#something that comes more naturally from them seeing each other in their own contexts/working environments

[revelisms]

Braindumping about Silco and Vi, because these two are such fantastic narrative foils for each other—and, in the same breath, completely cut from the same cloth.

I keep wishing they had more scenes together, another square-off, something to put them head-to-head—because there's so much potential for them to counteract the layers of each other.

At the root of it all, Vander's looming between them, this monolith of a presence that ties their pasts together. But above that, still, we have Jinx—who not only is their driving tension, but their greatest possibility for reconnection.

Here, we have Vander's daughter—someone who, for all intents and purposes, has become what he wanted, but who has also been someone he saw too much of himself in; who he did his best to reshape, instead of enable, and who put him on a pedestal, and truly saw him as hers, more than perhaps anyone (except, well, Silco).

Vi treasured Vander, fully looked up to him as her father—and losing him shattered her. In between all the layers of it, there's this underlying thread in his actions towards her, a tension that just sits with her through Act 1—Do as I say, not as I do (or, rather, as I did).

Here, we also have Vander's partner—someone who knew him before, knew what he was, what he resented, and what he became, instead; and who bears the scars of what all their fallout grew to be. Someone who holds the memory of him tangibly, in multiple respects, as though it is something he physically cannot sever: Vander's knife, the Drop—and even, in some ways, Jinx.

Silco is still clinging to the idea of Vander, throughout the entire series. To the potential in their reunion at the cannery; to the reassurance of what he knew him to be (I knew you still had it in you; Vander wasn't the man you thought he was); to this need he has to still speak to him, even after everything.

But Vi was raised with the burden of being the eldest; being the one most capable of providing protection—and, as a consequence, with the burden of responsibility.

She's not only a sister to Jinx. She's a guardian to her—and in many respects, a stand-in mother. And Silco, as a surrogate father, is standing right in the middle of that. A roadblock between "Powder," as Vi knows her sister as, and "Jinx," as Silco knows his daughter to be.

Right at the forefront, we have so much conflict here. Vi is so similar to Vander, to the point that she is nearly his spirit incarnate—so much so that having her resurface from a presumed grave just sets fuel to fire for a vendetta Silco has never been able to snuff out.

But beneath that—far beneath that—they have so much in common. Vi's headstrong rebuttals in Act 1 about going against Piltover and striking them down, about being made to feel lesser her whole life and needing to fight against it, just sings with Silco's anger in the cannery (You'd die for the cause, but you won't fight for one?).

These are two kindred spirits, two revolutionaries willing to do anything for their city and those they love, and who aren't afraid to fight for it. Who want to fight for it.

But trapped between it all, we have Jinx. Someone Vi is not willing to sacrifice (i.e., her memory of Powder), and who Silco, by the end of the series, isn't willing to sacrifice, either (i.e., his loyalty to Jinx).

Vi, of course, could never fathom Silco being a father to Powder (how could she, after he is the reason Vander was taken from her?)—and looks for justifications for her hatred, in everything he does.

But the unfortunate truth of the matter is that for all Vander cherished and nurtured Vi as a vision of himself—so has Silco, to Jinx. He sees himself in her. He has empowered her, cherished her. He is so incredibly tender with her, in his own ways. And—for all his absolute faults, his skewed morals, his tunnel-visioned zealousy to achieve Zaun—he is a good father to Jinx, just as Vander was a good father to Vi.

The question I keep finding myself mulling over, though, is whether these two could find elements of that, once again, in each other.

There are so many things Silco isn't—not only in Vander's shadow, but simply in the character that he is. He doesn't come in swinging; he plots, he strategizes, he fights with words. He isn't a warm presence, or a jovial one; he's chilling, he's dry, he's distanced. There are countless contradictions one can draw between the two of them—and so many layers one can tease apart, on how their opposites attracted each other, how they worked (a balance that will no longer ever be).

But there are so many things Silco is. He's critical, he's fiercely rational, he knows how to weave a crowd around his finger with a single intonation. He admires the outcasts, the scrappers, those that have dredged through society to claw for what they can. He surrounds himself with them—and he operates alongside them, as an equal as much as an usurper.

He's a flavor of parenthood Vi didn't receive, but could have—the one that would have validated her need to fight; who would have taught her that strength comes in numbers, not in one's single ability to protect; who would have seen her snarkiness, her quick wit on her feet, and taught her to use it to her leverage.

The tragedy of the whole series is that Jinx needs them both to have balance in her life—to keep the tether of her child self and her trauma from splitting her apart at the seams—yet for Silco and Vi, as the narrative destines them for (and as it destined Silco and Vander for), any semblance of a connection between them is doomed for destruction.

There's too much they hold fiercely to themselves, in their own traumas, that they cannot set down—even for the sake of Jinx's needs. They are equally selfish, in that way. They want the version of Vander that they are not willing to let go of; and they want the version of Jinx that they know her to be.

But they could change. They could.

Silco did, by the end. Chose his daughter, his legacy, over the cause, over his vision of progress. And Vi did, too. Chose "peace," chose to set down the gauntlets, chose politics (and—arguably—complacency, in the same way Vander did) as the path forward.

But what if they set it all down, for Jinx? What if they became what she needed, on both sides? A father who sees her, nurtures her, like Vander saw and nurtured Vi—and a sister who loves and protects her, like Vi loved and protected Powder; who could learn, maybe, to love and protect "Jinx," too?

And maybe—just maybe—Silco and Vi could learn to appreciate each other, for all their surface hatreds. Find mentorship, find balance again, in each other. And through it, Vi could learn that protection, responsibility, isn't the only quality to strive for. That even she can be nurtured again, too.

#yes this is rapidly becoming the entire basis of heron blue and yes this is the central premise of the WIP i'm working on #shhh #listen these two are just #hhGHGHGH #silco and jinx have that special dysfunctional flavor of daddy issues out the roof #but let's just talk about vi with all that for a second #like???? #yes she will loathe silco until her deathbed for taking vander from her but like...vander gave this girl parentification issues for DAYS #there's some complications big time on both sides #arcane #rambles #arcane meta #arcane vi #arcane silco #arcane vander #i know i have completely left caitlyn out of the equation here #honestly - i could see their relationship developing more...genuinely's not the right word but? #separate from the context of vi being freed from prison? #something that comes more naturally from them seeing each other in their own contexts/working environments #and admiring/appreciating each others' opposites all the more for it #also just like #this is what jinx NEEDS it is the whole shakespearian tragedy of the entire conflict with these three #and the total angst ball of what that *could* be is just divine

[sophia-sol]

A Half-Built Garden, by Ruthanna Emrys

This is a fascinating novel about first contact with aliens in the relatively near future, that's doing great things around ideas of what we owe to the Earth in terms of mitigating the environmental harm we've caused through climate change and other destructive actions. Not everything about the book worked for me, but I think it is still overall very worth reading.

The basic set-up: in the near-ish future, much of the earth is now organized not around countries and nationalism, but around "dandelion networks" where you belong to the network of whatever river you live in the drainage basin for. Within that network everyone has a voice – all humans, but also their communication technology is set up to provide voices for the natural environment as well, so that any decisions properly take into account the needs of the ecosystems around them. The dandelion networks are closely entwined with their local environment and feel a great deal of pride for the way they're managing to turn things around and make human life on earth sustainable long-term. However, not everyone is part of a dandelion network; there's still some nation-states hanging on to existence, though with much less control, and also corporations have been stripped of their power but are not gone and have become basically their own little nation-states as well.

In this context, an alien ship arrives, landing in the Chesapeake network, who want to save all humans from what they see as an urgently dying planet! Who gets to decide who is communicating with the aliens on behalf of all humans? What will the various groups do to make sure their voice is heard? What values should direct everyone's actions in this fraught first contact? Judy, our viewpoint character, happens to be first on the scene when the aliens land, and ends up being the main liaison from the dandelion networks to the aliens as a result, but Judy and her priorities don't get to stand alone for long.

I love this set-up, and I love the themes the book is exploring. All the nature imagery, and the conscious hard work going into keeping the earth thriving as much as possible, and the history of activism that underlies all the dandelion networks' current work.

And the way that creating relationships is depicted as something requiring work and attention to grow them into something full of trust and understanding. Judy's relationship with her wife, Carol, is shown to be already strong and deep and loving and supportive, but Judy and Carol's relationship with their co-parents, Dinar and Athëo, is still new and fragile. But there's also the humans' relationships with their planet, and the dandelion networks' relationships with their local governments, and with the corporations, and with the aliens – and the aliens relationships within themselves as well. I love all of this! And the smaller-scale and larger-scale relationships are like, thematically resonant with each other in a very effective way.

But I think to talk about this book in further detail I'm going to need to go behind a spoiler cut!

Ok so first…the aliens. So there are two different species of aliens who come to earth together! These two species met each other and formed a relationship with each other a very long time ago, and have carefully worked out how to have a mutually beneficial relationship with each other. I thought this was so interesting and well done and I loved learning more about their history and culture and ways of relating to each other and variance of opinions within each group.

But also, I am eternally torn between wanting to read about truly alien aliens, and wanting aliens who can successfully communicate and form relationships with humans on a first-contact time scale. And these ones honestly just felt like humans in funny hats. The corporate humans seemed just as alien to our main characters as the actual outer-space aliens did. And like, that might have been thematically the point or something? Which is valid. But then why even bother having aliens? It felt to me too far in the direction of the way that literary fiction treats speculative fiction ideas, where the only facet of value is the metaphorical point, instead of making the speculative elements make concrete sense contextually as well.

Because I just couldn't believe in them as being aliens from another world. And you can go so much more alien than this without taking them into the realm of unrelatable, so I really wish this book had!

And like, the aliens are similar enough that Judy and Carol start dating one of the aliens. Within, if I'm remembering the timelines correctly, weeks of knowing him? And they're SO chill about it, as if it's no different than deciding to date another human. Which sure, maybe they're that kind of people, but even that isn't marked as a thing. It's as if the narrative is of the opinion that it's normal to be chill about dating cross-species. It just felt off to me.

Second…the humans! Okay so we spend most of our time with the Chesapeake watershed, and especially with Judy's family, and there's a lot that's great about this. I really enjoyed seeing this household still in the early days of learning to be family with each other, and the ways in which things are easy and the ways in which things are hard, and the ways their families of origin affect what they bring to their current relationships.

We also see some of what it's like to live in a watershed organized into a dandelion networks, and overall it's pretty good! I think a lot of the way the author constructed the dandelion networks is about trying to create what might be an imperfect but believably-better future, which is one of the things scifi is for! Allowing us to imagine what might be!

BUT. The way they are all constantly connected to and interacting with what's basically their watershed's local reddit / neighbourhood email listserv, via their brains, feels to me like it would be enormously overwhelming overload. Judy feels incomplete when she doesn't have access to the network, and it's the fundamental way dandelion networks function. How do people who can't handle that fit in?

When Judy travels to meet the corporate people in their home environment and she finds that overwhelming, she asks how people who can't handle it manage to fit in and live, and she gets an answer to that, but being part of a dandelion network is never shown to be something that someone who is raised within such a network could ever be uncomfortable with.

As well: gender. Gender functions differently amongst all the different groups in the book, both human groups and alien groups, and they all kind of feel weird about each other's genders because it's so different from their own norms. But within each group, too, we see people who are uncomfortable with their own culture's way of doing gender, and have a role or an identity that doesn't fit the expected framework. Which is all so much fun, because of course even with wildly different gender expectations there will always be the occasional weirdo who doesn't fit in!

That is to say, within each group except in the dandelion networks. I don't recall ever seeing a character who's part of a dandelion network who has any issue with the trinary gender system (he, she, and they) that you have the option of choosing between within their framework. Were there any??

These facets and some other stuff about the general tone of the book kind of make me feel like, even with the ways that the dandelion networks are shown to be imperfect, there is still an underlying attitude that of COURSE the ideals of the dandelion networks are the best ones to strive for. And like……I do agree with so much of what the dandelion networks are doing! But as soon as you try to tell me what the only "right" thing to think is, I get all curmudgeonly about it, you know?

I'm not sure whether I'm being fair to the book on this point tbh. Is the tone I feel like I'm picking up on something that's only in my head? I don't know! But this made it really hard for me to love the dandelion networks, even as I intellectually admired so much of what they were doing.

Anyway it turns out that the culture I am most fascinated by of all the cultures in this book is the corporate culture! They're still in many ways corporations, but the way they've developed internal understandings of gender and social interaction in unique ways are so interesting. Even the dandelion network folks think that within a few generations they'll just be another human culture with a bloody history rather than still being actively the corporations that nearly destroyed the earth.

We only see glimpses of corporate culture, and nearly all from the viewpoint of people who are antagonistic towards them, but I want to know more! Plus I find a number of the corporate characters fascinating. Intern Adrien who loves to play the game and is willing to put aside any morals for the sake of advancement. Brend, Adrien's sibling, who loves Adrien but struggles with normal socialization within the corporate environment, and with some of the values that the corporations maintain. Tiffany, whose relationship with Brend is the most important thing, to be ranked above all else when making decisions, and does not care about ethics for the sake of ethics even a little. They're all so fascinating!

(and like, oh hmm yeah of course two of my favourite characters are Brend and Tiffany, the weirdos who don't fit in anywhere, that does check out doesn't it)

And okay yes this was a whole enormous pile of words analysing my not entirely positive feelings towards this book, but overall I think what I want to say about it is that it's interesting and thoughtful enough to be WORTH arguing with! I enjoyed thinking about it, I enjoyed spending time with these characters, there were some moments I found genuinely touching and emotional, and I argue because me and the book are both united in caring about things. So I do recommend it! And please come argue with me about this book!

#a half built garden #ruthanna emrys #book thoughts

[bestivfcentre-gaudiumivf]

Infertility and It’s Social Impact

Infertility is when couples can’t have a pregnancy after trying for a year without using birth control. It’s a tough situation that impacts lots of people globally. Both men and women can face this issue, and it brings about strong feelings and affects how they think, feel, and interact with others. In this article with Gaudium IVF, The Best IVF Centre in Mumbai we will delve into various intricate aspect of Infertility:

The Challenge 

Infertility, the inability to conceive after a year of trying (or six months if a woman is over 35), goes beyond the physical aspect and significantly influences various aspects of an individual’s life. In a social context, the impacts of infertility are extensive, affecting relationships, mental health, self-esteem, and even financial stability.

One of the most profound effects of infertility is on relationships. Couples may face emotional distress as they experience the complex feelings associated with infertility. The pressure to conceive can strain the relationship between partners, leading to tension, blame, and communication difficulties. Intimacy might become more focused on the goal of conception, losing its natural spontaneity and joy. This strain can sometimes lead to conflicts or even separation if not addressed and managed properly.

Infertility can make people feel sad, frustrated, and sometimes really alone. When a person or a couple can’t have a baby, it hurts emotionally. It’s like a burden on their hearts because they might have been hoping for a baby for a long time.

First, they might feel surprised and shocked when they find out they can’t conceive naturally. It’s a tough thing to hear because they might have been expecting everything to be okay. This shock can make them feel sad and confused.

Feelings of Loss and Grief

Not being able to have a baby can make people feel like they’ve lost something important. Some might feel really sad, almost like they’re mourning a loss. This sadness can be hard to deal with, and it might take some time for them to come to terms with it.

Guilt and Blame

People dealing with infertility might blame themselves or each other. They might think they did something wrong or that their body isn’t working the way it should. These thoughts can make them feel guilty, even though infertility is usually not anyone’s fault. Sometimes, this guilt can strain relationships, making it hard to talk about feelings openly.

Stress and Anxiety

Infertility can bring a lot of stress and worry. The constant hope for a baby and the disappointment each month when it doesn’t happen can make people anxious and frustrated. The stress of medical tests, treatments, and the uncertainty of the outcome can be overwhelming.

Impact on Relationships

Infertility can affect relationships, too. Sometimes, partners might feel distant from each other because they both deal with the emotional pain in their own way. This can make communication difficult and strain their bond. Friends and family might not understand what they’re going through, leading to feelings of isolation.

While infertility can be tough, there’s still hope. There are different treatments like In-Vitro Fertilization (IVF), Intra-Uterine Insemination (IUI) in the domain of ART. Exploring these alternatives can bring hope and help people see other paths to becoming parents.

In conclusion, infertility has a multifaceted social impact, affecting relationships, mental well-being, self-perception, finances, and societal perception. Addressing these impacts involves not only medical interventions but also emotional support, open communication, and understanding from both the affected individuals and society at large. Creating a compassionate and inclusive environment can alleviate some of the challenges faced by those navigating the complexities of infertility. Treating depression associated with infertility involves a multifaceted approach. Therapies like cognitive-behavioral therapy (CBT), support groups, and counseling can help individuals navigate their emotions, manage stress, and develop coping mechanisms. Additionally, medications prescribed by the best Infertility specialist in Mumbai also helps in many cases.

Dealing with the social aspect of infertility can be challenging, but there are several steps individuals and couples can take to navigate this journey:

Open Communication: It’s crucial to communicate openly and honestly with your partner about your feelings, fears, and expectations regarding infertility. Mutual support and understanding can help strengthen your relationship during this challenging time.

Seek Support: Joining support groups, either in person or online, can provide a sense of community and understanding. Connecting with others who are going through similar experiences can offer emotional support and valuable advice.

Educate Close Ones: Educate family and friends about infertility to help them understand its emotional impact. Communicate your needs and boundaries regarding discussions about fertility or parenting. Honest conversations can reduce misunderstandings and insensitive remarks.

Professional Help: Consider seeking counseling or therapy, either individually or as a couple. A mental health professional can help you navigate the emotional stress, develop coping strategies, and strengthen your relationship.

Self-Care: Take care of your mental and physical well-being. Engage in activities that bring you joy and relaxation. Practice mindfulness, exercise, and maintain a healthy lifestyle to manage stress.

Explore Options: Be open to exploring different paths to parenthood. This might include fertility treatments and procedures. Each path has its own challenges and joys; take the time to explore what feels right for you.

Educate Yourself: Learn about fertility treatments, or other options available to you. Knowledge can empower you to make informed decisions and feel more in control of your journey.

Stay Connected: Maintain connections with supportive friends or family members who understand and respect your situation. Social support can be a crucial source of strength during difficult times. 

Specialist Help: Fertility specialists at the best IVF Centre in India can help not only with the medical as well as the emotional aspect of Infertility. Expert guidance in exploring treatment options is crucial in finding out what is beneficial for you. 

Dealing with the social aspects of infertility requires patience, resilience, and support. Remember that it’s a personal journey, and there’s no one-size-fits-all solution. Being kind to yourself and seeking the support you need are essential steps towards navigating the social impacts of infertility.

Author Bio:

Dr. Manika Khanna, a Women, a Doctor, a Business entrepreneur & is a Social worker who gave a new dimension to the IVF business. She did Advanced Training Program in Gynecological and Endoscopic surgery from University Hospital Schleswig-Holstein, Campus KEIL, Germany. She has also done Advance training in Assisted Reproduction in Human (I.V.F) from Melbourne IVF unit. Gaudium Infertility Centre was set up with a mission to provide state-of-the-art infertility treatments to child-less couples of India and around the world.

#ivf hospital #ivf treatment #ivf specialist #ivf centre

[the-king-andthe-lionheart]

So this is definitely in response to that certain dark section of our fandom (you know exactly who you are) who are throwing a fit about the Arya and Daenerys fandoms enjoying the possibility of a canon Daenarya friendship in the future.  So let’s look at all the quotes that possibly foreshadow a future Arya and Dany friendship and put it into context.

It was very dark right now, she realized. She hugged her bare knees tight against her chest and shivered. She would wait quietly and count to ten thousand. By then it would be safe for her to come creeping back out and find her way home.

By the time she had reached eighty-seven, the room had begun to lighten as her eyes adjusted to the blackness. Slowly the shapes around her took on form. Huge empty eyes stared at her hungrily through the gloom, and dimly she saw the jagged shadows of long teeth. She had lost the count. She closed her eyes and bit her lip and sent the fear away. When she looked again, the monsters would be gone. Would never have been. She pretended that Syrio was beside her in the dark, whispering in her ear. Calm as still water, she told herself. Strong as a bear. Fierce as a wolverine. She opened her eyes again.

The monsters were still there, but the fear was gone.

Arya got to her feet, moving warily. The heads were all around her. She touched one, curious, wondering if it was real. Her fingertips brushed a massive jaw. It felt real enough. The bone was smooth beneath her hand, cold and hard to the touch. She ran her fingers down a tooth, black and sharp, a dagger made of darkness. It made her shiver.

"It's dead," she said aloud. "It's just a skull, it can't hurt me." Yet somehow the monster seemed to know she was there. She could feel its empty eyes watching her through the gloom, and there was something in that dim, cavernous room that did not love her. She edged away from the skull and backed into a second, larger than the first. For an instant she could feel its teeth digging into her shoulder, as if it wanted a bite of her flesh. Arya whirled, felt leather catch and tear as a huge fang nipped at her jerkin, and then she was running. Another skull loomed ahead, the biggest monster of all, but Arya did not even slow. She leapt over a ridge of black teeth as tall as swords, dashed through hungry jaws, and threw herself against the door. - Arya III AGOT

Here is the initial passage that has to do with dragons in Arya’s story.  She comes across the dragon skulls in the dark and feels afraid of them.  She feels as if the eyes of the skulls were watching her and did not like her. She also doesn’t recognize them for what they are.  She initially refers to them as monsters, but later she comes to realize they are dragons: 

This time the monsters did not frighten her. They seemed almost old friends. Arya held the candle over her head. With each step she took, the shadows moved against the walls, as if they were turning to watch her pass. "Dragons," she whispered. She slid Needle out from under her cloak. The slender blade seemed very small and the dragons very big, yet somehow Arya felt better with steel in her hand. - Arya IV AGOT

Now admittedly the first quote does sound like the foreshadowing could suggest antagonism between Arya and Dany, but the second quote doesn’t suggest this.  Arya thinks of them as if they are old friends.  That is the most notable sentence of the paragraph, not the fact that she slid Needle out.  But when you actually look at this paragraph you actually see a duality here.  The monsters did not frighten her.  They seemed almost old friends.  Yet she slides her blade out and feels better?  So for me this quote just seems to foreshadow that Dany will be Arya’s friend, yet Arya will remain wary of her dragons like anyone naturally would be.

So putting these two quotes into context, it tells us that if Arya and Dany will meet they will initially be antagonistic and wary of each other (most Daenarya fans I’ve seen acknowledge this will likely be the case).  However it also suggests that this wariness will eventually fade and they will become friends.  Arya doesn’t need to think she is wholly safe from the dragons to have a friendship with Dany.  EVERYONE is wary about the dragons, just like most people would be unsure and most likely afraid if they were in the same room as a large cat or a bear. 

But this isn’t Arya’s only dragon connections in the narrative.  Arya’s closest relationship is with Jon, who is half Targaryen.  In Braavos Arya is fascinated by the courtesans and the Black Pearl in particular:

"The Black Pearl," she told them. Merry claimed the Black Pearl was the most famous courtesan of all. "She's descended from the dragons, that one," the woman had told Cat. "The first Black Pearl was a pirate queen. A Westerosi prince took her for a lover and got a daughter on her, who grew up to be a courtesan. Her own daughter followed her, and her daughter after her, until you get to this one [...] - Cat of the Canals AFFC

The woman with him could not have been more than a third his age. She was so lovely that the lamps seemed to burn brighter when she passed. She had dressed in a low-cut gown of pale yellow silk, startling against the light brown of her skin. Her black hair was bound up in a net of spun gold, and a jet-and-gold necklace brushed against the top of her full breasts. As they watched, she leaned close to the envoy and whispered something in his ear that made him laugh. "They should call her the Brown Pearl," Mercy said to Daena. "She's more brown than black."

"The first Black Pearl was black as a pot of ink," said Daena. "She was a pirate queen, fathered by a Sealord's son on a princess from the Summer Isles. A dragon king from Westeros took her for his lover."

"I would like to see a dragon," Mercy said wistfully. - Mercy TWOW

There is even foreshadowing that Arya will form a closer relationship with the Black Pearl in the future by becoming an apprentice for her so Arya can refine her highborn manners so it’s easier for the FM to place her into highborn society to do their work, because why not utilize a highborn girl in this way?

But also notice that Arya/Mercy is friends with a girl named “Daena” which is ridiculously close to the name Daenerys.  And in the same conversation with Daena (Daenerys) Arya/Mercy also said she wished to see a dragon.  And no this isn’t “Mercy’s” wish, this is Arya’s wish:

As Arya crossed the yard to the bathhouse, she spied a raven circling down toward the rookery, and wondered where it had come from and what message it carried. Might be it's from Robb, come to say it wasn't true about Bran and Rickon. She chewed on her lip, hoping. If I had wings I could fly back to Winterfell and see for myself. And if it was true, I'd just fly away, fly up past the moon and the shining stars, and see all the things in Old Nan's stories, dragons and sea monsters and the Titan of Braavos, and maybe I wouldn't ever fly back unless I wanted to. - Arya X ACOK

Doesn’t really sound like Arya hates dragons or have any issues regarding them.  She wants to see them irregardless of any fear they may inspire within her that everyone would naturally have upon seeing a dragon.

Arya also expresses a wish to fly throughout her narrative and she also has wing symbolism in her arc:

If I was a crow I could fly down and peck off his stupid fat pouty lips. - Arya X ACOK

If I had wings I could fly back to Winterfell and see for myself.  And if it was true, I'd just fly away, fly up past the moon and the shining stars, and see all the things in Old Nan's stories, dragons and sea monsters and the Titan of Braavos, and maybe I wouldn't ever fly back unless I wanted to. - Arya X ACOK

I wish I could change into a wolf and grow wings and fly away. - Arya XIII ASOS

She might be bald and skinny, but Mercy had a pretty smile, and a certain grace. Even Izembaro agreed that she was graceful. She was not far from the Gate as the crows flies, but for girls with feet instead of wings the way was longer. - Mercy TWOW

Also lets not forget how similar Arya and Dany are to each other and how many parallels they share.  They are both lost princesses exiled and sent to Essos, specifically Braavos, after their father's deaths at the hands of Lannister's.  They each know what it's like to be bought and sold and to be enslaved – Dany as a child bride and Arya as a child soldier.  And they both have pretenders trying to take their claims.  Both have been forced into becoming smallfolk, living in poverty and starved.  And they both know what it's like to be hunted and scared.  They adapt exceedingly well into other environments and cultures, and their morality and sense of justice are very attuned, as they seek to protect those that can not protect themselves.  Very protective, they are both empathetic and maternal and care for the sick, ailing, and dying.  Both of them are survivors and have both suffered abuse and sexual assault (more so for Dany, but it's still there).  They are both clever and know how to manipulate people.  They are both polyglots and both of their deepest desires are for home and family/pack.  They both try to live up to the image of their older siblings (ie Sansa and Rhaegar).  Arya is said to look and act like Lyanna and Daenerys is compared to Rhaegar by the people that knew him.   They are both very close to their house sigils and even dream about them and the mystical beasts they both own.  They both love horseback riding and they both have encountered mystical prophets.  Wanted/considered becoming sailors and they both have fantastic people skills.  Not to mention that it was Arya who said that the slaves should have killed the masters, while Dany is leading a slave uprising to overthrow and yes, execute the masters.

Dany is also not some “mad queen” and she does listen to the people who knew her father and Rhaegar.  She is learning the truth about the monster her father was and learning to accept that.  So there is no reason why Dany should continue to feel antagonistic towards the next generation of Stark’s for something they didn’t do.  

I’ve also seen comments about how the fire devastation that is within Arya’s story must clearly mean “Dark Dany” and that Arya and Dany will be antagonistic towards each other in canon when they meet.  I’m assuming these people are referring to the burning barn scene:

"You take her!" she yelled. "You get her out! You do it!" The fire beat at her back with hot red wings as she fled the burning barn. It felt blessedly cool outside, but men were dying all around her. She saw Koss throw down his blade to yield, and she saw them kill him where he stood. Smoke was everywhere. There was no sign of Yoren, but the axe was where Gendry had left it, by the woodpile outside the haven. As she wrenched it free, a mailed hand grabbed her arm. Spinning, Arya drove the head of the axe hard between his legs. She never saw his face, only the dark blood seeping between the links of his hauberk. Going back into that barn was the hardest thing she ever did. Smoke was pouring out the open door like a writhing black snake, and she could hear the screams of the poor animals inside, donkeys and horses and men. She chewed her lip, and darted through the doors, crouched low where the smoke wasn't quite so thick.

A donkey was caught in a ring of fire, shrieking in terror and pain. She could smell the stench of burning hair. The roof was gone up too, and things were falling down, pieces of flaming wood and bits of straw and hay. Arya put a hand over her mouth and nose. She couldn't see the wagon for the smoke, but she could still hear Biter screaming. She crawled toward the sound. - Arya IV ACOK

Arya rolled headfirst into the tunnel and dropped five feet. She got dirt in her mouth but she didn't care, the taste was fine, the taste was mud and water and worms and life. Under the earth the air was cool and dark. Above was nothing but blood and roaring red and choking smoke and the screams of dying horses. She moved her belt around so Needle would not be in her way, and began to crawl. A dozen feet down the tunnel she heard the sound, like the roar of some monstrous beast, and a cloud of hot smoke and black dust came billowing up behind her, smelling of hell. Arya held her breath and kissed the mud on the floor of the tunnel and cried. For whom, she could not say. - Arya IV ACOK

This chapter does not mean that Dany is going to go “evil” or “mad” and start burning stuff to the ground.  You guys do remember that Dany has three dragons right?  And that Dany is only the dragonrider to Drogon?  That leaves two other possible dragons that could be stolen from Dany.  We have Euron/Victarion who has the dragon binder horn and then we have Aegon who may or may not be able to claim one of those dragons for himself.  There is also the possibility that Euron dies or Aegon dies and someone else will take their places as dragonriders via Targaryen blood or use of that horn.  So besides Dany we have Aegon, Jon, Euron, and Tyrion who may all ride dragons within the story as they all have the proper set-up and foreshadowing for it to be a possibility.  So why is it the automatic assumption that it will be Dany burning shit down?   

Not to mention, wildfire has the same types of language used as the two quotes above:

And then some vast beast had let out a roar, and green flames were all around them: wildfire, pyromancer's piss, the jade demon [...] From bank to bank there was nothing but burning ships and wildfire. The sight of it seemed to stop his heart for a moment, and he could still remember the sound of it, the crackle of flames, the hiss of steam, the shrieks of dying men, and the beat of that terrible heat against his face as the current swept him down toward hell. - Davos I ASOS

So considering there not only is there a ton of foreshadowing that it will be Cersei who destroys King’s Landing with wildfire, but also there is foreshadowing that Jon Connington will do something incredibly drastic to win and keep the Iron Throne for Aegon.  And may I remind the audience that the fires Arya went through and experienced in the Riverlands had zero to do with Dany.  They were the direct result of the Lannisters.

So if Arya IV ACOK is foreshadowing a future fire she is stuck in, there is no evidence that the fire will be caused by Dany nor that the fire is dragonfire.  And if you are going to point out the show as evidence, let me tell you something, go to the youtuber The Dragon Demands and watch his videos dissecting everything about the scene of Dany burning King’s Landing by using the script, listening to BtS content, looking at the storyboards, actually noting that a scene of Cersei looking out the window, depicting her watching people put barrels of wildfire on the battlements, etc.  Because the compilation he makes proves that Dany burning KL the way that she did in 8x05 was a last minute change.  It was supposed to be an accidental wildfire explosion before they changed it so they could justify Jon killing her.  But I’m sure even with the evidence you’ll still cling to the idea of Dark!Dany because you are incredibly insecure about your fictitious ship and your blatant mischaracterization of your favorite “pure as the driven snow /s” character, because there is literally nothing in the books that foreshadows Dany going “mad” or “dark”.  So why don’t you take your jealousies about Daenerys and Arya and the very possible Daenarya friendship somewhere else.

#arya stark #daenerys targaryen #asoiaf

[phoenixyfriend]

Re; Ahsoka and Quinlan being the same age, now I'm picturing Ahsoka, Quinlan, and Rex eventually ending up in a weird sorta thruple where Quinlan comes in and out of the relationship but the door is kinda always open for him? And Rex spends a lot of mornings eyeing the tangle of orange and brown skin on the other side of the bed like he has no idea how he ended up here but he's (mostly) okay with that tbh

Context: Commander Buir in chronological order

YES okay so this is wild to me that people are invested in this but like half the time-travel fics with Ahsoka in the same age-group as Quinlan have me wondering if I should ship them. Let me just. Ho shit.

So, okay, I've explored a lot of possible dynamics but there's something really engaging about how Quinlan, trained as a Shadow before the Sith came back, could react to a War Padawan. Ahsoka isn't really infiltration material yet, she's very much a frontline fighter, but she's got a lot more experience with a kind of consistent dark atmosphere that most Jedi don't. They get exposed to plenty of dark stuff, sure, but not the kind of all-encompassing "this is my life for the last two years" thing that is usually reserved for the long-term field agents like Shadows and Watchmen.

The War Padawans, for all that they were supposed to be just normal Jedi Padawans, were living in the kind of consistently negative environment that's normally experienced by those Knighted Sentinels.

So Ahsoka, while still generally pretty young in these AUs, is a very odd kind of person to be around, because she's spunky and vivacious and snippy and affectionate and snarky and knows how to break every bone in your body from harrowing experience as the only thing standing between death and thousands of brothers.

And Quinlan, I imagine, really likes that about her. She gets it, and she's still an energetic and loving and trying to do her best to be a good person despite everything. He gravitates towards her and she... well, she's not blind. She can tell he's interested. And she's not upset about that.

ANYWAY, ONTO REX

So, Rex is... technically twelve. He hasn't exactly got a whole lot of experience with romance. He is also, up until the point of time-travel, legal property of the Senate and the Jedi Order, which means that Ahsoka, or at least her community, owns him. He was indoctrinated to serve her and that community. She also outranks him, for all that she usually lets him take the lead in the field due to experience. He's older than her physically and maturity-wise, but she's also had a grow-up-faster-than-you-should adolescence, and she has superpowers.

What I'm saying is, the power dynamic is fucked up.

(Unironically I spent hours last night realizing that it balances out a lot more than C*dywan does, which I'm censoring because by god do I not want discourse on this post. I like both ships, and don't want to argue about what's the most problematic. It's Star Wars. The only unproblematic ships are Bail/Breha and Owen/Beru.)

Here's the thing, though, because the main thing people seem to argue here is the age/maturity difference as a problem area:

The age difference in actual time is four years, which is smaller than the two main ships of the franchise (Han/Leia and Padme/Anakin, to be clear). The age difference in maturity is ??? We'll say that the clones started aging normally after they hit twenty, so the age difference in maturity is six years... which is still normal for SW ships.

(This is why I don't have any issues with the ship in a post-O66 context, once they've had a few years to move past the traumas and whatnot. The age stuff all evens out with time, they're a good team, and neither was grooming the other. It's not objectively any more problematic than most SW ships at that point, and I'm okay with that. They deserve to be happy if they want.)

But they get yanked away from all that structure of who owns what, who reports where, who has which rank, who's legally a person in the eyes of the Republic when they end up on Dagobah. Once they've registered when they are, the only remaining complications are:

He grew up in a cultlike environment and was indoctrinated to serve her (but has been replacing that indoctrination with genuine respect and affection for her as a person because they've worked together for two years).

She has superpowers (contextually not a big problem: we see several Force-Sensitive/Non-Sensitive ships that don't consider those powers a complicating element)

He's several years younger than her (canonically less of an issue than it could be: Cut got married and has kids) and has next to no experience with what a normal romance looks like except for hanging out on the edges of whatever the fuck his General has going on with the Senator

She's several years less mature than he is (...something of an issue)

So a lot of this is mostly okay. She feels weird about the fact that she's got more knowledge of romance and all that it entails. He feels weird about the fact that, despite her being older, he looks at her and sees someone that's still a little young, not quite a shiny. Except she is older than him, and he's seen her behead four people in a single move, and they've saved each other's lives more times than either of them can count anymore. He respects her, and the fact that she's babyfaced doesn't change the fact that, in terms of who they are as people and warriors, they're on a level playing field.

She still looks at him and mourns his lost childhood, and he still looks at her and takes a moment to see past the too-big eyes and adolescent proportions.

But they really, really care about each other, and maybe part of them is starting to recognize that there's a bit of a crush before they time-travel, but neither one wants to make a move. There's a lot of baggage on both sides, a lot of "but they're a child" and "but they're (literally vs functionally) below me in the chain of command, I can't take advantage of that" and all that fun stuff. It's the kind of situation where two people circle each other for ages without making a move, because actually making that move is terrifying on account of not knowing whether the other party knows they can say no, on top of the usual "what if it ruins our friendship?" thing.

What happens on Dagobah, though... is very tropey. They're sort of stranded until Ahsoka can fix the ship, and that takes time. The area is also very heavy with the Force, dense and heady with the energy it carries, and it's... actually really not great for Ahsoka. She keeps feeling like she's back on Mortis, and has nightmares from the trigger there, but also keeps hallucinating because she wasn't ready for the thickness of the energy (like Yoda) or still new enough to the Force that she couldn't feel how dense it all was (like Luke). She can't work on the engines as constantly as she'd like to get them out of there, and while Rex is a competent mechanic, he's not as skilled with it as the girl who jumped headfirst into lessons with Anakin.

Rex spends a lot of time holding Ahsoka and wiping her brow with a wet cloth while she's feverish and out of it. Yes we're going full Florence Nightingale romance here, let me have my fun.

They get the communications relay working earlier than the engine, find out the year is wrong, panic a bit. All is well. (It's not, but they're holding it together for now.)

Ahsoka keeps working on the engine when she's lucid. Rex keeps hunting up game and edible plants for them while she does. They cuddle at night, because it's not cold but it is empty of the people they care about, and they kind of want that reassurance of someone they trust and love at their back.

(Morai visits.)

(Daughter shows up in the nightmares, tells Ahsoka that age will not come for her beloved until the time is natural for it. The phrasing is dumb but she does manage to convey that the accelerated aging is no longer an issue, if it even was after they hit adulthood. Ahsoka is relieved.)

And, you know, emotions happen. She takes his hand while they're leaning up against each other. He kisses her forehead while she's having a bad spell. They cook together and tell jokes to keep sane and spar. They hug each other through nightmares and panic attacks. There is much blushing. There is much cuddling.

Once, they kiss.

They break apart, flushing and stammering and being very awkward about the whole thing, and make excuses to leave and panic about the fact that they!! Kissed!!!!!

A couple hours later they find each other again, and have a long and complicated discussion about why they like each other (war makes bedfellows, there's trust and affection and all that fun stuff) and why they're hesitant (age stuff, maturity stuff, prior indoctrination), and make the decision to take it slow. They cuddle, and kiss, and blush a lot because both of them are basically just dumb teens having their first real relationship.

They eventually leave the planet, make it to Coruscant, etc. It takes a bit for anyone except Obi-Wan to realize that something's changed between them. Most people didn't know them before, and Anakin's observation skills are currently at a very low ebb. But they sit together and hold hands, and flirt when they spar, and once or twice people find them kissing (both standard and Keldabe) in a corner while holding hands and then just smiling at each other like loons.

They end up rooming together because nobody has the heart to separate them after hearing about all the war stuff. Like yes attachment's bad, but these two do seem to understand loss of loved ones and recognize that they could lose each other at any time and death is natural and they won't lose their entire shit about it, and if even General Kenobi is anxious as hell about being separated from the people he fought side-by-side with for two years, then maybe it's just... really normal for those two to want each other's company, and everyone can just turn a blind eye to the romance happening.

They share a bed, but they only ever sleep in it. Like, there's some goodnight kisses and cuddles, but everything is very G-rated until they've had time to settle into being true equals instead of just the "well, I guess the power dynamics balance out? Maybe?" of before.

And just... yeah. Rex does not believe that he's in this good of a position whenever he has the time to think about it. He's got a girlfriend! A really pretty, smart, strong, skilled one! Who thinks he's a cool dude! How the fuck did a clone like him manage that? He wasn't even legally a person a year ago, how did he end up in bed with one of the most amazing people he's ever met? He spends multiple nights just staring at her while he tries to fall asleep, asking himself how he got here and just like... marveling at her. She's worth marveling at. He's in love and she's amazing and he has no idea how to handle it at all.

...yeah no I have a lot of feelings now.

#Rexsoka #Ahsoka Tano #Captain Rex #Quinlan Vos #time travel #Commander Buir #Phoenix Posts

[6blackfilin9]

I love your Anko fanart! Tell me, what are your views/headcannons on Anko X Kazuku?

hThank you so much for the ask, finally I can answer it

here is my big thank you for the waitng

In a nutshell, the shipp was created by accident while me and my buddy were working on our first Naruto AU in 2019, where Kakuzu and Deidara survived their shitty plotholes end eventually ended up in Konoha

Yeah

so, the shipp’s birth date is july the 1, 2019

anything like classy, aristocracy kind of tension-filled passionate gothic romance with playful, psychological games & hurt/comfort vibes with slight scent of rivalry is KakuAnko

Basically, they are: a very, very old man with absolutely horrendous background who’s trying to finally have his mother*cking 10 or 30 years of peace, and a rather young lady with a rocky youth who’s being good & noble yet has very strong antihero tendencies

You know, I think they do have potential, since, in fact, they seem to be very similar, at the core

They are both very pragmatic realists, the people of logic and reason, yet if Kakuzu’s irritability doesn’t affect him a tiny bit due to his ideal self-control, Anko’s can lead her to quite bad places, sometimes. They put their interests in the first place, and even though she tries to attach them to Konoha’s, she still has ‘personal’ things (I’ll write ‘bout it lower*). Their mindsets are so complicatedly organized that, at some point & way, it prevents them from having many close people, and makes them very hard to see through and predict

Both of them are very flexible & adaptive, independent individuals with similar outlooks on plenty of things and high intellectual level. They clearly can find plenty of traits that they would highly respect and adore in each other

Here I will speak mostly for “why and how” kind of things, bc both of them are terribly tricky to accurately figure out. But there will be some headcanons too

So, there are still some odds about them, due to the strong difference in their occupation, like, in plenty of cases they are really tricky to be brought together, because:

- Of the job

In original, Anko is a Konoha’s special jounin, and she is very dedicated to serving the country. Independently of whether she likes her job or not (depends on the plot), she orienteers at the people, at society’s gain from her work. So, accordingly, in any other AU her job is somehow connected to civil service, whether it’s something police-like, connected to science, or something like CCG in Tokyo Ghoul

Kakuzu, on the other hand, is a hitman and a persona non grata in literally all the five big countries, Konoha too (which makes it barely possible to bring them together in the original universe without hard complications or heavy drama. But still possible). He orienteers on his own gain alone, but, depending on the job, it can include others’ gain, too.

This detail makes him a saint once he holds supervising position in some company or any high position in the government (the better the working conditions of the staff now- the more money in the prospective), and the sheer nightmare once he has it on the opposite side of the law. Him as a mob boss is a complete different topic for discussion, but to get the point, in this case, the trouble isn’t him increasing the level of criminality (its rather vice-versa), but taking hold of too much control in the high and underground structures. Even as an ordinary hitman he’s rather tricky, since everything depends on the case

In most of the stories, they come to some sort of compromise, and how hard it is to reach it depends on how shitty his job is and how attached they are to each other at the moment

Like, in the above mentioned Shippuden AU and Harry Potter AU (which I also wrote with my buddy) everything went like clockwork, because there they are both more or less on this side of the law, in Tokyo Ghoul AU (which I also wrote with my buddy) it is a bit more complicated, with her being in-law and him being very much outlaw, in the Avatar AU (which I also figured out with my buddy, but we never happened to write it) it is also pretty smooth, with both of them being outlaws and then jumping out to the glory after all the shit is done, but in another Shippuden AU of mine, this all would be just a motherfucking bloody disaster

- Kakuzu is actually a hard nut to get attached to anyone

He lived too long to be truly afraid of anything, though. Its mostly because he doesn’t really need to get attached to or become close with someone to satisfy his need for communication. The man can get along with anyone once he wishes to, he can have countless acquaintances and plenty of buddies, but he doesn’t have many comrades and barely can call anyone a friend. Because he is used to lose everything and everyone he ever had or happened to have, because of his inhumanly lengthened lifespan.

It requires time for him to get used to the person, and then, eventually, in some cases, spend plenty of it to get attached

Plus, for him, due to his profession, each close connection is a really great responsibility for him. In most cases, he’d think twice of weather he is ready to take it or not

Though it of course has the personal factor, too

In Anko’s case, she has a grand privilege by being a very intelligent and keen woman, not just in cognitive plane, but in emotional, too. High emotional intellect is actually a rare trait, so she automatically stands out of the crowd for him. Even though it won’t guarantee his alliance, it will grant her his high respect and some sort of sympathy

- Kakuzu is, technically, an asshole

He does have his moral compass, which includes a great amount of common social morality, but he also has that “I am working” state

Even though Kakusu has a set of professional principles, and he still acts accordingly to what he thinks is right, one and the very same situation can be solved diametrically different once the context changes from working to casual and vice versa

This, and him being very independent and quite antisocial, makes the degree of assholeness depend on various factors

This can lead to major conflicts of interests, and if they are possible to have any compromise or not is strongly attached to the circumstances. After all, both are very, very prideful and dignified people

- In other words, the only major issue for them would be morality questions. It’s possible to make the case acceptable for Anko, since both of them ain’t truly squeaky clean, along with Kakuzu being willing enough to watch his borders

- She is provident and doesn’t really need a lot of money on a daily basis, which is much of a joy to him lol

- *they both seek for the stable ground, first of all

Taking in consideration the life conditions Kakuzu had in his youth (despite war state, he still stably had family, friends, grand respect from everyone, home, warmth and food) and how terribly he was torn out of his secured social environment, I believe what he seeks through all his bounty hunt and other money-connected manipulations is stability. Sustainability he had back then. The only way to have it in the conditions of our existent world order is to have money (and a very good mind and luck)

Anko has indeed much more altruistic motives, yet it’s still not that simple. It seems to be, on the first sight, yet considering the “Orochimaru related cases” and her very wayward behavior toward them, it’s clear she keeps her own motives and needs in mind oh so well. The service she has is very well payed, it allows her to do what she likes or believes is right, and to have the living conditions she finds comfortable. And only here, relying on the made sustainable basis, she does what she does

- Thus, they both illustrate the principle “first help yourself, next help the other” just right

- She knows she can keep an eye on him, yet it’s clear for her that her influence isn’t borderless, as well as telling him off some stuff is kind of a not wise thing to do. So in the majority of cases, she never interferes

- This is not common, yet he can actually change some plans if the situation is serious and the compromise can’t be found. He is that kind of person who works on a further prospective, and in this context, this would be the relationship with his loved one

- While Kakuzu is quite conflicted and has very reserved controversial persona, Anko is both controversial, conflicted, and sort of two-faced, on top of that

She is a very sincere, cheerful and humbly honest human being, yet she has some darker natural traits of her character that became rather strong with age and traumatic experience. Cunningness, guile, ways-depend-on-the-case and a bit of ruthlessness, that is. Moreover, she has some unsolved personal issues, which makes her even more twisted.

Like, remember the time when she confronted Orochimaru during the exam? And Kabuto, on the war? Getting rid of them is indeed beneficial for Konoha, but it’s clear that for her it is personal vendetta in the first place. She wouldn’t have tried to do this alone, otherwise, because these two are rather dangerous ones, to say the least.

She uses greater good to cover her real motives (even though it is not truly complete bullshit), and seems to have a terrible habit to keep silence about really important things, which makes her quite prone to lying, in some cases

And sometimes it very badly pisses Kakuzu off, since it makes her prone to doing useless but dangerous shit too

Yet this not any kind of separate hidden side, it is integrated into her personality, and coexists with her bright one. That’s where her violent humour comes from, for example.

But Kakuzu, on the other side, is completely monolith individual, yet sometimes his mindset can create contradictions when it comes to something important to him. but it's another topic

And seeing these layered constructions, and motives, they can pretty finely predict each other’s behavior. Not super-neatly, but they for sure see the basis. This is what helps Kakuzu to prevent Anko from doing some stupid shit, sometimes

- Anko has a role of an indicator for the people who don’t understand and see the changes in Kakuzu’s mood sometimes, since she usually reacts quite openly. Yet, when she has the same unreadable mask of cold, or one of guile, it’s a nightmare for them

- They prefer the non-verbal way to show their feelings, even though Anko is obviously the more chatty one

- They don’t say things such as “I love you”, or other sensual stuff like that really often, believing it to be some sort of cherished words that shall not be spelled mindlessly

- Anko isn’t majorly into PDA, but she fancies it much more than Kakuzu does. She has her whole moments of studying something with her hands, whether it’s a hand, scar or face. He’s more into passive display of affection, like wrapping an arm over her waist or leaning to her or something of this kind; they can allow themselves to (not sexually) kiss in public though

- She knows he doesn’t like to walk hand in hand due to considering it a youthful thing, so there are times when she intentionally walks holding on to his sleeve; generally they walk separately in order not to bother each other, but sometimes they walk arm in arm (like an old Victorian couple lol)

- Being older and wiser, Kakuzu eventually upholds some kind of mentoring position, yet he never considers himself any kind of a teacher or master to Anko, believing her to have a good head of her own. He is just insightful enough to break something through to her or give a word of advise

- This, combined with his highly powerful demeanor, also makes him have the leading position in their relationship

- Anko respects him much enough to fortify this, entrusting with plenty of life questions (like organizing the family budget), even though they make the majority of decisions together. Mostly because he is truly wise and highly experienced individual.

- This makes him one of the very few people Anko would actually listen to and take their opinion in consideration

- So basically they have equal relationship with some tendency to patriarchal order

- And it is, really, mostly economically-based disbalance, with him earning much more than she does

- Yet they never have any financial-based issues, since both of them keep in mind and respect the contributions of each

- There is major power play here, too. He has the absolute might, she has seduction. Anko loves how he makes her want to submit to him, let him have all the power, so she likes provoking him. And she knows he adores it, loves the subtle control she has over him

- They don’t have conflicts in their everyday life. Each knows how to avoid pissing one another off

- He cherishes her playful demeanor, her intellect. Combined with her cunningness, it allows her to rival him, in social sphere. The way she constructs her phrases, the way she speaks, mimics, moves, how bewitchingly it suits her feminine snaky features makes his blood boil and heart melt

- Both of them, actually, have rather specific kind of dry, dark humour. Kakuzu’s is very cynical, satirical, quite often menacing and subtly demeaning; Anko’s is very sarcastic and quite dirty, even gruesome and rather violent

- Sometimes they “fight” verbally as a form of a play. In some circumstances they may sound pretty vile, so some unobservant people mistake this for display of hate

- In general, Anko is the one to heat things up with her playful demeanor, which can include provocation and rivalry, and Kakuzu is the one to keep this energy in borders, accumulating it up to much more intense states

- They both put the comfort in the first place when it comes to household. Everything must be cozy, useful, silent and super clean

- Yet they are both very unpretentious and modest, really

- She absolutely adores when he is showing his serious, severe side, or powerful demeanor. She finds it incredibly suitable for him. She also likes how his real age is sliding out in this or that way. Like, even though he has rather young face (that of 37-40 y.o.), his eyes give away that he’ve seen oh so much more than it seems; the grumpy noises and grunts he makes, the lazy attitude in movements and the way how rapidly he finds a comfy pose once he has a chance to take a seat

- They are both rather patriotic, yet while in the most stories Anko’s feelings mostly lay towards the country she lives in, Kakuzu’s more often lay towards some places, so called small motherland.

- Kakuzu actually could be a source of deep, strong admiration and delight for her, despite all of his bullshit. The unbreakable will he has, mighty burning heart, all the wisdom, talents and mind. Being sent to fight god damn Hashirama, clearly a genius of his times, financial & management genius at the least. And, still, after all the hard times he’ve been through, he maintained the very strong sense of dignity and nobility, even though slightly twisted due to the profession and abnormal lifespan

- And the very same things can serve as the source for her chagrin: with all those traits, he could have been so much more rather than a criminal. With all the gifts he’ve got, he could have been of great use to society. He’s much easier about this, since his prospective is much wider and embraces decades (and in some universes even centuries) instead of months & years, and he knows that he’d be switching sides throughout his life, being on this and that side of the law, yet he still is a bit uncomfortable once it’s brought up

- They are deeply into science, which makes them atheists. He’s into medicine and human biology, she’s into chemistry and reptilian biology; both of them are nuts for physics, history and psychology

- They solve complicated physical and mathematical problems together time to time. She is the first one to have tea-breaks due to losing her temper over it, he tries to figure things out right until you can sense the smoke coming off his head

- Actually, they do have a stumbling stone aside from job & morality complications. And this is Anko’s attitude towards Orochimaru

What she does is basically ruins her life very-very slowly, maintaining the issues she has and planning to make him pay for all he’s done

Kakuzu knows exactly what is really going on with this attitude and why, but he can’t really do anything about it. Like, he knows he can’t make her change her mind or put something into her head

All he can do is really nothing but try to explain how those things are working, and even this option is basically a landmine field for him. At some level she does understand that he could probably be right, yet she just refuses to go back on her mind. And this is actually really dangerous, so at some moments they can fight quite badly about it

- He’s scared shitless to lose her, though; especially like that, even though he knows clearly that he will, anyway, sooner or later

- he knows that losing loved ones ends up with sheer disaster for him, yet he isn’t afraid to pay such a high price for those six, five or four decades of being with her. Because these decades are that of a paradise ones for him. Wife and family, as well as stable job, incomes and life conditions, are some sort of physical definitions of sustainability he craves. Especially family, yet it’s far ahead to plan

- The fact that he will have to bury her one day makes her rather depressed, as well as the knowledge that the only thing she can really do about it is to try to bring him as much happiness and comfort as possible before she dies

thank you, i'd say more, but it's too much already

#my art #naruto #naruto shipuden #akatsuki #naruto akatsuki #akatsuki kakuzu #kakuzu #naruto anko #mitarashi anko #kakuanko #they are very entertaining disaster

[one-boring-person]

The Good Old Days.

John Rambo (Post-Rambo III) x reader

Warnings: implied death, implied injury, heavily implied sexual themes, possible swearing? Alcohol consumption (moderate)

Context: inside John's head.

A/n: so recently, I saw @slystallone 's post (Here) about a deleted scene from Rambo, and this idea (or at least the first part) came to mind, so I have them to thank for the inspiration! (Also, if you're as obsessed as I am with Sylvester Stallone content, check out their blog, it's amazing!)

Masterlist

His eyes scan idly around the room, taking in the cheerful faces of young people letting loose, watching as many of them move together on the dancefloor, keeping in time with the sappy music playing overhead. Throughout the room, glasses are clinked together, liquids in a multitude of different colours sloshing in their containers as the owners of said drinks swallow down their beverages, the strong odour of alcohol rife in the air. Sweat mingles with this, as well as heady cologne and perfumes, creating the perfect odour of youthful spirit, something he has long since forgotten. Around him, he can see a fair few couples together: one in a booth in the corner, one right in the centre of the dancefloor, and one to his left, each of them enjoying each other's company far more explicitly than the rest of the pairings in the bar.

It should, in theory, be an enjoyable environment, being around hordes of people who are having a good time, but John can't help the discomfort playing in his mind. Something about the strong smells, the heaving throng of people, the lack of clear vision of anywhere fixed in the room and the cacophony of raucous noise doesn't sit right with him, his finely tuned senses prickling at everything. Dimly, he's aware of fighting back flashes of memory that spring, unbidden, to mind, trying to ignore the familiar faces branding his conscience. A lack of control in an environment, particularly one like this, has long since made itself known as a trigger of the thoughts he'd rather forget.

Just as he goes to dwell on these, he's interrupted by a familiar voice, one that grounds him, reassures him.

"John! Sorry I took so long, some kids were taking their time." (Y/n) apologises as she drops into the bar stool beside him, taking her drink back from him.

"Don't worry about it." He murmurs back, twisting the neck of his soda bottle in his hand (he finds alcohol takes away from his sense of control), flicking some hair from his face.

Smiling at him, (Y/n) takes a sip of her drink, turning to face the dancers as she sits with him, the two quite used to sitting in companionable silence. 

After a little while, she finishes her drink and sits back against the counter, only to spring up again when she hears the music overhead change, a wide grin on her face. Bouncing to her feet, she turns to John, expression imploring him.

"I love this song! Remember it? From way back when?" She smiles at the memory, a good one through all the bad ones, "We used to dance to this."

John can't help the small smile playing at his own lips as he is reminded of how they'd danced a couple of times, back on his father's ranch.

"I remember." He agrees, watching her.

"Come on, dance with me now!" (Y/n) chuckles, moving her body in the bare impression of a dance move.

"No, I'm good." John declines initially, waving her off politely.

"Aw, come on! It'll be fun! Just like the good old days!" She pleads with him, reaching out to take one of his hands, very lightly jerking on it as he tries to ignore the butterflies rising at her touch.

"I'm not sure…" 

"Please? Just one song?" She gives him a look, one he has memorized. It tells him she wants him to join her, but that she won't be upset if he doesn't, that she'll understand. She always does.

Eventually, it's what causes him to cave in.

Sighing, he climbs to his feet, allowing her to pull him into the crowd, the veteran pushing down the distrust brewing inside him from the closeness of the people around him, instead focusing on the feeling of her hand on his, grounding himself. As she finds a good spot on the dancefloor, (Y/n) turns back around to face him, face light and happy as she starts to dance, just how they used to. Copying her, John tries to forget the awkward feeling, finding it hard to make contact with the childhood memories that would've helped him, his expression tightening as he moves. 

After a moment, (Y/n) seems to notice this, stepping forwards into his space as she looks up at him with a curious look, silently asking for permission as her hands hover over his shoulders. Nodding, he bites back the sigh threatening to leave him as her hands close ever so gently around him, his own coming up to lightly grip her waist, enjoying the feeling of her body in his grasp. Leaning into his touch, (Y/n) sways them in time to the music, her expression softening as the tempo of the music does, the two of them drifting closer as they move together. Her scent is in his nostrils, somehow discernible through the sweat and alcohol around him, calming him as he leans in further, wrapping his arms more firmly around her body. Carefully, he pulls her into him, feeling her softer curves against his hard muscles, his hands splaying at her back, his nose soon finding her hair as he buries his face in it. She wraps her own arms around his neck, delicately threading her fingers into his hair, stroking through the strands soothingly as she presses her head into his chest. 

As they hold each other, it's as if the world around them has disappeared, leaving them in a bubble of security, just holding each other as they used to, before touch meant more than an idle gesture. It means so much more now, particularly for them.

After a moment, she pulls her head back a little, looking up into his face, eyes searching his, her lips parted as she regards him. They're close, so close he can feel her every breath against his heated skin, his gaze flicking down to stray over her lips as he fights the urge to simply bend down and close the gap between them, and give in to every desire he's repressed for years now. Naturally, she notices this and smiles, reassuringly this time, before she leans up and presses her lips to his. 

Instantly, they find a rhythm, lips smoothing against each other with soft fervour as hands start to pull each other closer together. John runs one hand down to her lower back, splaying his fingers over the curve of her ass, using the grip to pull her more tightly into him, enjoying the feeling of her body against his, the noises she lets out only serving to intensify his feeling for her. (Y/n) gently tugs on his hair, her other hand moving to push up under his shirt, feeling over his tense muscles, arching her body into him as he lightly licks at her lips. Obediently, she allows him access, and his tongue freely explores her mouth, sliding wetly alongside her's, her moans swallowed by him as he rocks his hips against her. Idly, the hand she had pushed up his shirt starts to trail downwards, settling over his crotch.

With a jerk, he breaks free from the kiss, his eyes finally flying open as he snaps upright in the rickety bed. 

Breathing hard, he scans the room, instantly remembering where he is, the knowledge calming him slightly as he wipes sweat from his forehead. Desire and longing course through him, his eyes straying over to find the figure lying beside him, her body left exposed by the thin sheet. 

In the dim light from the moon outside, (Y/n)'s sleeping form appears peaceful, her muscles totally relaxed, allowing for a less guarded look to cross her face, the hard line of her brow and lips softened until she appears more angelic. In the many times they'd slept on the same room, or same bed, John can not remember ever seeing her quite so relaxed, not after they got into the military anyway.

They'd met as teenagers, when she'd come to work for his father on his ranch. During their time working together the two had become fast friends, eventually managing to do most things together, until they both decided to join the military. She'd gone into the airforce, before eventually getting into another branch of the Special Forces, where she faced a similar abrupt finish to her career as he did, losing all of her team to a poorly planned stealth mission, which some corrupt colonel in the higher positions had instructed them to do. After this point, they miraculously found each other again on the long road to a small town called Hope, where things went awry. Neither wanted to leave the other, and so they stuck by each other, helping each other out on the bloody road that came after the events of Hope, leading them to this point. 

Unsurprisingly, John had soon realised that his feelings for the hardened veteran were no longer as innocent as he would've liked to keep them. Somewhere along the way, through gunfights fought back-to-back, mindless races through the sweltering jungle to avoid pursuers behind them, bandaging each other's wounds at the dead of night with only a dull campfire to light their work, and the calmer, soft moments between them, where they both overcame (to a certain extent) the mindless grief hounding them together, John had found that he and fallen for his partner. She'd always been there, back when things had gone to hell in Hope, when Co had been shot, and when Trautman had needed rescuing, (Y/n) had been by his side, fighting his battle with him, because "his battle is her battle now, they are partners after all". She meant everything to him, and he'd kill for her. He HAS killed for her.

At times, he'd played with the idea of telling her his feelings, of confessing to her and hoping things would be ok, but he had never gone through with it. Something always stops him, and that both irritates and relieves him. He has never quite been able to put a finger on what it is, but now, watching her sleep so peacefully, he realizes what it is.

He never wants to lose her friendship, ever, and he's afraid he'll ruin what they've got if he says anything. So he stays silent, keeping his thoughts to himself, lifting a hand to lightly ghost it over her side, thankful that she's so tired her instinctive alertness has dimmed down enough for him to gently touch her without her realising. He never places his hand down, only tracing his fingers over her, keeping the touch gentle and friendly, should she wake. It would be so easy just to pull her body into his, to hold her tightly against his chest and bury his face in her soft hair,  but he restrains himself, not wanting to make her uncomfortable.

Groaning, he rolls onto his back, knowing now that sleep won't come again tonight, especially not with his thoughts so high-strung and confused, unless he manages to relax properly again.

Oddly enough, his reprieve comes to him in a surprising, but not at all unwelcome manner: mumbling in her sleep, (Y/n) turns over, her hands reaching out to find something, anything, latching onto him as they find him. Gently, she pulls herself into him, her head pressing into the side of his chest as her hand rests over his heart, his pulse pounding under her touch. 

Eyes wide, John gingerly wraps his arm around her, finding comfort in the solid feeling of her body in his grip, sleep coming back to him now as he buries his face in her hair, breathing in her familiar scent. He could get used to this, but he knows that he never will, not as long as he wants his friendship to last.

Just as he goes to drift off, he hears (Y/n) sigh one thing, her voice a bare whisper, if slightly more coherent than it should be for someone fast asleep:

""Wish you knew how I feel about you." 

Part Two

#rambo x reader #rambo imagine #rambo iii #rambo #john rambo x reader #john Rambo #sylvester stallone

[ailuronymy]

do you think every disabled character in wc is handled poorly? i understand theres def some cases of ableism but at the same time when i hear ppl say that its usually bc the disabled cat wasnt able to become a warrior due to their disability. and i feel like ppl forget, that not everyone irl CAN do what they want after they become disabled. ex. someone wants to be an athlete, but their legs have to be amputated. a cat like briarlight esp i feel is p realistic and could be a source of comfort

Hello there, thank you for writing in. I’m going to reply to this question with a series of questions I think are a bit more useful, given what you’re trying to ask me. I hope that’ll clarify what is a deeply complex, multilayered issue. 

Do I think Erin Hunter handles anything in the series “well”? Not really. I don’t have a high opinion of the work of the collective and, broadly speaking, I think every right note they play, metaphorically speaking, is an instance of chance rather than effort, skill, or intention. Stopped clocks are right twice a day, mediocre writers will sometimes do something cool by accident, similar principle. That’s not to say Erin Hunter hasn’t ever done anything on purpose--just that overall the underlying drive of the series isn’t so much quality as it is quantity, and speed of production, and it shows. 

Do I think Erin Hunter puts any significant research into how they portray disability? No. I do not think it is a priority for this series. They’re not trying to make a meaningful work of literature, or capture a realistic experience of disability, or tell especially impactful or thoughtful stories, or even make a particularly good or coherent fantasy world. Warriors is a specifically commercial product that was commissioned by HarperCollins to appeal to a particular demographic of drama-loving, cat-loving kids. It’s not really trying to do anything but sell books, because it’s a business, so the text in many ways reflects that. They’re not going for disability representation, in my opinion. They’re including disability in many cases as a plot-point or an obstacle. 

Do I think this means that people can’t connect to these characters and narratives in meaningful ways? No. Often I say that a work is completed only when it is read. Before that point, it doesn’t have a meaning: a reader finishes the work through the act of reading, and interpretation, and filling in the spaces and resonance of the story with their own values and experiences. When people talk about subjectivity, this is what they are talking about. What this means in the context of disabled characters in Warriors is that these characters and their stories can be multiple, conflicting, even mutually exclusive things at the same time, to different people, for different reasons. 

Do I think characters have to be “good” to be significant to someone? No. I think genuinely “bad” (i.e., not researched or poorly researched, cliche, thoughtlessly written, problematic, etc. etc.) characters can be deeply meaningful, and often are. Ditto above: for many people, and especially marginalised or stigmatised people, reading is almost always an act of translation, wherein the person is reading against the creative work of the dominant culture in a way that the author likely didn’t intend or didn’t even imagine. There’s a long documented history of this in queer culture, but it’s true for just about everyone who is rarely (or unfairly) represented in media. Disabled people often have to read deeply imperfect works of fiction featuring disability and reinterpret them in the process--whether to relate to a kind of disability they don’t experience themselves but which is the closest they’re offered to something familiar, or to turn positive and meaningful what is intended as narrative punishment, or simply to create what’s commonly called headcanon about “non-disabled” characters who echo their personal experiences. 

Do I think everyone has to agree? Extremely no. As I said before, people will actually always disagree, because all people have different needs and different experiences. What can be interpreted as empowering to one person might be very othering and painful for another. There is no “right” answer, because, again, that is how subjectivity works. This is especially true because marginalised communities are often many different kinds of people with different lives and needs brought together over a trait or traits they share due to the need for solidarity as protection and power--but only in a broad sense. It’s why there is often intracommunity fighting over representation: there isn’t enough, there’s only scraps, and so each person’s personal interpretation can feel threatening to people whose needs are different. You can see examples of this especially when it comes to arguments over character sexuality: a queer female character might be interpreted as bisexual by bisexual people who relate to her and want her to be, while being interpreted as lesbian by lesbians who also relate to her and want her to be like them. Who is correct? Often these different interpretations based on different needs are presented as if one interpretation is theft from the other, when in fact the situation is indicative of the huge dearth of options for queer people. It becomes increasingly more intense when it comes to “canon” representations, because of the long history of having to read against the grain I mentioned above: there’s novelty and, for some people, validation in “canon” certainty. And again, all of this is also true for disabled people and other stigmatised groups. 

Do I think this is a problem? Not exactly. It is what it is. It is the expected effect of the circumstances. Enforced scarcity creates both the need for community organising and solidarity and the oppressive pressure to prioritise one’s self first and leave everyone else in the dust (or else it might happen to you). The system will always pit suppressed people against each other constantly, because it actively benefits from intracommunity fighting. Who needs enemies when you have friends like these, and so on. A solution is absolutely for everyone in community to hold space for these different needs and values, and to uplift and support despite these differences, but it’s not anyone’s fault for feeling threatened or upset when you don’t have much and feel like the thing that you do have is being taken away. It’s a normal, if not really helpful, human response. But until people learn and internalised that the media is multifaceted and able to be many things at once, without any of those things being untrue or impacting your truth of the text, then there will be fighting. 

Do I think my opinion on disability on Warriors is all that important? No, not really. I can relate to some characters in some moment through that translation, but my opinion on, say, Jayfeather is nowhere near as worthy of consideration than that of someone who is blind. I don’t have that experience and it’s not something I can bring meaningful thinking about, really. That’s true for all these characters. If you want to learn about disability, prioritise reading work about disabled rights and activism that is done by disabled people, and literary criticism from disabled people. And as I mentioned above, remember that community isn’t a monolith: it’s a survival tactic, that brings together many different people with disparate experiences of the world. So research widely. 

Finally--do I think there’s only one kind of disabled narrative worth telling? No. For some people, a disabled character achieving a specific, ability-focused dream is a good story. For other people, a story that acknowledges and deals with the realities, and limitations, of disability is a good story. The same person might want both of those stories at different times, depending on their mood. That’s okay. Sometimes there’s power and delight in a fantasy of overcoming seemingly impossible obstacles and defying all expectations. Sometimes there’s value and catharsis in a narrative that delves into the challenges and grief and oppression experienced because of disability. There’s no one truth. 

To round all this off, I’m going to give my favourite example of this, which is Cinderella. I think it’s a great and useful tool, since for many it’s familiar and it’s very simple. Not much happens. In the story, she is bullied and tormented, until a fairy godmother gifts her over several nights with the opportunity to go to a royal ball, where she dances with a prince. The prince eventually is able to find Cinderella, due to a shoe left behind, and they are married. In some versions, the family that mistreated her are killed. In others, they’re forgiven. 

Some people hate the story of Cinderella, because she is seen as passive. She tolerates the bullying and never fights back. She does every chore she’s told. She is given an opportunity by a fairy godmother, and she doesn’t help herself go to the ball. She runs from the prince and he does the work to find her again. Eventually, she’s married and the prince, presumably, keeps her in happiness and comfort for the rest of her life. 

For some, this story is infuriating, because Cinderella doesn’t “save herself”: she is largely saved by external forces. She is seen as a quintessential damsel-in-distress, and especially for people who have been bullied, infantalised, or made to feel less capable or weak, that can be a real point of personal pain and discomfort. 

However, for some others, Cinderella is a figure of strength, because she is able to endure such hostile environments and terrible people and never gives up her gentle nature or her hope. She never becomes cruel, or bitter. She is brave in daring to go outside her tiny, trapped world, and she is brave to let the prince find her. She doesn’t have to fight or struggle to earn her reward of happiness and prove her worth, because she was always deserving of love and kindness. The prince recognises at once, narratively speaking, her goodness and virtue, and stops at nothing to deliver her a better life. 

Depending on the version, the wicked family disfigure themselves for their own greed--or are punished, which for some is a revenge fantasy; or Cinderella forgives them and once again shows her tenacious kindness, which for others is a different revenge fantasy. 

The point? Cinderella is the same character in the same story, but these are almost unrecognisable readings when you put them side-by-side. Which one is right? Which one is better? In my opinion, those are the wrong questions. I hope this (long, sorry) reply is a set of more useful ones. 

[vkelleyart]

Thoughts on fandom: inclusion and engagement.

(Art credit to the kindhearted @penpanoply​!)

There’s been some stuff floating around on Tumblr about strife in the CO/WS fandom, and though I haven’t been explicitly named-dropped on anything public, my DMs have been... active. lol Rather than rehash what’s been said already, I just want to impart a little wisdom and perspective in the hopes it may soothe frayed feelings and offer a way ahead for cultivating a respectful community. As someone who has been an active participant in online fandoms since the mid-’90s, which was the advent of online fandom content creation (shout out to my fellow X-Philes!), and who has also spent a chunk of her professional life managing social media for the federal government and for activist groups, I can promise you it’s all gonna be okay.

Here’s some context for why strife happens and what we can do to create a more inclusive and communicative fandom environment. 

1) It sounds cliché, but fandoms go through growing pains. 

In the case of the Simon Snow fandom, what was once a small and cozy space untouched by cataclysmic events (such as the release of *gasp* a sequel) has grown exponentially in a relatively short amount of time following the release of Wayward Son. Newcomers are eager to find a home in this space at the same time as folks who’ve been here a while may be consciously or unconsciously wary about widening their circle, and It’s important to remember that this is not necessarily an expression of bad behavior on either side but just human psychology doing its thing. 

The byproduct, however, is that tension and stress builds over time from the lack of meaningful communication across the divide, which subsequently fuels misunderstandings. Ironically, the interfaces we use to communicate don’t help with this because any existing communication about the tension happens in tiny vacuums until a trigger goes off and bad feelings go public. 

Way Ahead: These moments of destabilization are opportunities to see where we can be more self aware about how we engage with fandom and the kind of community we want to be. Can you promote, support, or befriend someone trying to gain a foothold? If yes, please do! Each person must reach their own decision about what they can do within the confines of their available energy, health, and time, but a little self awareness goes a long way as long as you’re honest with yourself and others if applicable about what you can contribute. Anyone who judges you for it isn’t worth the strife.

2) In a fandom comprised of vulnerable/marginalized people, it’s more accurate to say that cliques are “bubbles of trust.”

This one's important. Just by nature of the source material, the CO/WS fandom includes fans with a wide array of backgrounds and experiences, especially when it comes to those who identify with the characters’ queerness, mental illness, and/or trauma. I really believe––based on individual conversations/group chats––that the difficult lived experiences that so many of our fandom peers have endured has produced one of the most open, aware, and accepting fandoms I’ve had the pleasure of participating in. Our vulnerability is, in a real way, our strength.

That said, a community of survivors also has the side effect of cultivating small circles of engagement that I call “bubbles of trust.” When you’re a survivor of abuse, marginalization, mental illness, fill-in-the-blank, it’s often quite hard to risk casting a wide net and expanding your circle to include new faces––which can subsequently be internalized by equally sensitive and vulnerable newcomers as rejection, judgement, or inadequacy.

Way Ahead: First of all, there may indeed be gatekeeping and exclusion going on. But before internalizing someone’s cagey behavior as gatekeeping or purposely exclusionary, ask yourself if you have all the information. Many people are private (I include myself in this assessment) because life has regrettably taught them to be this way, and so they may insulate themselves to a small group of people who have earned their trust. Some people might also triggered by certain content (case in point: smut triggers my anxiety) so they don’t engage with it. Others might have something in their pasts that define how they handle certain subjects (for example, a person of color should not be tone policed for getting angry when confronted with a racialized microagression, however accidental it was). You just don’t know what you don’t know. 

The solution here is to regularly check your privilege and ask questions in a private space if you sense you’re being treated unfairly by someone. If you go public with your grievances in hopes of mobilizing the mob, you may accidentally find yourself stepping into the role of the aggressor instead of the victim.

3) Social Media is not built to help you get engagement. It’s built to help itself make money off of you.

Repeat after me: Hits/likes are not a measurable indicator of talent or worth. There are ridiculously talented folks on Tumblr and elsewhere who, for whatever reason, haven’t had their viral moment, and it’s not their fault. Loads of factors come into play where things like likes, reblogs, and comments are concerned, among them being posting frequency, subject matter, the time of day, the day of the week, the week of the month, the month of the year, the current administration, the stock exchange, the concentration of middle class users, who just won the Superbowl, a madman trying to steal an election and undermine the democratic process, a PANDEMIC, do you get where I’m going with this?? lol

At the end of the day, my humble successes have been helped along by good luck, good timing, high profile signal boosters, and an absurd amount of work. (This is why I try to signal boost new work whenever I get a chance over at @vkelleyshares.) 

So while you cannot control Tumblr’s interface, trends at large, or your fellow users, here’s what you can do to ensure you give your work the best possible chance of exposure.

Have an image ready to go with your post. Tumblr is a visual platform (no matter what it says about being good for text). Not good with images? Set up a Canva.com account and get access to free graphic software with a gazillion templates to create whatever attractive image you want to attach to your post.

Keep the outward facing text brief and easy on the eyes. Too long and eyes will glaze over. Put excess text behind a “read more.”

You may think you’re being cute when you do this, but don’t put yourself down in your posts. (Don’t put yourself down in general, of course.) Doing so acts as engagement repellant. If you don’t believe in your work, no one else will.

Related: Be your best cheerleader. Confidence is a magnet, and if you don’t have it, go ahead and fake it until you start to convince yourself you are worth the buzz. So promote yourself! You have gifts that only you can impart. Use that knowledge to fuel everything you do from your art/fiction writing to your outreach with other content creators, and by golly, if someone’s done it already, acknowledge that contribution and then tell the world that this is YOUR unique take on it.

Treat your fellow fandom creators as human beings, not art/fiction/content boosting machines. I cannot count how many times I’ve had folks slide into my DMs with offers of friendship only to disappear once they realize I’m not available to draw a picture for their fic. It hurts because it’s manipulative and it makes me want to hole up and not signal boost anyone. Creators who truly support each other will not give off a transactional vibe. I want to help you reach more people, but not if that’s all I’m good for in your eyes. 

The long and short of it: Lead with compassion, do your best with the opportunities at  your disposal, and remember that fandom belongs to everyone in it. ❤️

What saves a fandom made of sensitive and vulnerable souls from imploding when it goes through growing pains is radical compassion from those who can offer it. Begin with the assumption that your fellow fandomers are not trying to harm you, and wade into the water knowing that your insight into the lives of your peers is limited by default and you may need to temper your words or actions accordingly. If you’re a content creator, save compassion for yourself as well, as there are indeed challenges to gaining an audience, and lack of engagement does not mean you lack talent or skill. Be your best advocate, and if you have the bandwidth to lift up a fellow creator and make a new friend, please, go ahead do it! 

And finally, fandom belongs to everyone, and no one has a monopoly on characters, tropes, or themes. Create and consume what you love (with respect for your more vulnerable peers), and bask in the variety, my friends!

That’s all I’ve got in my head at the moment, although I’m sure there’s more I’m forgetting. Thanks so much to @penpanoply for letting me use her art for this and to everyone else, hang in there and try not to judge each other too harshly. These are unprecedented times, and most of us are doing our best in circumstances that are pushing us to our limits. 

As always, if you have questions or want to sound off on anything, shoot me a message or an ask, or ping me on Discord. It might take me a second to respond (thanks, Covid) but I’ll get to it! Love, love, and more love to all.

#fandom stuff

[frustrated-writer-skyeknight]

HiJack AU - Rise of the Guardians Plotbunnies

(Context: Before Hiccup returns to HQ when the Guardian signal came up, he was spending time with Jack, as per usual. When the signal came up, he had to go. Jack looked disappointed, because Hiccup had just arrived a bare ten minutes ago. It was the quickest the Aide of Hope had to leave. Hiccup was in a rush to leave, since it was the first time in a long time that the urgent signal was put up to assemble all guardians at the same time, the last time was to report about what had happened to Kozmotis. In his rush, he wasn't thinking, and accidentally kissed Jack on the cheek in a parting kiss.

They were both shock.

Before Jack could collect himself to make a respond, Hiccup dashed off, all the while thinking "Shit shit shit shit shit what did I just DO?!)

More details added to the Answer (an ask from @hamish-fanfic-fangirl )already mentioned here

The Guardians love children, as they are the Guardians of Childhood. They can't, however, have children. With the exception of Kozmotis and Anastasia's relationship, as they were created together at the same time by Manny.

Manny formed Pitch to safeguard chaos energy that would strike fears in children and leave them traumatize, impeding a healthy and happy development of growing up. Anastasia was formed at the same time, because children, and to an extent people, need to live in a harmonize environment, right?

The Guardians do consider themselves, as what humans coined nowadays, as 'Found family.' Addition to that, they think if they could have kids, they would be like and be treated like their aides.

They joke about it sometimes; North fits the role of a dad, as leader of the Guardians, Thiana being like the mother, with Aster, Sandy, and Kozmotis like uncles. Sandy's the "cool" uncle with a lot of stories to tell (or show). Kozmotis is the "chill" uncle who leaves you be but offers sage wisdom whether or not you ask for them. Aster is the one who nags a lot, sometimes more than the parents but is exciting to spend time with because of all his cool tricks.

Jamie and Astrid found it awkward, but Thiana was being playful and pretending to be like a parent and giving Jamie 'the shovel talk', when Astrid and Jamie got together, as she heard a story told to her by North, from Jim.

She was sweet about it though, going on about how they should be caring of each other and how lovely it all was so Jim made a remark later that he didn't think the guardian of memories got the point of a 'Shovel talk'

Even to the aides that aren't their own, the Guardians do feel rather paternal/maternal towards them.

Dialogue

North: Sandy, thank you for coming.

Sandy descends from the plane and floats to the ground. He joins North, Bunny and Tooth as they walk through the Globe Room. Sand glyphs appear above Sandy's head communicating

Jamie: He says that he is busy and has a lot of work to do.

North: I understand, you work ‘round the clock, da, But I obviously wouldn't have called you all here unless it was serious.

North, Bunny, Tooth and Sandy reach the center of the room. Tooth does her best to shush her mini-fairies.

North: Kozmotis as the Boogeyman was here at the Pole. *points to the globe. The everyone turns to look.*

Astrid: *shocked* Sir Kozmotis? Here? After all this time...

Jamie: Jim, did you really see...

Jim: Well, I didn't but sir North had. I think, I... Wait. *frowning as he looked around in concern* Where's Dimitri?

Tooth: But... Pitch Black? Was it really him?

North: Yes! There was black sand covering the globe.

Aster: What, what...what do you mean black sand?

North: And then a shadow!                                                

Aster: Hold on, hold on, I thought you said you saw Pitch.

North: Well, ah, not exactly...

Aster: Not exactly? Can you believe this guy?

Bunny turns to Sandy, who shrugs while forming a Dreamsand question mark above his head....

Aster: Yeah, you said it, Sandy.

Bunny goes back to painting one of his Easter eggs.

North: Look, he is up to something very bad. *gropes his gut* I feel it, in my belly.

Aster: *eyes narrow* Hang on, hang on, you mean to say, you summoned me here THREE DAYS BEFORE EASTER - because of your? Mate, if I did this to you three days before Christmas-

Tooth (to her fairies): Argentina. Priority alert! A batch of bicuspids in Buenos Aires.  Weather advisory, Astrid?

Astrid: *Pauses* Fair, all of them. Snowstorm warning in Moscow.

Jamie: Maybe that's where Jack is now.

Jim: And maybe Hic too; would explain why he's running late... Now Dimitri...           

North grabs Bunny's painted egg, casually juggling it in his          hand as he walks off. Meanwhile Sandy, who is being served          eggnog by a yeti, suddenly notices something high above.         

North: Please. Bunny. Easter is not Christmas.

Aster: *sarcastic laugh* Here we go... North, I, I don't have time for           this. I've still got two million eggs to finish up.

The moon rises into view, high up in the ceiling; its rays of light begin to shine brightly through as they cascade down the walls of the globe room.

North: No matter how much you paint, is still egg!

Sandy points to the moon unsuccessfully to get the others' attention. Even Jamie is distracted with Jim and Astrid, talking about whether one of them (Jim) should go and get Dimitri. Their guardians are distracted and they didn't want to interrupt them...

Aster: Look, mate, I'm dealing with perishables. Right. You've got all year to prepare.                                                

Tooth (to her fairies): Pittsburg, boy eight, two molars. Saltwater taffy.

Sandy puts his fingers in his mouth to whistle, a silent musical note forming above his head.                                                

North (to Aster): Why are rabbits always so nervous.

Aster: And why are you always such a blowhard!                                  

Tooth (to her fairies): Ontario, sector nine: five canines, two molars, and fourteen incisors. Is that all in one house?

Sandy waves a sand flag above his head, pointing and jumping and down as the moonlight continues to fill the room.

North: Tooth! Can't you see we're trying to argue.

Tooth: *Good naturedly* Sorry, not all of us get to work one night a year. Am I right, Sandy?

Sandy tries to signal with a golden arrow, pointing toward the ceiling, but to no avail as the others continue their bickering. Sandy thinks Tooth has noticed for a split second, but then-    

Tooth (to her fairies): San Diego, sector two! Five incisors, a bicuspid and a really loose molar on stand-by.

North: I know it was him. We have serious situation!

Aster: Well, I've got a serious situation with some eggs.

Tooth: Hey, I hate to interrupt the, "We work so hard once a year club" but could we concentrate on the matter-

A silhouette comes out from a black spot of a shadow in the middle of the room, and Dimitri comes up and stumbles out from it. The aide of the former Guardian of Chaos seemed recovering from injuries. Even with his quick healing, it's taking some time...

Jim: Dimitri!

Jim rushes to help support him...

Tooth: Oh dear!

Astrid: Is he okay?

Dimitri: Sorry... The darkness is more restless than ever for some reasons. I had to defeat about a dozen minions before securing and leaving the base.

Jim: Wha- so if Pitch is really back, why hadn't he showed up here yet?

North: He did lad!

Jim: All due respect sir, you said it was a shadow.

North: Shadows are his thing!

Dimitri: I don't think that was Pitch yet, but a harbinger, maybe? If he had awoken, I think I would be the first to know.

Aster: Hah!

Sandy can't take it anymore, grabs an elf by his hat, and vigorously shakes it's bell. The other Guardians are finally silenced and all turn to look at Sandy, who points up, a sand crescent moon forming above his head. The dizzy elf staggers away. Finally the others turn to see the shaft of moonlight as it concentrates on the circle between them as Manny starts beaming down into the room...

North: Aah! Man in Moon! Sandy, why didn't you say something?

Sandy gives him a deadpan stare, Dream sand smoke shoots out his ears.                                                

North (to Man in Moon as he finally appears, with Anastasia by his side) : It's been a long time old friend! Madam Mother Nature *bows curtly*

Manny: Likewise.

Anastasia: A pleasure as always, North.

North: So... What is big news?

Manny: Before I get that, there is one thing I need to address first...

Everyone looks to the center of the room where Manny manipulates moonlight to shine down intensely, the light ebbs away, leaving a dark spot ---- which resolves into the shadowed silhouette of Pitch. The Guardians look on, stunned.                                                

Aster: It is Pitch.                                  

North pats his belly and gives Bunny a look...

North: Manny... what must we do?

Manny: The matter I mentioned needing to be addressed...

The shadow of Pitch disappears and the circle of moonlight intensifies and shrinks, concentrating further luminating an ornate symbol on the floor, at the center of their circle. The symbol rises out of the ground revealing a large gem at the head of a pillar.                                                

Tooth: Ah, guys, you know what this means?

The moons light suddenly refracts through the gem casting          light all over the chamber.                                                

North: He's choosing an aide for himself.

Aster: What?! You never needed one before, why now?

North: Must be big deal! Manny thinks we all need help!

Aster: We have our help. *Gestures to all aides present* Now if my own would show up too...                                               

Tooth: I wonder who it's gonna be?

Then a bright flash, a rush of wind- and a FIGURE resolves over the central pillar: slight, hooded, bearing a familiar  hooked staff.                                                

North:

North: Jack Frost.

The Mini-Teeth all sigh and swoon as the Guardians stand there, stunned.                                                

Jim: Well then, at least Hiccup's going to be happy

Astrid: *Shrugs, and idly shifts her axe from one hand to another* Well, as long as he does his part in caring for the children…

Tooth: And Hiccup’s going to be motivated more than ever now too.

Aster: Jack Frost!? He doesn't care about children! All he does is freeze water pipes and mess with my egg hunts. Right? He's an irresponsible, selfish...                                                

Manny: Aide.                            

Aster: I can tell you that Jack Frost is a lot of things, but he's--

Hiccup finally flies in with Toothless

Hiccup: I'm sorry I'm late! *He jumps down from Toothless* Snow storm in Moscow delayed me... Er, among other things...

Everyone looks at him

North: Perfect timing Hiccup! We need you to find Jack and bring him here.

Hiccup, remembering his final moments with Jack before leaving, looked mortified...

Hiccup: Do you guys hate me or something?

#ChildOfSolace Plotbunnies #HiJack #JiMitri #JamStrid #Hiccup x Jack #Jim x Dimitri #Jamie x Astrid #The Guardians #North #Aster #Toothiana #Sandeson #Manny #Anastasia #Hiccup Haddock #Jack Frost #Jim Hawkins #Dimitri Sudayev #Jamie Bennett #Astrid Hofferson #ROTG AU #HiJack AU

[staysaneathome]

This Was Not A Dare, Reigen

Jon glares at each of the— the suspects traitors in front of him, tape recorder clutched tight in one hand.

Martin, wringing his hands uselessly, eyes wide and beseeching. Tim, fists clenched hard enough for his knuckles to go white and returning his gaze with a death stare of his own. Sasha, arms folded to form a barrier between Jon and herself, expression a perfect mask of concern. Reigen, radiating disappointment in every one of his gestures and quips. Elias, eyes weary, fingers rubbing the bridge of his nose.

Some intervention this is turning out to be.

Jon wants to scream. Wants to reach out and shake someone, anyone, until they admit he’s making sense and it’s the rest of the world that’s gone mad.

Every single one of them (except Martin) could’ve killed Gertrude. He knows he has no proof that they did, but he has no proof that they didn’t either, can’t they see that? If they don’t want him to suspect them, it should be easy for them to actually give him proof of their innocence (like Martin did), instead of just repeating platitudes of “you know this isn’t acceptable adult behavior, Jon” and “you’re better than this, Jon”.

Who cares about knowing better or acceptable behavior when it’s your very life on the line? He’s half tempted to throttle the con artist, see how dignified or adult he is when he’s the one with a murderer on his tail!

…Not that Jon is a murderer. It’s just the principle of the thing, is all.

“Jon,” Elias says, tone soothing in all the ways he doesn’t want it to be. “This is absurd. This goes far beyond an unhealthy work environment. I’ll admit it’s partly my fault for letting it get this bad, I should have intervened earlier.”

Reigen cuts in with a hand gesture that is as effusive as it is dismissive. “That doesn’t make his behavior okay, Bouchard-san. It may be bad here, but Jon chose to follow me, Tim and Sasha, and yell at Martin, rather than going to the police or paying a detective, like Herlock Sholmes or something.”

Jon sputters. “Wh- It’s Sherlock Holmes, not—and he’s fictional!”

Reigen blinks sleepily, one eyebrow raised. “Oh? That doesn’t sound right. Are you sure?”

“Yes!” Jon all but shouts, rapidly reconsidering his stance on braining the sardonic little git with his tape recorder. “Don’t you even—an-and you’re deflecting again! Just like with your ridiculous ‘haunted gun’ nonsense!”

“I’m not!” Reigen says, clearly deflecting. “I’ve seen this kind of thing loads of times as the number one psychic. When a weapon kills lots of people over 100 years, the bad energy gets bigger and bigger until the gun grows an evil spirit and is hungry—”

“I refuse to believe Gertrude Robinson was murdered by a sentient blunderbuss!!”

“Be that as it may,” Elias interrupts, shooting them both a stern frown. “This is exactly the kind of thing I was talking about, Jon. Given how badly it’s affected your work ethic, I will be taking direct action to ensure it does not continue.”

Jon can feel his shoulders hunch almost against his will, dread pooling in his stomach at the thought of whatever punishment is about to be unjustly inflicted on him.

Only Martin looks half as worried as he feels, glancing between him and Elias nervously. By contrast, Tim looks downright triumphant, smirk nasty and vindictive. Sasha’s somewhere between those two, not openly celebrating his soon-to-be-downfall, but not acting like she’d lift a finger on his behalf either, though he’s unsure why that feels like it should surprise him. She’s always been as neutral as Switzerland.

Reigen, oddly enough, has more in common with Martin than with Tim. He’s staring at Elias like he’s waiting for a bit of news he knows he won’t like.

Jon thinks he’d appreciate that more if he wasn’t about to be unfairly lambasted simply for trying to stop a murderer and bring justice for an old woman who probably died frightened and alone. Much like Jon probably will once he’s been hobbled by whatever Elias is about to say next.

“Such as by restricting access to the archives from members of the public who are ultimately doing you more harm than good.”

…Wait.

What?

“What?!” Tim, Martin, and Sasha echo.

Reigen glances between them all, blinking in confusion.

Jon shares the sentiment entirely. His punishment is…for someone else to be removed from the archives? Someone he doesn’t employ or even like that much, no less?

He must have misheard, surely.

Though maybe not, given how Tim looks aghast, glancing between Elias and Reigen. “Okay, no, Reigen’s clearly not the problem here—”

“I’m very sorry, Tim, but Jon has made several remarks about the disruptive nature of Mr. Arataka’s presence in the archives.” Elias sighs. “From the arguments like the one we just witnessed to the nonsensical purchases of oddities inspired by his presence, such as Duolingo subscriptions,” Meaningful glare at Jon who resists the urge to clutch his phone guiltily, “That are now billed on the Archives’ expenses, it unfortunately seems as though he is dragging down productivity for all of you as an active stressor.”

“But we’re much better equipped to take statements from people who don’t speak English because of that!” Martin protests, stepping forward. “Isn’t it an advantage to have a more, more international perspective for our work?”

“One positive in a sea of negatives does not an advantage make.” Elias says, sounding infuriatingly like he’s misquoting something. “And really Martin, how realistic is it that this would help in more than a few isolated cases? I expected better from you.”

Martin’s face crumples, and his shoulders hunch, making himself smaller.

Jon finds his own mouth opening to—what? Say something? What would he even say?

Luckily, Sasha intervenes before he can dig his own grave further. “That’s as may be, but he’s a wonder for morale. He and Jon are funny, not anything serious, and I don’t think we’d have come to you about Jon‘s behavior unless he encouraged us to—”

“Which only fits into the delusion where Jon feels an outsider is rallying his subordinates against him, which is not good for his paranoid outlook.” Elias replies calmly. “And it’s never a healthy work environment when one employee feels the others are making them the butt of a joke.”

“I’d say that’s not as bad as when the boss feels he has the right to violate everyone’s privacy whenever he wants to just ’cause he’s feeling sad!” Tim growls.

Elias begins to answer, before Reigen finally speaks up.

“Sorry,” The con artist says carefully. “But you are…«I know this one…» banning me from the Archives? Yes?”

“That is the long and short of it, yes.” Elias says, grudgingly

“Why?” Reigen challenges, eyes hard and searching. “What have I, personally, done that’s wrong here? What behavior do I need to correct?”

There’s a moment of silence. The whirring of the tape recorder sounds uncomfortably loud.

“Mr. Arataka, are you currently under the employ of the Magnus Institute?” Elias asks, brow furrowed.

“Ah, no, no, but—”

“Are you looking to become employed by the Institute at this point in time, as a prospective member of the Archival Staff?” He fires off rapidly.

“Su-Sorry, but if you could just go a little slower—”

“Then I am afraid that unless you’re looking to fill out an employment contract or a Statement form, we cannot help you, Mr. Arataka.” Elias spreads his hands wide. “We are an academic institution, a place of research and learning. The Institute cannot allow for social dalliances on company time, especially not when those visits are negatively contributing to the work environment and the wellbeing of our staff.”

Tim throws up his hands, “I-I cannot believe this!”

Reigen’s mouth works soundlessly for a moment.

“Arataka is my…what do you call it? First name?” He says, at last. “Using it in this context is…inappropriate. Please call me Reigen, if you would, Bouchard-san.”

“Of course. My mistake, Mr. Reigen.” Elias does have the decency to look somewhat abashed. “Though, regrettably, I am going to have to ask you to leave the premises within the next twenty minutes, or I will be forced to call security.”

Reigen nods, jerkily, hands stuffed in his pockets.

Jon almost wants to call out to the fraud as he turns to go, grab him by the shoulder, pick another argument, something. He knows he should be happy, be glad that this thorn in his side will finally stop bothering him, but instead he just feels—befuddled. Off-kilter.

What happened to the man who once spent three hours arguing for the “spiritual effectiveness” of entirely performative and useless rituals, saying that ensuring his clients left his office fooled and contented was better than actually uncovering genuine supernatural forces and learning all there was to know about them? Why is he going so-so easily now, when he’s made Jon fight tooth and nail in every debate he’s had with the so-called psychic?

At the door, the con man pauses.

“Bouchard-san. You said I could come back if I had a statement to give?”

Elias shifts in his seat, looking bemused. “W-well, yes. That is a service we do provide. Of course, the statement would have to be genuine, and verifiable as such before we let you back into the Archives.”

“We don’t even do that for most of the rubbish we do take,” Tim mutters under his breath, and though Jon is glad he’s not the one being shot a quelling look, he does have to agree.

The con man turns back.

He’s got that smirk on his face that immediately puts Jon’s hackles up on instinct, prepared to argue against whatever inane point he’s come up with now to defend his phony psychic title.

“Gotcha.” Reigen says, far too cheerfully. «Ja ne.»

Then he strolls out of the office, as cool as a cucumber.

Jon could even swear he hears him whistling as he makes his way down the stairs.

There’s a moment of stunned silence.

“I’d do him.” Sasha pipes up, unhelpfully.

“Sasha!” Martin hisses, scandalized. “D-don’t you have a, a—”

“Oh, I don’t have to worry about that.” She remarks, far too blasé for someone in a newly committed relationship. “Tom’s heard about him too, and he agreed he’s just our type.”

“And I’m not?” Tim jokes, but there’s a hard edge to it that Jon’s found himself increasingly familiar with in the past few weeks.

Sasha shrugs with a mischievous little smile, as if that mattered very little to her.

Elias coughs. “Right. Well. Whatever your relations to Mr. Reigen are, please try to limit them to outside the workplace in future.”

The rest of the intervention is surprisingly subdued. Elias gives Jon access to the footage from the cameras in the rest of the Institute, and Tim bodychecks him on the way out of the office, muttering about how nice it must be to never face any consequences for his actions. Sasha follows, the way she won’t meet his eyes a condemnation in its own right.

Even Martin doesn’t say anything to him, just bites his lip and hurries past back down to the Archives. It doesn’t sting. It doesn’t.

Even as he settles in to watch and rewatch the CCTV records of Gertrude’s last week alive, Jon can’t shake the ridiculous feeling of foreboding that’s dogged him since Reigen left.

Most of him wants to say it comes from the fact that despite the fact that Reigen has not appeared in any of the camera records for the Magnus Institute before he started his term as Head Archivist in 2016, isn’t banning him from the Archives just letting the con man run around London with impunity, with no way for Jon to ascertain his movements or motives? That instead of solving a problem, Elias has just given a potential murderer free reign to escape?

But a small part of Jon, one that never could deny the sensation of being watched, that is frozen in second-hand terror whenever he reads a Statement, knows, Knows that it this stems more from the idea that the fraud will actually accomplish what Elias has unwittingly challenged him to do.

The illogical but pervasive surety that he will do so.

Jon’s not sure if he’s more afraid that Reigen Arataka will vanish entirely, another unfortunate victim become an unsolved mystery.

Or that he’ll come back, and bring whatever he’s managed to unearth on his insane quest with him.

#the magnus archives #tma #mob psycho 100 #mp100 #reigen arataka #mp reigen #jonathan sims #jon sims #martin blackwood #timothy stoker #elias bouchard #not sasha #tma not them #tma s2 #jonmartin #(just a little) #(as a treat) #Elias: you cant come back unless youve been traumatized #Reigen: challenge accepted #Elias: wait no—

[asherlockstudy]

Rhett and Link’s problems with the Enneagram

I have now watched both Enneagram EBs and the second one actually set my gears to work (So Anon here it comes! I promise it was spontaneous).

After listening to Link and mostly Rhett talk about the Enneagram again and again, I realised I have a problem but I can not place its exact root. There is either something fundamentally wrong with the Enneagram itself or maybe it’s Rhett and consequently Link who talk about it in a way that made me feel a little uncomfortable.

My problem and cause of concern was that everything that was said during the two podcasts had a clear negative tone to it. I will have to bring in myself to it to give you an example so bear with me for a paragraph. I did the test and I am a 5 (Investigator - Observer, something like that) which suits me rather well, especially since it agrees perfectly with my Myers-Briggs INTP type. The results said I was a 5w6 (essentially an emotionless analytical robot) which is definitely wrong as I am clearly a 5w4 (a sad mess who analyses the world and searches pointlessly for the true meanings in life and wants to come up with the ultimate all-encompassing philosophy). I mean, OK, they are not described exactly like that but trust me, that’s the point. But despite all the flaws associated with it, especially in the fields of socialising and tremendous procrastination due to an insane fear of failure, I am actually very much in touch with it. I revel in analysing, in trying to see the bigger picture, to make up my own theory about life and the world. It gives me fuel to go on, it fills me with excitement, it gives me a purpose.

Now, what I kept hearing from Rhett and Link are the things they would hope to run away from. I can’t seem to remember a single positive thing they said about their personalities. All traits they mentioned ( which were all pretty one-dimensional for both I dare say) were presented in the context of torturing them and having to confront them. With these insights in their personalities and the spiritual deconstructions earlier, their old (surprising back then) statement that they are “fundamentally sad people” makes more and more sense. Some of their traits, like Link’s care for perfection to the smallest detail and his moral concerns could have been neutral or positive but, no, they are almost all given as clear negatives or at least as things that have an emotional toll on them.

This gives me the impression that Link and especially Rhett have found comfort in studying the Enneagram and try to find an explanation for what they are like, to feel part of a group, represented in their misery. In short, they focus on the analysis of the flaws of their personalities as a part of who they are and avoid dealing with the root that caused said flaws. Link is more self aware while Rhett still struggles to reach the root of it, which is his childhood. Not that he doesn’t know it but he can’t just deal with the people and the situations that impacted him enough to make him a three. For instance, Rhett seems to believe that he is a natural three that his parents made manifest even more strongly. It could be the case or the threeness we observe in him is the direct product of his parents’ constant judgement. By keeping chanting he needs to “be” instead of “do”, I am not sure Rhett will achieve much. Honestly, the one impactful step he needs to take is to stop caring about what his father thinks and I am sorry to say he is still not near achieving this. Especially when I take into account how scared he was during his videocall with his dad in GMM and how relieved he looked after the call was over without drama. In short, my problem with their take in the Enneagram is that it seems that Three is Rhett’s pack of unresolved issues rather than his complete personality type.

Furthermore, Rhett speaks knowingly about all numbers / personality types which proves he consumes passionately all Enneagram information that is available. For a man of his level of active lifestyle, hectic schedule and impatience, this shows that he indeed seeks comfort in finding a detailed description and an explanation for his personality, for the way he feels and acts. What does this mean? Well, that he does not like the way he feels about himself a lot. Not only that, but he is actually in a search of self. At this point, he is no longer cryptic about it but it is more serious than he lets on. He tries to make sense of himself and he tries desperately to find something in himself to love. I hope there are people in his life who let him know that he is worthy of their love, friendship and appreciation even though he is so deep inside his head that even the affectionate feedback can only help so much. Rhett will start finding some peace only if he takes the one step I mentioned above.

And then it seems that Link’s personality type is also exclusively a byproduct of his childhood and is aggravated by his relationship with Rhett. Link’s perfectionism doesn’t cause him enthusiasm - he just dreads the disturbance of his supposedly perfectly stable world. In all honesty, Link doesn’t strike me as an ambitious person. Link would just love to have his dear routine and a loyal person to share it with. Link needs stability and companionship. He is fine with just one person as long as this person contributes to the stability of their bond. Who that one person is in Link’s life is another story…

Link doesn’t care that much about the creative process and, frankly, he doesn’t care all that much about the comedy. Link cares to keep the environment Rhett and he work stable and safe. For Link, judgement from the audience is not as alarming as Rhett’s frustration because of it. Link cares to ensure that Rhett’s idea will be successful enough to keep working and to keep working together. So Link’s entire self-identification as a one seems to stem from his fear of abandonment and worthlessness only. Link fears he has not much to contribute to Mythical and he tries to counteract that by becoming the ultimate source of management and control. Because if he didn’t even manage the company, then what would Rhett need him for? Hence, Link’s obsession for control is a consequence of his fear, he doesn’t necessarily love to be in control for the sake of it. This is proven by his plane example, which shows that he finally relaxes when he does NOT need to be in control.

Link has been working hard most of his life to ensure his position next to Rhett. This brings even more insight in his resentment for Rhett that explodes from time to time. Link resents Rhett because he tries so hard to be always by his side but due to Rhett’s opportunitism, he can’t tell whether Rhett wants his companionship or he simply needs it for their brand. Even worse, Link dreads that the reason Rhett is his friend is because Link feeds his ego with his loyalty and admiration, because he takes Link for granted and not because he loves Link for who he is.

“Do you care for me or do you revel in the fact that I care for you?”

Now, I can’t get inside Rhett’s head but I doubt he uses people. I believe his genuine care for Link can be found in the weirdest examples - those from which Rhett has nothing to gain i.e getting frustrated when Link doesn’t enjoy food as much. Yes, this is a sign of love. Rhett enjoys food so much that he wants to share that enjoyment with Link. He can’t realise Link’s tongue works differently - he thinks Link is missing out and it frustrates him. Another silly example is Rhett buying Apocalypse equipment for a clearly disinterested Link and probably never getting its money’s worth back. This is important to Rhett for some reason and he is concerned enough to protect careless Link as well despite having no personal gain from it.

The truth is that these two men feed off each other; Rhett keeps Link attached to him to always feel worthy and Link keeps Rhett attached to him to always feel safe. However, the fact that Rhett is almost his entire source of safety and that Link is Rhett’s biggest calibrator of worth is indicative of the levels of love and need. Nevertheless, Rhett and Link are not independent people. They were constantly in search of support from one another and they lost themselves in the process of satisfying others or being safe. This is something they are realising only now.

Link’s fear of abandonment is so big that it frequently leads him to an almost paranoid behaviour. It is crazy that he felt left out when Rhett communicated with the audience during a podcast whose key purpose is to… communicate with the audience. His fear here has two sides: 1) that Rhett didn’t consider him an equally important business partner so he preferred to speak directly to the audience and 2) that Rhett isn’t emotionally invested in him in order to open up to him. And by saying he can deceive people if he needs, Rhett doesn’t help Link overcome his huge insecurities. This is why Link begs Rhett to talk to him about his feelings more. He does not understand whether Rhett loves him or uses him. The notion that Rhett doesn’t truly love or appreciate him is one of his biggest fears in life.

As for Rhett, it is certainly huge growth that he starts opening up and being vulnerable to a few thousand strangers yet it all still derives from his need to be accepted by said strangers as I am afraid that the late disproportionate criticism he gets for silly stuff on Twitter and Tumblr surely don’t help him deal with his issues, no matter how hard he tries. Therefore, Rhett is trapped in a vicious circle. Besides, Rhett was overly sensitive to be hurt when Link stated the obvious; that he was being vulnerable in hopes to be understood and accepted, because that was clearly what Rhett was openly doing. However, having someone discussing openly his vulnerability immediately made Rhett retreat back to his shell because no matter how hard he tries, Rhett hasn’t managed to separate vulnerability from weakness in his mind yet.

Long story short, Rhett and Link might be Three and One respectively but I am not sure they have a good understanding of themselves anyway. They may have figured out their types correctly but they certainly narrow their entire sense of being to their unresolved issues and phobias. They entirely lack a sense of self-worth and they probably have not realised the extent of the traumas in their youth. In the Enneagram language, the nine personality types have nine levels of development. I believe Rhett and Link are either in the average levels or the mildest unhealthy level. They are certainly not in the healthy top three levels.

Their obsession with the Ennegram helps only superficially but they seem to have based an illogically huge part of their self exploration on it. The Enneagram might offer some insight but won’t offer the resolutions they long for and badly need in order to find some relief. The ones that come when you confront your environment instead of overanalysing yourself and beating yourself up because of it.

#Rhett and link #ear biscuits #Rhett McLaughlin #link Neal #Enneagram #randl #r&l #mythical

[snenvs3000f21]

My Journey as a Nature Interpreter

I began this course ignorant of what being a nature interpreter consisted of. My early assumption was that the role of a nature interpreter was to just explain and guide people to their environment. In a sense yes this is what they do, but there is a whole different level of complexity and skill needed to be considered a proper nature interpreter that I never thought of.

Throughout this course, I have learnt a lot about myself and who I want to be. I have taken something from each unit and created my own code of ethics (Steven’s Code of Ethics as a Nature Interpreter):

1. Be knowledgeable. Understand who you really are as an interpreter, understand your audience, and constantly think of ways to make your audience’s experiences more meaningful. Learning about nature is important and all but remember that meaningful connections last longer than random facts.

2. Be flexible. Realize that everyone is different and learns differently. Utilize different skills to help people learn more efficiently.

3. Treat everyone with equity. It is important to include everyone, but it is also important to realize that people come from different privileges. Making a program to ensure that everyone can have the same experience should be the goal.

4. Be open to new ideas. Constantly explore with different lens as there are many perspectives when viewing a topic. Welcome other ideas and go along with it. See where it takes you.

5. Honesty and Integrity. Be reliable and responsible for your actions. Keep your word and be respectful of the people and nature around you.

These are just some code of ethics that I thought were important. Was there anything that I was missing from your list that you think I should incorporate?

From creating Steven’s Code of Ethics, I realize that these traits are transferable to the profession that I currently am in. I work as a physiotherapist assistant and constantly must work on my knowledge of the field. Although in my field being knowledgeable about the topic is considered more important, there is still a huge emphasis on understanding the patient. I find that being able to connect to the person and fully understanding them, optimizes the entire healing process. 

Being flexible is important for building strength and stability, allowing for greater range of motion. Oh, sorry for the wrong context of flexibility (a bad health joke, although it is important to remember to stretch your body), what I meant to say is that every patient is different and will need different programs and techniques to treat. 

As I live in Toronto, Ontario, I have met people from different races, varying in age and gender and have treated them all to the best of my ability. Regardless of what it might be, I always ensure to work to the best of my best abilities. 

As for the fourth code of ethics, I am constantly learning from other professionals that I work with, such as the chiropractor, the head physiotherapist, the athletic trainers, the message therapists, and even the patients themselves. It is important to remember that as human beings, we are not able to know everything. We must constantly communicate with each other and be open with the different perspectives that the other professions might look at the situation. 

And for the last code of ethics, it is important to constantly build trust with the patients as well as your peers. Knowing your limits and asking for help may seem scary, but the main goal is to always improve the condition of the patient. By not being truthful, the patient may not see any results or even worse, their injury might worsen.  

Although my field is not related to nature, I have always had a love for nature. This course has further my appreciation for nature and made me realize the importance of being able to interpret nature for others. Especially for those who have been less fortunate and unable to grasp the beauty of nature. Whether that be due to being non-privileged such as the story of the Boys & Girls Club of Mar Vista gardens with the low-income housing projects (Beck et al., 2018, p. 127), or the barriers that come with being a minority (Beck et al., 2018, p. 135-147), I want to be able to open their eyes to the beauty that nature has to offer.

Artist: Angus Maguire

However, I understand that this is easier said than done. Beck et al. (2018) states that due to economic, cultural, communication, lock of knowledge, and fear are possibilities to why minorities are discouraged to participate in interpretative programs. Hopefully by seeing more minorities get closer to nature, other minorities will see that exploring nature isn’t all that scary or hard, breaking down some of the barriers that Beck et al. (2018) has previously mentioned.

I am aware that this is a hard task, as most older generation minorities are stuck in their ways, but we are lucky to be living in a time where technology is thriving. The first step to getting people to explore and interpret nature is first by getting their interest. Before my grandparent’s past, they loved staying home and watching the Price Is Right. They didn’t like going outside as they were scared that they would not be able to communicate with others and be judged by the people around them. But if I had the knowledge and internet content back when I was younger, I could have shown them the beauty of nature through nature walks on YouTube.

I would have been able to let them listen to the sounds of what hiking through a forest would sound like. I could have got them intrigued with nature and possibly got them to explore it with me.

This course has been amazing and eye opening. I will use everything that I have learnt from this course to help encourage more people who have not been able to experience and appreciate nature the way that I have been able to! I look forward to reading all your blogs and for those who I won’t be able to reply to, have a great winter break!

-Steven

Beck, L., Cable, T. T., & Knudson, D. M. (2018). Interpreting cultural and natural heritage for a better world. Sagamore Publishing

Maguire, A. (2020). The difference between the terms equality, equity, and liberation [illustrated]. Research Gate. https://www.researchgate.net/figure/The-difference-between-the-terms-equality-equity-and-liberation-illustrated-C_fig1_340777978

#nature interpretation #final blog #ethic #code of ethics #minority

[pynkhues]

What advice can you give for making a dialogue sequence flow better. Rather than just saying he said, she said, etc.? Please and thank you (●'◡'●)

Hi! That’s a great question, anon!

I know it was definitely something I struggled with when I was a newer writer because so often I think when we’re first approaching writing, we tend to put a lot of weight in dialogue. That’s not a bad thing necessarily, dialogue is an important part of storytelling, more so for some writers than others. Amy Sherman-Palladino who created Gilmore Girls and The Marvelous Mrs. Maisel is a very dialogue-driven writer for instance, whereas Vince Gilligan who created Breaking Bad and Better Call Saul often prioritises silence and lets visual language stand alone, but the way they use the dialogue they have, whether it be with a light touch or a heavy hand, isn’t really about the dialogue at all, it’s about tone and rhythm.

As you grow as a writer, I think you start to get more of a sense of what that means, but an example and an exercise I use a lot when I’m teaching creative writing is to take the scenario of two girls walking through a forest. Try writing it as a horror, and then try writing it as a light drama. The scenario itself can be either, it’s the tone that creates the story, and as a part of that, what changes is setting and environment, dialogue, and actions.

In one, you’ll have twisting branches and darkness and panicked breaths and scrambling hands, and in the other you’ll have lush trees and warm midday light and laughter and gentle touches.

You’ll also have very different dialogue, and therefore very different context for which that dialogue is delivered. What helps it flow, as you put it, is something that’s responsive to the story that you’re telling and what else is happening in the scene.

So! Let’s break that down a little!

When you're thinking about anything on a scene level, I think it really boils down to six questions:

What's the story you're telling?

What's the purpose of your scene?

Where are your characters? What is the environment they're in?

What are they doing as they talk?

What is the context of the characters' relationship?

How are the characters feeling?

That's kind of a lot, haha, so I'll try to keep this relatively short.

What’s the story you’re telling?

This really comes back to what I was saying above about the story you’re telling having an impact on how you use all narrative devices whether that be dialogue, description or setting. It would make no sense for Walt in Breaking Bad to talk like Lorelai from Gilmore Girls or vice versa for instance – that’s not the story that the writers are trying to tell. Walt’s limited dialogue helps to reflect his secretive nature and the dark mood of the story overall, while Lorelai’s rapid-fire dialogue and tendency to be doing a lot while she talks reflects the frenetic energy of the show and the gravitational pull she has on those around Star’s Hollow.

The dialogue – and the way that dialogue is delivered – helps to embed the viewer or reader and create a tone that matches the story you want to tell.

What’s the purpose of your scene?

More than that, how you use dialogue and the cues around dialogue helps to realise the purpose of your scene.

All scenes have a purpose.

Scenes are the building blocks of your story. They are what get you from the floor to the ceiling, and you need to know what each of those building blocks is doing.

That doesn't have to be a lot! Sometimes a building block is just 'character has a bird poop on them on their way to the party'. On its own, the scene might seem light, but the purpose is actually to set up that they're about to have a really bad time at the party. That's great! Because you know the purpose of that scene therefore is Foreshadowing.

The point is though that that purpose - whether big or small - will impact the way your characters behave and interact not only with other characters, but the environment around them.

If the purpose is, for instance, two characters misunderstanding each other, they’ll likely be frustrated or hurt, which will contribute to not just what they say, but their tone of voice and their posture, and the space. They might feel the chill of the air conditioning a little more acutely, grab a couch cushion to hug to their chest, distract themselves by putting dishes away with stiff hands, push a hip into the kitchen counter hard enough to leave a mark.

Purpose informs tone which informs character which informs action.

Which brings me to a big point.

Where are your characters? What is the environment that they’re having this conversation in?

This is something I see often neglected in writing from newer writers. Which is a shame! Space can bring so much to your story – not only in terms of grounding your readers, but providing entry points and understanding to your characters state of mind without you having to explicitly say it. How your characters feel that environment, what they focus on, is a way to explore how they’re feeling and can punctuate your dialogue (but I’ll come back to that point in a minute).

For instance, things like weather and temperature, wide open spaces vs tiny, cluttered rooms, other characters in those environments (I always encourage people to draw diagrams of rooms and map out character action. It might sound a little silly, but trust me, it helps a LOT), and the characteristics of those spaces (like I said above with barren, twisting branches vs lush trees as a very broad example) are all things that are going to contribute to the way you build a scene.

And more than that, what your character’s doing as they talk.

Which, hey! What are they doing as they talk?

It’s pretty rare for people to do nothing as they have a conversation – they doodle on sketchbooks, or roll their eyes, take sips of their drink, flail and gesture, reach out to touch the other person's hand, pet their dog, check their phones, get dressed or undressed – and that’s not even including the bigger acts that might be in your story – running from an enemy, cooking a feast for a huge party, getting into a fistfight, hacking into a secret government database, etc etc.

This is often a question I fall back on, and try to imbue in my writing. Take this little bit from Clean Like Him, where Beth is having a tense conversation with Rio in Paper Porcupine.

“Official launches make businesses feel real,” she says tersely instead, irritation seeping into her tone as she slashes the last row of paper. She collects the cuttings, organises the notes and checks the edges, mostly just to have something to do with her hands. So they won’t hang awkward at her sides or balled into fists or – worse – touch him somehow (god, why is she thinking about touching him? Stupid. She clears her throat. Refocuses.) “And if this is going to work, we need it to feel real, remember?”

Beth's working, but I explicitly say she wants to have something to do with her hands to distract herself from him, and her actions are jerky, her task a little aggressive, which is really about showing that she's on edge and punctuating a tenser tone.

The point is, all of these things are actions that are going to interrupt and interact with your dialogue and what that feels like depends on history and feelings.

Who's having the conversation, and what's the history of their relationship?

This might sound like an obvious one, but I think sometimes people can underestimate the impact that it actually has on an exchange. How familiar your characters are with one another and what the context of their relationship is has huge impacts on how a scene plays out and what a character might be doing.

Beth and Rio for instance knowing each other so well and not knowing each other at all is actually a pretty complicated dynamic to capture, especially when it's often paralleled with Beth and Dean who also know each other so well and not at all but in a completely different way, haha. These contexts though are going to affect how they interact. After all, Beth's not going to treat Rio the same way she treats Dean because that history and that context is different.

Really thinking about what that means is going to help you to think about the way these characters interact both broadly and specifically to what you're writing, which in turn is going to help you start to find a rhythm to their conversation.

How are your character’s feeling?

This is really the lynchpin of all of the above. How your character is feeling is going to define the purpose of your scene, how they interact with their environment and other characters, and what it is they’re doing. A character who’s frazzled is going to have more scattered dialogue, a more urgent tone, they’re going to pick up the wrong thing or lose things and their relationship with their space will be different.

Think of Beth in 2.07 when Jane’s missing. She and Dean go to a private space – his home office – to have a fight even though their house is full of police, neighbours and friends, and Beth is furious at him, and he throws something historic at her (and important to the context of their current relationship) - Rio shooting him - to deflect from his failure as a parent.

Immediately afterwards, Beth is frazzled and desperate. Her tone becomes harried, she can’t find her car keys and rummages through her handbag and the things on the hall table, even though she’s holding them, something Ruby has to point out, and then she leaves to find Rio to try and get him to help her.

The dialogue itself is there to build tone and atmosphere and in fact, Beth’s dialogue with Dean is punctuated by her tone and anger, not her words – she doesn’t tell Dean she doesn’t think Rio would ever take the children, she throws the question back at him and her fury is what tells us as an audience what she thinks.

Tone is what generates atmosphere and meaning, and to work out what your tone is is to understand the purpose of your scene and your character’s feelings, which in turn determines how they respond to their environment and tasks, and it’s that response that punctuates feelings and tone.

It’s all a bit of a snake eat tail situation, haha, but my point is, thinking about dialogue tags and flow is really thinking about the energy and context of an interaction, and the tone and the purpose of a scene. Think about sensory description, think about space, think about what a character might be doing as they navigate that interaction, and think about how you can use that to further explore the character’s interior life.

But most importantly, always be thinking about what you want your readers to take away from the interaction.

I’ve plucked another scene out of my most recent fic, Clean Like Him, just because it’s still pretty fresh in my head, and I've marked a few of these points in these screenshots (please open the image in a new tab so you can, y'know, actually read it, haha)

A lot of this excerpt is reliant on the context of Beth and Dean's relationship and the reality that Beth is using him but also still feels tied to him through their history, which in turn makes her feel guilty.

This is the second scene in the fic, so there's a lot of establishing stuff that comes up again later too – particularly Dean's insecurity and ego failings, and the fact that he diminishes and doesn't see her. Things like interruptions, like mid-conversation pivots, like wounded puppy expressions and Beth deliberately tuning him out are all utilised as active dialogue tags, but also tone and mood builders which hopefully creates the rhythm of the story.

You don't necessarily have to think about all this at once either. A lot of this sort of stuff I tend to work out more when I'm re-writing - so I'll already have a barer bones draft which is more about me putting the scene purpose down on paper; because, like I said, that's really the most important thing.

So yes! Sorry! That got a bit long, haha. I hope it's a help though, anon! Let me know if you have any questions 😊

#as always this is just advice #just stuff i've learned over the many many years at this point haha #hopefully though it's helpful to you anon! #and anyone else who's interested! #writing #writing advice #welcome to my ama

[belit0]

Anonymous:

Soulmate anon here! Just wanted to ask, how would the Uchihas go about to asking out their s/o? -💌

Anon I can say that I love the trust you give me🖤 thank you so much for your support, really :) ✨😭 I’m so glad to have you around!

Indra

[I will situate him in the context before Ashura being elected as heir. I think that the Indra after his fight with his brother could not “ask” someone to go out with him, he was already too consumed by evil at that point in history ☹]

If there is anyone with little experience in talking about feelings… it would definitely be this boy. It’s all about control, power, composure, preparing to be a leader. Love issues? There is no time for that in his life. So, when he finds himself in the throes of understanding that that special person has managed to captivate him enough to invade his feelings, Indra doesn’t really know what to do. His cold, calculating and distant character prevents him from taking a romantic or sweet initiative, therefore he moves the matter to an environment where he feels in confidence with himself: to the middle of the mountain where he usually trains in solitude. The excuse for his s/o to join him? Pure strategic necessity as he explains, and the person will never hesitate before an order from Indra-Sama no matter how strange it may seem. When arriving at Indra’s private training camp, he will want to practice with his s/o to feel in his element. At the point he thinks is appropriate, he declares something like “We are official, I expect respect.”

Madara

Asking for permission? Asking for consent? What is that? This man definitely doesn’t know anything about it. If he has set his sights on someone, that person is automatically his. Madara doesn’t ask his s/o if wants to date him… no, his s/o is dating him since proving to be a worthy enough person to deserve his attention, even if that person is not even aware of it. Madara is a Yandere by nature. He will give some hints about his attraction to his s/o, but that person seems to be blind to the obvious. Angry at the lack of response to his advances, the final confrontation will inevitably come. Cornering his s/o in some situation, he informs "Enjoy the pleasure of being mine and stop running away from the evident”.

Izuna

The cheekiness of this Uchiha is out of this world. Certainly, he will have no problem in revealing his attraction, conquering people is his second talent, the first is to fight. Accustomed to the routine of having several different people in his bed during each week, his ability to navigate in front of his s/o is to melt. Of course, before culminating his plan with the important question, Izuna fires his entire arsenal at his s/o, looks that last longer than necessary when they cross each other, unnecessary friction if they’re in the same place, occasional letters clearly coming from him but without a signature. He is a natural born seducer, of course he knows how to attract someone without being conspicuously obvious. When his s/o shows the interest, he needs to see to make the determination and ask, Izuna acts. “What do you say, love? Do you want to try your luck with the better Uchiha? *Wink*”

Obito

[I will place Obito in a context where he never meets Maddy Daddy, so his innocence and warm personality remains intact until adulthood, no mean ObiTobi! But if you want Yandere content from any Uchiha let me know 😊]

The timidest of all the Uchihas. This man is a disaster when it comes to taking the reins and putting on the trousers. His infatuation with his s/o has been a secret since he began to feel the very first emotions, and he refuses to admit a word about it. He constantly imagines in his head what a life with the person he longs for so much would be like, but his shame prevents him from acting. Eventually, after much mentalization and personal work, Obito gathers the little courage he manages to find to face this situation. A bouquet of the most beautiful flowers he found in the shop, his best clothes and well perfumed, he heads for action. “Eto… I… um… you… DATEMEPLS”

Shisui

A profile very similar to Izuna’s, but with his feet on the ground and without as much confidence as the other Uchiha. Shisui knows he is attractive, his fan girl club confirms it, but he ignores this constantly because the village and the clan come first. Safe in his field, when he finds himself feeling things towards someone, he is happy. A light within the darkness of his life, better defined, that’s why he doesn’t hesitate and doesn’t delay in making it official. Having lost his immediate family, he likes to hold on tightly to what brings him joy. He casually confronts his s/o at some moment of the day, nothing special or romantic, as relaxed as Shisui himself. He trusts his feelings, and has no problem expressing what he feels with incredible simplicity, accompanied by a bright smile “Would you like to have a drink with me? My treat.”

Itachi

This Uchiha has a hard time coming to terms with his feelings. He shouldn’t think about such frivolous things when there are more important issues such as the village and containing the clan. But when he realizes that his feelings are not something he can fight against, Itachi is smart, and gives in to his heart. After a time of getting used to his own emotional mess, this man devises a foolproof strategy so as not to miss his target. He studies his s/o, knows its tastes and its preferences, knows that it loves and that it hates, knows which place prefers to eat and which it hates because the food does not appetite it. At the moment of executing his strategy, Itachi takes his s/o to a beautifully arranged dinner in that person’s favorite place, probably by candlelight, giving them a bouquet of red roses as soon as they sit down to eat. By the end of the evening, Itachi asks gently, confidently and calmly “Will you go out with me?”

#uchihas #uchiha madara #uchiha izuna #uchiha obito #uchiha shisui #uchiha itachi #otsutsuki indra #madara #izuna #obito #shisui #itachi #indra otsutsuki #naruto shippuden #naruto imagines #uchiha headcanons

[incorrect-ikevamp-quotes]

Hi!!❤️ So I was thinking about Leo’s route and realized he might actually be a yandere type character? What are your thoughts about that? Do you think he’s a yandere too?

Hiya~!❤️❤️❤️ 

As to my thoughts on Leonardo being a yandere, I don’t personally think that he is one? He appears to be the mature type, more of an indulgent deredere sort of deal. He is very emotionally defensive and can’t let anyone make sacrifices for him, but that’s not typically considered yandere in nature. I’d call it more a manifestation of unresolved trauma and nonexistent self-esteem issues he still needs to work through. It can make him a little unfair and a little forceful, but he never gets to the point where he absolutely decimates MC’s ability to live for herself or make her own judgement calls. If anything he wants her to put herself first to the point of personal self-harm. That’s the thing about his refusing to turn her in his rt; while that is controlling and wrong, there are also strong indications that MC deep down is terrified to become a vampire/rejects it herself? So I think that situation was more complicated.

Yandere’s are characterized by extreme behavior--often borderline murderous and violent--in order to maintain control/possession of the person they develop feelings for. Given Leonardo’s general track record, I don’t think this descriptor really fits him. Sure he retaliates at the end of his route but the context entailed protection from a serial killer. Even in the case of him seeking to walk into the door and follow her into the future, there was no possessive intent involved; rather he speaks to a concern that she stop sacrificing things to be with him.

Speaking of, that tends to be how I define the difference between normal love and more yandere behavior. Love tends to be more about healthy sacrifice, creating space for both people to reach each other on equal grounds (especially when it comes to creating a balance of power). Yanderes tend to be less interested in mutual give and take, and more obsessed with making sure the object of their affection can never leave them or want anyone else. They often want their S/O to rely on them for every need they could ever have, and make attempts to diminish or even sabotage their capacity to reach out to others/develop a healthy social environment.

That being said, it can be hard to define something based on what it is not, so I can offer who I think is a yandere in the game. So far the characters I see with this tendency in considerable enough measure to warrant the title are: Shakespeare, Charles, and Vlad. 

There will be some mild spoilers from future rts and JPN content, so I’m going to put it under a cut:

Given the connection between Shakespeare and Vlad, perhaps it is a little misleading to say Shakespeare is one of his own account. Even so, Shakespeare exhibits this behavior. From the CG in which he is holding manacles expressly to confine MC, to his active threatening to harm her in Vincent’s route (while one can argue it was protection, I see it only as a veiled expression of “If I can’t have you, nobody can”), to complicated instances within his own rt. Many may argue that it is not within his true nature, though my impression is that it is partially Vlad’s manipulation and partially his own predisposition. Iirc Cybird also slates him as the yandere of the game, so there’s a lot of evidence pointing to him being the biggest example of it.

Charles is a yandere but if I’m honest, he came as a surprise given his genki and generally upbeat attitude. Dazai’s route and a few of his stories in the JPN ver make it abundantly clear that his notion of love versus possession are a little confused. He pursues MC’s affections in Dazai’s route, but there’s plenty of evidence that he loves her for reasons that don’t really make a lot of sense? He knows nothing about her beyond her involvement with Vlad’s enemy, and goes to great lengths to seek out her attention/company. This escalates to the point where he openly agrees to help Dazai commit suicide for the sole purpose of “saving” MC from the despair of losing the man she’s fallen in love with. He even goes on to agree to murder Dazai in the past to answer that fervent need for her exclusive love. When MC comes to rescue Dazai, Charles is forced to confront the true nature of his feelings, and later develops what might be closer to the concept of real love for her.

Some of his event stories also indicate oddly manipulative behavior intended to guilt or sway MC into keeping all of her attention on him. Whether or not he will turn out to be a complete yandere I’m not sure, but he absolutely has the potential to sway heavily in that direction. He also, however, has the potential to ease toward more sincere, normal love--so his situation remains to be seen. There is also the fact that Vlad is manipulating him heavily with his mental compulsion, so as with Shakespeare I don’t always know how much of it is Charles or Vlad.

As for Vlad? I have...absolutely no defense or hope for this man. All I see is yandere. Granted I have not played his JPN main story so I don’t know what he’s like in love, but I have heard many indications as to his active manipulation of her mind and agency. I really don’t foresee any kind of equal relationship possible between him and the MC. There may be potential for that dynamic to be ironed out, but from the interactions I have seen--his fervent desperation to subjugate humanity and his near constant strangling of his sires’ freedom and self-determination--I sincerely doubt it would be possible for him. Even his turning MC into a vampire (which she indicated was something beyond her comfort zone/wishes in every other route) remains incredibly suspect to me. He is too self-obsessed and possessive to offer any kind of meaningful love.

While this may come as a surprise to many, Comte actually has a very slight yandere bent, but it would not be accurate to call him a yandere. The difference between Comte and Vlad is that Comte always sees these burgeoning desires within him and distances himself from being compelled to act on them to extremes. He admits to not wanting to share his MC with any of the men in the mansion, even though he’s well aware the house is like one big family; there’s no real risk to his love for her or necessity to be jealous. When MC gets hit on by another man and Comte finds out about Vlad interacting with her in his harmless florist persona, Comte gets uncharacteristically agitated. While usually measured and rational, his feelings tend to overtake him for a few minutes before he calms again--usually with reassurance of MC’s feelings for him. Furthermore Comte doesn’t usually exhibit the overwhelming violence and aggression that yanderes tend toward. And Comte doesn’t really limit her interactions with other people unless they are a sizable threat to her safety and well-being. The closest thing I can think of is his relentless buying her outfits as a means to appease his slightly possessive nature (adorning her in his colors), but even then when she tells him no he fully respects her wishes and stops. So he really only reflects potential for the sensibility, nothing concrete. In the end he’s still the more indulgent deredere type like Leonardo, just a little more balanced and possessive.

#asks #ikevamp #ikemen vampire #ikevamp leonardo #ikevamp shakespeare #ikevamp charles #ikevamp vlad #ikevamp comte #ikevamp saint germain #rambles #yandere thoughts #i hope this makes sense! #also this is just my opinion you can feel free to disagree with me #this is just how i understand it~ #ikevamp meta #not incorrect quotes