment itself.

However, the mystery we've been steadily waiting one since season one is simple:

For years now, I'd speculated that the Key wasn't a literal key to Aaravos' prison (though I hadn't ruled it out), but something that would be a power up and help restore him to his full abilities. The fact that we now know why and indeed that Aaravos wants it back at all is a beautiful fun bonus in the predictions chart.

The fact that it's linked to primal magic also makes sense even beyond its design, as the language used to talk about primals is similar to the kind used to describe the cube:

LUJANNE: They have a piece of it inside them. We call that piece an arcanum. It's like the secret of the primal, or its meaning. That secret becomes a spark. The tiniest flicker of a primal source inside you, but enough to ignite the world with its magic. (2x01)

CALLUM: You don't control anything. But you already knew that, didn't you? Because it's the secret of the Ocean itself. The arcanum. (5x08)

In season 7, Callum is going to inevitably learn (hi Astrid?) that Aaravos is out of his prison and, presumably, the Archmage will be looking for his primal book of destiny. What may happen, then, is a race to get the book first, with the Cube pointing the way seemingly to Elarion, if Callum's little map in 6x02 is to be believed... or in that general direction, at least.

If Callum can get the book and use the Key with it, he'd solve a big mystery, get a lot of cool primal stuff, and be all geared up to defeat Aaravos while also de-powering the Startouch elf. He doesn't have to worry about being controlled anymore, but I could see this being the alternative avenue Callum gets obsessed over since it combines 1) his deep desire to learn more primal magic, 2) his love of books, 3) his Key, which he's wanted to figure out since s2 and is actively working on it (6x02), and 4) his desire to defeat Aaravos and keep the world and everyone else safe.

The Cube's secrets, the location of the book, the mystery of Primal magic. The mystery of Aaravos.

I don't think it's going to be that simple though, seeing as S6 also introduces a small but interesting caveat when it comes to chasing mysteries:

Anyone who knows me knows that I love Aaravos and Rayla's foil dynamic and it is persistently one of my favourites, so I was pleasantly surprised when S6 gave it so much direct focus. Rayla being a literal metaphorical star in direct opposition to Aaravos as the Literal Light to Aaravos' darkness in their dynamics with Callum; 6x09 being about their journeys in processing the loss of family; and of course, the above, with wondrous mysteries paling in comparison to their loved ones (Callum, Rayla; Leola).

Another thing I always thought was interesting was the candle parallel between Aaravos, Rayla, and Callum.

Upon their (re)entry into Callum's life, he holds a candle up to both of them. For Aaravos, this remains 'lit' and upheld, as Callum spends the two years after his TDP short story, "Inheritance" investigating the secrets of mirror. A mystery that is interrupted and delayed by Rayla's return, in which Callum holds up another candle (despite having primal magic at his beck and call)... and then lowers it and puts the candle down when he sees that it's her.

Almost like the mystery of the mirror — of the cube — doesn't hold a candle to her.

That the mystery he may become obsessed with in S7 is one he's ultimately willing to relinquish if it means saving her life.

Do the right thing. Make the sacrifice.

This doesn't rule out Callum delivering the cube under possession (hi pawn intro featuring him pondering it and turning to stone), mind you, nor does it mean Callum can't reclaim the Cube and use it / the book for good by the end of the season (him reclaiming the cube has always been one of my favourite ideas, mirroring the way he'll reclaim his identity and agency from Aaravos).

But I do think S6 in this specific vein added interesting precedent to the idea of Love being more important than mysteries, and with Rayla being Callum's one path, well...

It'd make a lot of sense, wouldn't it?

The Greater Good

The "greater good" has always been a loaded concept in TDP, whether it was the singular Magma Titan vs thousands of human lives, or hundreds of people teaming up to defend Zym at the Storm Spire, though rarely spelled out as directly as it was in S6. I want to do a proper meta update on S5 and S6's continued trolley problems, ideally sooner rather than later, so I'm not going to go as Ham here as I could. That's said, there's still plenty to talk about, so let's get into it.

Season six sees three kind of distinct trolley problems. The first is in discussion only between Callum and Rayla in 6x03 on either end; the second is over Viren and Kpp'Ar regarding the staff (and arguably Lissa as well); and the third with Viren and Soren in Katolis during Sol Regem's attack.

Obviously the one that is most relevant to this meta is 6x03, but I'd argue it starts a little earlier in the season in both 6x01 and later in 6x05 for our lovebirds, respectively:

RAYLA: You knew. You knew this was the reward. [Callum nods] Why didn't you tell me? CALLUM: Because I know you, Rayla. If I'd told you, you would've refused to go, because you never do anything for yourself. So I wanted to do something for yourself for you.

When it comes to the greater good, Rayla routinely puts it above all else. This is one of her strongest similarities to Viren in Arc 1, who cared about "a bright future for all of humanity" even at the detriment of his own children and all moral standing. Callum, however, in a steady surefire contrast to both of them, puts her and Ezran above anything and everything else, which is exactly why Rayla immediately understands "the issue" after learning about his dark magic use:

RAYLA: Am I supposed to thank you? CALLUM: No, that's not what I'm saying. I... RAYLA: Listen to me. If you ever have to choose between me or the greater good, do the thing thing. Make the sacrifice.

Callum then uses this as leverage, as previously discussed, to get Rayla to agree to his own request to kill him if Aaravos ever takes control of him again. She does, this time, as Callum cites:

CALLUM: You told me to never sacrifice the greater good for one person, no matter who it is, well... You have to promise me something, too.

When a character says something in dialogue ("If you must make a choice [between Soren and egg / 'the world'], choose the egg"), particularly when it comes to making a choice, that inevitably means they are going to be presented with that situation and have to make a choice. If a character is told not to do something, or says they will never do something ("I don't do dark magic. I will never help you"), they will almost inevitably always end up eventually doing so. This isn't always true, of course, in TDP or otherwise, but it is still a general setup rule of thumb.

So Callum is going to be pushed into an avenue where he has to pick between the greater good or Rayla, likely in the vein of helping Aaravos or losing her, and he's going to pick helping Aaravos to save her. This may mean handing over that damn cube (meta on that specifically to follow) or, at bare minimum, doing dark magic knowing it'll mean corrupting himself (self sacrifice) and subsequently turning himself over into Aaravos' will of chaos (sacrificing the greater good) knowing the consequences will be disastrous.

Because he would do anything for her, and that includes sacrificing his life, his agency ("That's the dark magic you want. Just let her go" / "Finnegrin was going to kill you. I didn't have a choice"), the world ("Tell me she wasn't your world"), and becoming a 'monster'.

He'll be saved, of course. I think S7 will actually end quite well for Callum — freed from Aaravos' possession forever, reconciled with his brother, happy with Rayla, reclaiming his cube and possibly learning from Aaravos' book of primal magic, etc. The road to get there is just going to be hell, first.

This conflict of greater good vs personal attachments though, while present in Callum's arc (choosing Ez over Harrow in 1x03; Rayla over his morals in 2x07; Rayla over his safety in 5x08, etc), is likewise at its most prevalent in Rayla's arc, so let's talk about it.

Love > Duty

Ehasz: Lain and Tiadrin, and Runaan and Ethari, as the parents of Rayla, represent the forces that are at war within her between duty and love. Her biological parents left her out of duty and Runaan and Ethari raised her out of love. Think about how she left Callum; she chose duty over love. Now she’s choosing love over duty, and we'll see this conflict within her manifest again.

So. Rayla "never [does] anything for herself," by Callum's own admission. She's agreed to murder her boyfriend if he's ever possessed again. She refused to purposefully help her family until everything with Aaravos was resolved (6x01, 6x05: "Just wait a little longer, okay?"). Her core conflict has routinely been Love vs Duty ("My heart for Xadia), often to her detriment when she chooses duty over love.

While in some ways her heart has been hardened more than it was in arc 1 ("We can't save everyone, Soren"), in others, she's never been softer and more hopeful ("I'm your daughter and I need you"). After all, while I see Rayla herself as Callum's one truth, if we read it as Love (in general), than that makes her the physical/visual embodiment of Love in his life, and well...

As the most Moonshadow elf to ever Moonshadow, Runaan was, in a lot of ways, the embodiment of duty in S1. He fought his daughter and "tried to kill" her in an effort to maintain his oath as a Moonshadow elf and honour his position as troupe leader. He was prepared to possibly take her life, as "we take it, but we do not take it lightly." He refused to listen.

I think the fact that he's remorseful as all hell in S6, then, bodes very well for the future. Not only does his fight with Rayla foreshadow multiple elements of her fight with Callum—identity, corruption, "I know you're still in there! I'm not letting you go!"—but if he embodies the remorse of duty, and Rayla embodies the persistence and forgiveness of love, well...

Love wins over duty.

This is symbolized, too, as the parallels between Rayla's assassin binding—a solemn vow and threat of punishment if she failed in her duty, which Callum's act of love (smashing the primal stone to save Zym) allowed her to be free of—and the bracelet/binding that Callum gifts her explicitly out of his love and care for her. The first binding a reminder that as an assassin, she was "already dead" vs one that will help her come back to him.

This follows through on what season hammers home, which is that Rayla (and the world around her) is at its best when acting in accordance with her big heart. The prophecy and reason dictated that to kill the icy monster was the best route forward, but her heart saw otherwise ("I know in my heart. You have to trust me") and allowed her to connect and literally help repair/illuminate Esmeray's broken heart by gifting the moon opal. Her love, not her fierce devotion to duty, is Callum's guiding star ("Rayla is kind and good" / "You have true courage, and a big heart" / "Rayla is selfless, strong, and caring. That's what makes her a hero. That's what makes her Rayla." / "I understand now. Your kindness pierced her heart and melted the threat" / "Yours is a wondrous heart").

Runaan taught her to never break her promises (6x09) as part of being a Moonshadow elf and a good assassin, but breaking her promise ("Before I met you, I swore an oath, to end Prince Ezran's life") and indeed sparing Marcos was one of the best, most crucial things she's ever done. Since we know Callum won't sacrifice her, we can also be sure — especially after her victories with Runaan and Esmeray — that she won't sacrifice him. Runaan broke his promise to Ethari, inadvertently abandoning his lover for two years over something that was ultimately harmful and unnecessary (sound familiar), and it makes me wonder if Runaan will support Rayla choosing love over duty, and mutually learning from their own mistakes in doing the opposite.

There's also the fact that sometimes, breaking a promise would be a good thing, as showcased in prior seasons:

SOREN: Of course we can [capture the boys]. We promised Dad. (2x07)

CLAUDIA: Aaravos followed through on everything he said he was going to do to save my dad. And I promised to help free him. (6x04)

Conclusion: Sacrifice

Where a lot of these points meet, though, especially for the intersection of love and duty, is at the point of Sacrifice. We see this smattered throughout the season, both directly in dialogue

CALLUM: You told me to never sacrifice the greater good for one person, no matter who it is. Well, you have to promise me something too. (6x03)

VIREN: And even if I could, oh, the sacrifice is unthinkable. The spell requires a human heart. (6x08)

and more indirectly but still very prominently through action: Claudia killing/suffering through the physical and emotional ordeal of killing Sir Sparklepuff ("It... It's love!" "It's too much to ask. It hurts to see you like this); Viren regretting how he handled things with Lissa and then afterwards with Soren because "the cost was devastating. Your mother left us"; and of course in Callum and Rayla's argument in 6x03 over Callum's willingness to destroy and hurt himself in order to protect Rayla, who's done the same thing many times over, just in leaving or using herself as a shield.

"We must be ready to sacrifice, even the things we love" (3x03) when it comes to duty. We must likewise be willing to sacrifice things, such as duty, safety, ego/pride, morality, or your life, in the name of love. Sacrifice — dark magic, of what are you willing to trade or kill or sacrifice in exchange for your aims or protective desires — is then accordingly, the theme of Book Seven: Dark, and one that both Callum and Rayla will have to confront.

Luckily, Callum is consistent and enduring — and Rayla is true hearted and growing — enough to do the Right Thing, and make the choice they've ultimately, routinely, always made: each other.

So long as she's Rayla — brave, selfless, loving — he can be Callum, and so long as he's Callum — resourceful, persistent, loving — she can be Rayla. Not a dark mage forcing her to be an assassin, but two people who bring out the best in one another.

And in doing so, in choosing to save rather than sacrifice each other, they get to likewise save, love, and preserve themselves.

[beatcroc]

a year!!! as of today i have now been drawing these funny little pizza freaks, to the exclusion of almost everything else, for!!! an entire year!!! i wanted to do a nice group shot/lineup of everybody to compare to when i first started trying to draw them because oh boy were they bad. i never even posted most of them anywhere because they were so bad. but im posting them here, now, to see how everything's changed/evolved.

this is probably the hardest time i've ever had trying to figure out how to work with a style, but we got there eventually; i'm pretty happy with the handle i've got on everybody now...dont let ur memes be dreams. lots of unimportant journaling and idle thoughts abt it below.

older pics

the first one is the VERY first time i drew them, before i thought i was going to actually have any interest in drawing them [lmao]; it was just the one isolated image, for my friendserver, to illustrate the funney message, so there was no attempt to make it Good or actually understand anything going on w/ the designs or style.

second is the original run of practices sketches to start trying to figure them out for real; done after i started having ideas for the comics and such and realized oh god maybe i am actually gonna draw fanart for this. [again, lol, and lmao.]

third one is the first pt art thing i posted on here. there were a couple weeks of sprite studies between this one and the previous image. the one on the top right wasn't part of that post i just threw it on as space filler; i'd intended to shift to doing Sprite Redraws But Stylized to explore tings more, but that was the only one i did. ¯\_(ツ)_/¯

individual characters

peppino: by far the hardest dear god. bro what ARE your shapes how DOES your face work. jesus christ. everything i have trouble with this style for, peppino has it in excess. i draw in polygons! i need consistency! and that is the last thing this kind of style is concerned with. they are made of squarshy clay and i do not understand how to mold them. i was really hoping trying to learn this game's style would GIVE me that kind of flexibility for fun exaggerated facial expression but i don't think much came of it in the end 😔. anyway on the bright side all this means once i got peppino figured out a little bit everybody else clicked way easier.

fake peppino: honestly i never did anything with him on purpose except for how his eyes work + the perma-smile thing. i figured ok hes supposed to look weird and off model so whatever happens with him happens. and it did. and it kept happening. it is still, in fact, happening.

noise/ette: somehow, for every bit that peppino was the least natural thing i've ever tried, these two worked pretty much right off the bat. i still don't understand it, seeing as pretty much all the things at play for peppino are also at work for them. i think the new sketches are actually a little worse than older ones but not enough that i care.

gustavo: really funny bc i drew him on model twice and just went 'okay, cool nice, easy, um. he doesn't have any fucking legs?' fortunately he was the only one i had a strong idea for how to stylize him [square] and it worked exactly as i was hoping so wahoo.

brick: is an animal and therefore 5000x easier and more natural for me to draw/stylize than anything else in the cast. that is Just a rat bro. i can draw a rat.

gerome: i think the funniest one here. the most drastic and least necessary change imo. i was gonna have him be really small at first, like smaller than the noises, but then i just... didn't. he's just peppino-sized now. also i gave him like. actual human facial structure, which is funny bc in most cases i'd do anything to avoid, but it works well for his being A Rock to give him some angles and definition like that+ to differentiate his vibe from the rest of the cast who are all very squishy. also since he is essentially Just A Head it's good to emphasize that too ig.

john: i only drew john a couple times but he gets to be here because i like him. and because most of the stuff i applied to gerome was readily applicable to john, though i did try to keep him a little more uncanny because he is a Huge And Lanky Freak. i hate that he is barefoot btw but idk how to make his color balance look right with shoes.

pizzahead: i did not want to put him on here honestly but i Have drawn him a handful of times and more importantly i didn't know what i was gonna do with john's pose if i didn't have him there to be glared at. the only thing that's different with him is giving him wider-bottomed pants, which i got from when i tried to draw these guys in clone high style [i never posted that one either][i will eventually]

snick: he gets to be here because 1. he's like 6 lines 2. i like him and 3. ive scribbled him a few times offhand and it went pretty well

misc

there are some guys missing because those are guys i didn't draw enough [or at all] to have gotten comfortable with them. sorry

i would have Liked to shade these but for the time being i have accepted that my grasp of light/shadow has decayed to the point im not going to be happy with anything i try there, so For Now i am working on my presentation with flats i guess. gerome has a shadow only because he's shaded like that ingame and looks naked without it

anyway if you are still reading [hi?] i get to shamelessly plug now. i'm over the hill of my pizza run now, and while i still have plenty of things i want to make here, most of the bigger more in-depth ones have passed. pizza tower was the first thing in THREE YEARS to get me out of my oc groove to doing fanart, and once i am done with my ideas here i will be going right back to it. if you like my art or how i write characters/interactions you should check out my oc/webcomic blog @jamverse . i can't promise people who like pizza stuff will be terribly into my designs, but i can guarantee i treat my guys with the exact same sort of tone i handle the pt guys with. and hell, i've mentioned it a few times before, but like 70% of my characterization for fake pep is just copied off one of my characters, so if u are going to miss him... he will still be there in spirit >;p

and if you dont care about any of that and are still reading thank you anyway. actually making these comics + seeing how shockingly well-received they've been has done a lot for my confidence, and for seeing that my kind of stuff IS something people enjoy :')

[writer-logbook]

My story doesn't have a villain, so what ?

Does a story really need a villain ? What is a stake where there's none ? How can the protagonist evolve when they've got no one to face ?

In which I explain how the conflict can lie elsewhere - and it's a bit more challenging yet sometimes more interesting.

The world, and society in general. They are often a good starting point to create tension in your novel (because everything is most certainly wrong everywhere lol). For example : what happens if you don't share the beliefs of your city ? What choices can make you defy the current order and break the status quo ? It's a convenient way to plot distopian books, but it's not yet a cliché because of to the complexity of the trope and the different aspects you can explore as it is broad.

The complexity of your characters : the personal quest. The famous "You are your own worst ennemy" is a actually very effective in this case - but any other significant event, trauma, fear etc. can be consistent enough to be the core of a novel. I believe the journey is more important than the "plot" or the ending itself. The path of finding answers, healing and overcoming a traumatic event is easy to suggest, harder to write about, yet somehow always powerfull. I think it's hard to be cliché with 'personal quest' trope because everyone deals with their suffering in such different ways that you can't be exploring it twice. (Or it can be something lighter, like the pursuit of an artistic dream).

Various characters, same event. Multiple POVs are a great way of exploring all the aspects of the issue, based on the different beliefs and perceptions that drive your character. For this to be really effective, you need to have characters who do not share the same opinion on the subject. It doesn't have to be a difficult idea to come up with. For instance: in a futuristic world, you can choose what to do with your memories: keep them or erase them. Some people will argue in favour of the process (because you can erase a traumatic event), others will argue against it, saying that memory is what makes a person. In that kind of scenario, morality plays a huge role.

A destabilising event, much bigger than ourselves or a discovery that could shape the future. A destabilizing event, much bigger than ourselves or a discovery that can shape the futur. Think of that sci-fi novel where the end of the world is brought about by an incoming asteroid. It's the same thing. Either you try to avoid it, or you try to accept it, or you try to fight it. Each way is valuable to a story, if you create some consistent characters.

To conclude : we have to think a bit more about what is at stake when no one actually treathen the peace of the community. There's no manichaeism, we have to go beyond good and evil ; the solution isn't clear - sometimes there's none at all. And that's okay.

Thanks for all the kudos and reblogs, I feel relieved to see that my posts are of some help ! ❤

If it's a bit fuzzy for you, let me quickly explain what my story is about, because that's what motivates me to write this essay.

My MC is a priest in a religious town that is suddenly plagued by an unknown and incurable disease. She tries to get used to it, until her family contracts it. She manages to acquire the power of the goddess and, doing so, shakes the foundations of her entire city and society, believing that she is now able to act. There's no villain whatsoever, just a poor girl trying not to see her family dies and who has to face the consequences of her own actions.

[darklinaforever]

I don't understand some people's obsession with the age difference between Edwin and the Cat King.

Yes, Edwin is a perennial 16 year old.

But the Cat King isn't even human. He is literally a cat deity. And as someone @jaks21 pointed out to me in the comments, the Cat King has the overall behavior of a cat : "I think it's also being forgotten that the cat king isn't human. He can shift into human form, but he is essentially a cat. This is all cat behavior. They have absolutely no sense of personal space (unless it's their own), they like the thrill of the hunt and they like to play."

Soon people will talk to me about zoophilia maybe ?

Beyond that, the Cat King's behavior seems to be quite immature most of the time as well.

So why are people absolutely trying to categorize him as a straight-up adult when he's not a human being ? Who tells you that his brain works like a human's ? Who tells you he's not a baby compared to other supernatural beings ?

It's all well and good to judge Edwin for his reality on the show, but give the same courtesy to the Cat King in this case, otherwise it just seems designed to unnecessarily lower the ship.

Also, if we want to speak realistically... since the Catwin plot revolves around Edwin finally coming to terms with his sexual orientation through his attraction to the Cat King (even if we know that there is also an important emotional context involved ) well it seems to me that Edwin is exactly the age of consent required for sexual relations, namely 16 years old.

Sexual maturity is not the same as legal age making you an adult and I feel like people often confuse the two.

I also find it paradoxical to say that Edwin, who lived more than a century, is judged as not being able to date an almost immortal divinity (because yes, one day the Cat King will no longer have his 9 lives and will therefore die for of good) clearly outside human norms because he happens to be a Cat King and not having at all the behavior of an human adult, or even of a real human, under the pretext that Edwin has his brain blocked at age 16 years old.

But many people will also say that Edward in Twilight cannot love Bella, a teenager, on the pretext that he has lived several centuries due to being a vampire, even if this type of vampire in this universe mentally stops evolving at the age where they were transformed, making Edwin an eternal teenager of 17 years old. Yet he is considered disgusting for wanting to be with a human teenager of almost the same age mentally ?(Be careful, I'm not saying that Twilight is an excellent and brilliant story, I'm just talking about the context of the age difference between the protagonists and the ridiculous discourse around it)

The battles over the age difference in fiction featuring supernatural beings are almost never consistent. And for good reason, I find it useless !

Because most of the time, the supernatural creature does not meet human standards in order to be associated with the younger person (at least if this person is actually younger, in the term of non-majority, because otherwise, as long as everyone is an adult we don't care). Or if it is not the creature that follows a particular pattern, we are for example transported into a universe inspired by a particular era, where the legal age is then different.

So, we must stop judging imaginary beings as if they were human adults, it makes no sense.

Yes. Edwin has been a 16 year old ghost for a very long time and technically cannot mature beyond this age. Tragic. But in the show, which is not the comics, it doesn't really matter. Edwin remains a character with an arc and evolution. So he has undeniably experienced things as a ghost that allow him to change and evolve in his own way.

Of course, it can be confusing, but Edwin's case aside, the Cat King does not meet human standards. And he clearly doesn't behave like a human. Even less that of an adult human. So stop judging him as such.

Essentially the Cat King resembles in his behavior a mixture of... well, a cat, since that's what he is, and a form of immature teenager.

That the Cat King is older than Edwin doesn't matter if he doesn't have a maturity greater than Edwin.

Once again, the Cat King clearly doesn't have the mentality or maturity of most healthy adults of our world. So why absolutely try to judge him as such ? Again, that doesn't make sense.

The Cat King is a being to be judged outside of our realistic standards.

Plus, being uncomfortable with the Cat King & Edwin relationship because Edwin is 16... seems ridiculous again.

Although I would love for the show to make Catwin canon in the future I doubt that will be the case (but good if it happens !), as things stand the Cat King only seemed to be a tool to allow Edwin to open up a little more about himself, in particular about accepting his sexuality, even if not only that. So, since the sexual aspect is very much emphasized in this relationship, it must be taken into account. And Edwin is a 16 year old teenager. Not only do adolescents inevitably have a period of trouble linked to sex, but in fiction the treatment of sexuality is sometimes done through a creature outside the norms of reality, therefore fanciful, often morally dubious.

It’s a classic trope in the world of fiction !

And if that makes you uncomfortable... well I don't know what to do for you.

Again, as I said before, Edwin is of the required age of consent in terms of sexual relations.

So how does it shock you to see someone old enough to explore their sexuality find themselves in a sexuality-related scenario with the classic trope of a fantasy creature to do so ?

This kind of controversy is beyond me! We're talking about fictional characters of a supernatural nature !

[taisoleil]

Saturn and Ancestors through the Houses

First off, Saturn is an elder. It brings upon lessons, but did you know that those blockages are actually coming from some things your ancestors already experienced? This is the “been there, done that” planet that already knows the pain you’re going through? Why so? Because pain and trauma, which is Saturnian in nature, is carried this way. To understand this we must understand what is a natal chart in the first place.

I got this piece inspiration awhile back from someone on tumblr talking about how our chart are how our parent felt about our birth and what they were experiencing. This information helps us understand not only ourselves, but them. So, why can’t we understand our ancestors through this very system? Saturn is also ruled by time where with wisdom, should come time.

Timelines aren’t as straightforward as you may think. This is why Saturn does so well in the 12H is because of the ability to understand how much time (Saturn) can be an illusion (12H). This is also why your past, current, and future life are all happening at the same time, and why you are your ancestors, and how they live within you. When you reminisce about trauma from the past it’s as if you’re living it in your present moment because of that timelines overlapping.

Saturn really deals with the ancestral trauma and generational curses we all deal with. This may not be something you’ve felt from family, but something you may even be carrying with you due to your lineage. There’s a lot of people in your bloodline, so you never know what you’re carrying until you ask or check in with yourself. More than likely, your family members have been through the same thing.

This post is archived on my site here: https://www.taisoleil.com/articles/2021/6/11/d9mj0oemzek40itx9fonl3cdtblpnw

Full interpretations are exclusively on my Patreon: https://www.patreon.com/posts/87216320?utm_campaign=postshare_creator

Saturn 1H: One may have felt like they weren’t good enough when it comes to family. A generational issue you may be dealing with is linked with the insecurity of not being enough.

Saturn 2H: Feeling financially held back and traumatized is something you may experience when it comes to your family. You may have an issue with trauma bonding when it comes to money because of the fear of losing it all.

Saturn 3H: Feeling like your ideas were never enough probably caused you to second guess your own abilities. Being able to learn and refine your ideas based on how life shifts is how you evolve. The slightest bit of disappointment shouldn’t shake that.

Saturn 4H: Not being able to have you to yourself may have been a problem. Being forced to grow up early to deal with adult life before you were even ready was probably a thing as well. This is a situation where you had higher standards projected on you than other people.

Saturn 5H: FUN??? In your household??? Probably not! You probably were told to pursue something more serious and steady, possibly stripping you or your own creativity. It probably is hard for you to get out of black and white thinking because you were told if it doesn’t make sense, it cannot possibly be valuable.

Saturn 6H: Speaking of work, aren’t y’all tired of doing that? Having to prove yourself based on how much you do isn’t doing much for you at all. You may have come from a family that is used to breaking their backs to maintain something only to get caught in a rat race they can’t get themselves out of.

Saturn 7H: Learning how to keep the right bonds may be important for you. As with anything in life, some bonds aren’t worth the energy based on the time we spend with people. Giving that many people that sort of lenience is a disservice to yourself.

Saturn 8H: Spending habits are going to be key from you. You may have been a family that was scared that you would miss out on something if you didn’t spend. The contrary to this is that even though money may have not been lost, in your day and age, every penny counts, and you weren’t taught frugality during an economic time where money was more available.

Saturn 9H: Don’t be afraid of new experiences. You may came from a family that didn’t do much. Didn’t venture out or try new things. Because of this, you may stay in your bubble or level of comfort zone that allows you the safety. The Sun finds joy in the 9H, and it can be an ego killer to find out you’ve been wrong about certain things.

Saturn 10H: High expectations can cause you to fold under pressure if you’re not careful. You may have come from a family that was expected of you to do everything even if that means forsaking what seemed to be unimportant.

Saturn 11H: Friendship and aspirations may be hard for you. Your family may have had terrible community/support/friends. People bringing you down is only going to regress your further if you’re not careful.

Saturn 12H: Your Saturn is in joy here. You may understand how to go about things better than others. Your ancestors may have figured it all out, and gave you the keys. Moving through your life, don’t doubt what you know. Instead, think more about what you can do with what you’ve learned.

[bellepeppergirl]

Is Scarlet Rot Really a Bad Thing?

Throughout the game, Scarlet Rot is typically depicted in a negative light; Malenia is described as being cursed by it, what happened to Caelid is described as a disaster, and certainly none of us like being afflicted by it when we're in the Swamp of Aeonia or the Lake of Rot, but there's also many being who not only like the Rot, but worship it. So, that begs the question, is Rot actually a good thing?

Now, make no mistake, what happened to Caelid is a tragedy no matter how you spin it, but the crux of this question stems from the fact that to me, there does still seem to be some positives to the Rot. Malenia may not agree, seeing as she is literally rotting alive, but one thing I've noticed is that she and Millicent seem to be the only ones actually rotting, whereas everything else affect by the Rot seems to evolve. We could make ties to Bloodborne with these facts.

In Bloodborne, Cleric Beasts are said to be the most terrible ones. This is because, as clerics of the Healing Church, they are exposed to more Old Blood than anyone else, but also resist it more than anyone else, so when it finally overtakes them, their transformations are more horrid. Millicent and Malenia both dislike the Rot. Malenia sees it as a curse and tried to stop it, and Millicent uses Miquella's needle to subdue her own rot.

Could it be that, by resisting the rot, that is when you start to degrade? That is when you start to fall apart? But should you embrace it, you will instead evolve and become either some form of insectoid or a mushroom?

Romina, another Rot-related character, also does not seem to be rotting herself, instead she has these bug features. From her lore and title, we know that she was not against the rot, but embraced and worshipped it, and she has a magnificent and beautiful form, unlike Malenia who, while beautiful in her own right, seems a little bit more miserable since she's literally falling apart. Malenia's Cleanrot Knights, however, don't seem to be rotting, and instead look to be evolving. This is notable because they embraced Malenia's rot.

One could see these factors as a sort of allegory to death; resisting and fearing death makes the process more horrific and painful, whereas accepting it allows you to see the beauty in the lifeforms who thrive amongst decay, that being bugs and fungi. Rot has its own order, like the Erdtree does; a cycle of death and rebirth. Now, maybe being a bug person isn't as attractive an idea to most people, which is understandable, but it still all begs the question...

Is Scarlet Rot that bad?

Rotgirl Summer.

[aeithalian]

Rick. Buddy. Amigo. Explain something to me. Real quick, I promise.

[The Trials of Apollo: The Tower of Nero, Chapter 4]

Good genetic package, Rick/Apollo? Are you sure about that?

Listen.

Estelle's physical description *clap* makes *clap* no *clap* sense. Why on earth does one of the only fully human characters in this series have to have unique and weird physical traits? Also, it makes no sense in the larger scope of Rick's writing style to have chosen this unless he had some sort of larger intention behind it. Not to mention the theories by fans haven't really done much to fully flesh out any perceivable reason as to why this might be:

Poseidon blessed Sally when she was pregnant - By far, this is the most believable to me, but it's still eh, because this feels very weird and I don't get the vibes from Poseidon that he would have done so to the extent that it shows up in Estelle's physical traits. Also if that were true, it doesn't make sense for Rick to just fully drop it in the story without the intention to flesh it out further, because to my knowledge he doesn't have plans for another novel that takes place after ToA.

Paul isn't Estelle's father - Firstly, this is out of character for Sally, and this doesn't fully justify why Estelle has Percy's eyes. PLUS, salt-and-pepper hair still wouldn't be natural for a newborn

Paul is Poseidon in disguise - This explains her traits the best, but Paul's character is so much more satisfying if this isn't true. It's also total bullshit.

Enter me. I have a theory. Yay. But first, we must discuss.

Firstly, I want to talk about her eyes. Going back to the theories, and based on my fair amount of knowledge of genetics (clarification: I write this as I procrastinate studying for my final genetics exam), the eyes are mostly interesting because Apollo specifies that they are immediately similar Percy's. The thing about eye genetics, though, is that they are what we consider to be 'complex traits', meaning that they are influenced by the interactions of multiple genes from both parents. What I mean to point out here is that Sally could definitely have the genes to produce two children with 'sea-green' eyes, considering her canonical eye color is blue. We don't know what Paul's eye color is, which makes my job a whole lot easier because I can assume that it doesn't directly contradict the possibility that Sally just has really strong eye genes (?). ALSO, who's to say that Poseidon didn't just change his eye color to match Percy's when he was born? Ah, yes, the perks of having a shapeshifting dad who seemingly loves you and your eye color a lot (but is still absentee, WHOOPS).

But what I actually found the most interesting about Estelle was her hair color. More specifically, the fact that Apollo says he's never seen an infant with that color hair. And we know Apollo is somewhat of an unreliable narrator (although this rarely affects his descriptions of people other than himself, and has also mostly evolved into a more honest narration since the end of book 3), but I believe we're supposed to trust this dude who just so happens to have been alive for over four millennia. Based on Apollo's previous descriptions of his own powers (see his conversations with Percy in TTC, when he pulls a Mufasa and basically admits to seeing everything the light touches), we know that Apollo knows and has seen a lot of stuff. So, how is this the first time he's seemingly witnessed this type of hair mutation?

I did some research, as one does. To me, it seems as if Estelle has what's called Griscelli syndrome, which is a type of rare autosomal genetic mutation that typically results in phenotypic hypopigmentation of the skin and hair. (It can also result in neurological disorders and immunodeficiency, based on the type, but I digress.) It's also pretty rare, considering both parents have to be carriers, and even then the child still has a one in four chance of being affected. Current statistics from the NIH say that Griscelli syndrome currently presents in less than 1000 Americans, and is rapidly fatal in 1-4 years without aggressive treatment.

That sad note aside, it's weird to me that the way Rick wrote Estelle's physical description makes it seem as if Apollo had never seen anything similar. I feel like a god of both medicine and knowledge would probably be a bit more up to speed with rare genetic disorders, especially because he's so old. The only explanations are that Apollo, in his mortal state, can't make a diagnosis, OR what he's seeing isn't actually something he can diagnose.

FURTHERMORE, from the same chapter, Apollo says something that muddies the waters even further:

It doesn't make sense that Apollo thinks that Zeus would take such an interest in Estelle. Her nature alone doesn't make me think that the king of the gods would take a sudden interest in a literal newborn, regardless of how much Apollo loves her (and honestly, I don't blame him).

What I think? Rick pulled the strings just tight enough that he has a very interesting plot point to go off of if he ever decides to pick up the pen again and write a new book.

What I think? Estelle doesn't have Griscelli syndrome, she is in much more danger than anyone realizes, and Apollo's subconscious put this together from the second he saw her.

Actually, let's rewind. I'm in the process of writing a fic (stay tuned!) and I had a random thought: do the Greeks have an apocalypse story? You know, like Ragnarök in the Norse mythos, and the Revelation stories in the Bible.

The answer? They don't. I guess that's what you get when the Greco-Roman gods are fully immortal and literally can't be killed.

That didn't stop the rabbit hole, though, and what I found was actually very interesting and I couldn't believe what I was reading.

I give you: Hesiod. More specifically, his poem Works and Days. More more specifically, his 'ages of man'. More more more specifically, the iron age.

For context, Hesiod was an ancient Greek poet who lived in the 8th century BC, and was walking right along with Homer in terms of fame at the time. The poem Works and Days is actually more of a really long Facebook post where he complains about anything and everything, especially in his section on the ages of man.

In summary, Hesiod wrote about what he perceived to be the five stages of human life since the creation of mankind by Zeus' hand:

gold: perfect in every way, pious, and blessed by the gods

silver: real bitches, the ugly middle child, so Zeus killed them

bronze: were so violent they wiped each other out

heroic: golden child, contained the heroes of the Greek mythos

iron: middle-aged men still living in their mom's basement

Hesiod wrote his poem during what he perceived to be the Iron age (it's really just him complaining about being born in the wrong generation), but he ends up listing a lot of qualities: 'everyone works too hard, the gods hate us, nobody respects family values anymore', blah blah blah.

I know what you're thinking: Tia, what does this have to do with an apocalypse?

Well, dear reader, bear with me. You see, every time Zeus didn't like an age of mankind, or it became too violent, or it generally wasn't pious enough, Zeus wouldn't hesitate to destroy that race and start over. Basically, an apocalypse.

So, you may ask a new question: what is the criteria for Zeus to destroy the Iron age? And, assuming that this is the age we're currently in, what would it take for Zeus to destroy everything our beloved Riordanverse characters know and love?

My friend, that is where Estelle comes in. Yes, a baby.

Take this excerpt regarding the Iron age:

"And Zeus will destroy this race of mortal men also when they come to have grey hair on the temples at their birth."

I think you see where I'm going with this.

My theory? Estelle, in her unique position as a bridge between not just the mortals and the demigods (eg. her relationship with Percy), but also the mortals and the gods (eg. her great impression on Apollo), is a living, breathing prophecy. A prophecy that the end is nigh for this current age of mankind.

Furthermore, I also think that Apollo made this connection, somewhere in the back of his mind, the very second he realized that her hair was entirely unique. According to Hesiod (who Apollo also mentions later in the book, so we know he knows who Hesiod is), the day that babies are born with gray hair (or, salt-and-pepper for the sake of the theory) is the second Zeus basically get the go-ahead to commit genocide.

This also brilliantly explains why Apollo suddenly, and seemingly without reason, makes to keep Estelle's existence a secret from Zeus, because he knows that it might be the easiest way to get everyone he knows and loves killed by his own father for "the greater good" as I'm sure Zeus will put it. Plus, in his mortal state, Rick didn't have to explain why Apollo did what he did, since Apollo's been having memory issues since the beginning of the series: why would he remember one line from a poem written almost three thousand years ago?

Frankly, Zeus doesn't care about mortals: the only reason he really cares about anyone is if they have enough power to threaten his own, or if they have some sort of power he can benefit from. This, certainly, falls under the category of the latter. Wouldn't you want a chance to remake humanity into the perfect image that it used to be? You would, if you hadn't gone through a five book long grow-a-conscience speedrun like our lovely Apollo over here.

Fortunately for Rick, this is such an outrageous theory that if it never comes to fruition, I won't be surprised. If he ever writes something similar, though, know I called it first.

EDIT: here's the fic i mentioned i was (am) writing

EDIT: a masterlist of my other metas