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possamble · 25 days

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Do you have any headcanons or thoughts about Falin having a crush on Marcille pre-canon? Especially during her later years at the school/the years she was with Laios.

Just full on "awkward and slightly gnc teenage lesbian has a massive crush on the touchy-feely girly girl straight best friend" tropes everywhere. Even better bc it's the "best friend is also the popular girl while lesbian is the slightly ostracized quiet one" dynamic in school. Falin gets so so so good at not having a heart attack every time Marcille gets in her personal space. But she's so resigned to never saying anything bc why would a girl as blinding as Marcille ever like her back. She also doesn't make an effort to get over it either, she's just content to be trapped in that stable dynamic of silently being in love with Marcille while getting to enjoy CLEARLY being Marcille's favourite person. She gets so used to it that it's almost just background noise most of the time-- it would have to be, unless she wanted to be freaking out 24/7 bc Marcille is so goddamn affectionate.

Her feelings also definitely change throughout the time that they're in school together-- at first it was this "whooaaah pretty older girl" puppy crush that you can clearly see developing in the flashbacks we get (I think she doesn't even like... realize her fixation on Marcille is romantic at all until years after it starts, when she's 12-14 ish and all the other girls around her are talking about crushes). But then they get closer, over the years Marcille starts getting really attached and letting down her guard, and Falin gets to see the ridiculous side of her. She gets to calm her down from her tantrums when experiments don't work out, or help her clean up when something explodes in her face. I feel like the progression of her feelings from "schoolgirl infatuation" to "unrequited love" probably almost exactly corresponds to how slowly Marcille goes from trying to keep Falin at a polite but friendly distance (like she does with everyone else) to her facade completely eroding as she becomes her cheerful and ridiculous self again for the first time since her father died.

That's probably the saddest part: Falin knows that she's clearly Marcille's favourite person on the surface level, but she doesn't quite fully grasp the enormity of what that means to Marcille. She doesn't get that she's the person who made the world colorful again for Marcille, that she is the first person outside of Marcille's family to really and truly make her laugh. She just thinks she's the beloved but dinky little short-lived sidekick, one of many that Marcille has had and will have.

Part of it is that, despite Marcille becoming such a clingy and affectionate best friend, I think her initial demeanour already did its damage. You see Falin being super adventurous and weird at first, bringing Marcille berries and other stuff, only to be rebuffed by Marcille exasperatedly saying she's working or looking kind of put off by it. And by the time you see her a little older, shes already quieter and better at masking -- and I'm not saying that that's entirely Marcille's fault (being the weird girl at an all girls academy for almost the entirety of her teenhood must have been brutal, my god) but she definitely learned that she's a potential nuisance to Marcille if she doesn't tone herself down. She learned that Marcille most likely sees her as a weird little kid following her around bc she has no other friends. And for the most part, she was never given any reason to unlearn any of that.

And that all very very smoothly transitions into Marcille being her "first love that was never meant to be anyway" when she leaves the academy. Chapter closed in her mind: she loved and pined from a distance and that was that. Every now and then she'll see another woman with Marcille's build or her shade of hair and be like ":( I miss her..." But then just kinda move on with her day. Same with when she's going through her own spellbook and finds a note that Marcille left her/correction that she made-- she'll smile fondly and reminisce about how much Marcille doted on her, and then move on.

Sometimes she thinks about contacting Marcille but convinces herself that it's too late (she spent too many months focusing on getting Laios healthy again and didn't mean to go no contact, but ah well). It's only when she has a practical reason to be reaching out that would also benefit Marcille ("Marcille is studying dungeons and we need a trustworthy mage to go with us to the dungeons") that she feels like she's allowed/that it wouldn't just be 100% a nuisance.

I almost think she didn't expect Marcille to reply at all, only to get a telegraph (or some in-universe equivalent of express mail, maybe magical pigeon carrier) that's like. EN ROUTE TO ISLAND. LETTER TO FOLLOW. and she freaks out like AAAA LAIOS SHE SAID YES WE HAVE TO CLEAN UP NOW.

I do think getting a response accidentally sparks a little hope in her, judging by the way she acts in the chp 57 flashback-- she's pouty that Marcille sees her as a kid, gets really worked up about being presentable, and then tries to play it cool when she actually meets Marcille (as if she didn't freak out and force Laios to shave while rambling a mile a minute about Marcille). She's an adult now, really and truly, and she's seen and survived things that her 18 yr old self would have never even imagined-- then all of a sudden, the person she was in love with since she was ten years old appears, and she's so desperate to be seen as mature and competent. She's trying soooo hard to impress Marcille with her newfound combat and dungeoneering experience...

Only to fall right back into their old dynamic. RIP. At least she gets the girl eventually, even if it takes dying twice and being the core catalyst behind an almost-apocalypse.

#asks #dungeon meshi manga spoilers #dungeon meshi #farcille #marcilleposting #kinda #the irony is that for me she DOES succeed in impressing marcille #its just that its so gradual and marcille is so so good at repression that neither of them notice it #marcille just sees her reacting so confidently to dire combat situations #easily throwing up protective spells even when they get ambushed #and seeing her become an expert in her field of magic that marcille would even consider an intellectual peer or equal #as well as a competent healer and combatant who also grew up a lot to take care of laios herself #changes marcilles feelings surprisingly fast i think. i think shes down bad in love with falin for the majority of the year before canon #the absence made the heart grow fonder but the feelings more mutable and its almost like meeting a new person when they reunite #anyway. you guys have to stop reading my mind and asking about major themes from my wips #yes the next chapter of a little creature touches on this a lot.#stop making me give away my takes before i can properly write them into fiction form fjsjjdf

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starry-bi-sky · 23 hours

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tales of the passerine - danny fenton being bruce wayne's first kid

okay okay. so this is like a continuation/elaboration of my oneshot/prompt i wrote about the idea that Danny was the first batkid. We have a lot of aus where he joins the family after the rest of the bats do, right? So hey! Lets shake things up a bit. Danny is the first to be adopted by Bruce Wayne.

Danny's parents and unfortunately Jazz die shortly after the events of TUE -- how so? I was gonna say an ecto-filter explosion, that would call back to the TUE explosion and trauma behind that. But lets do something new! Carbon-monoxide poisoning.

It's not too unexpected for something to break in the Fenton house, especially with the Fenton parents' questionable understanding of proper weapon handling and lab safety. The water heater broke from a stray shot by one of the weapons, and was promptly MacGyver'd incorrectly. Danny went to stay with Tucker for a guys' night, and came back to a dead silent house.

(Danny's neighbors got a very unfortunate shock when he ran to the next house over in hysterics.)

There was a lot of shuffling around with CPS, the police. People had to be called in to handle the equipment in the lab, and the GIW was rumoring to show up in aid to clearing the scene. When Danny heard of that, he immediately went and dismantled the ghost portal to the best of his abilities. He burned the physical blueprints of all his parents' inventions, their blueprints on the ghost portal, and their most dangerous weapons were destroyed beyond recognition. Anything to prevent the GIW from getting their hands on his parents' tech.

It opened up another investigation, but he was not under the list of suspects. He was placed in the care of Vlad Masters, where they then went back to the rebuilt castle mansion in Wisconsin. Danny, terrified of the future that has once passed and may do so again, shuts down in his grief. Inadvertently, he ends up somewhat repressing his ghost half. Something Vlad, who is grieving Madeline but relishing in Jack's demise and his custody of Daniel, is not very happy with.

Vlad's... gone into a bit of a mental health spiral. He's becoming increasingly possessive over Daniel, the final remnants of his friends and a liminal being like him. He doesn't like that Danny's repressing his ghost half -- both out of genuine concern as a ghost, but also because of his desire to control Danny and groom him into the perfect son. If you ever had a phase where you read Dark SBI found family fics, first off; me too bro, and second off; those are the vibes I'm thinking of.

Danny's mentally shut down from grief! And fear. He's dropped into a bad depressive state -- paralyzed with grief and the terror of the inevitable. Clockwork saved his parents because he believes in second chances, but what's the point of that when his family ended up dead anyways? Danny doesn't wanna believe that he's destined to become evil, and he's holding out onto that hope, but it's a thin line, and he feels utterly hopeless and trapped. He hasn't used his powers or ghost form since he trashed the lab, and Vlad has alarms set up to prevent him from trying to escape.

He's also unintentionally cut off Sam and Tucker -- both of whom are so scared and concerned for Danny too, and are trying their damndest to reach out to him. He keeps ignoring their texts. Danny basically haunts Vlad's manor. He goes out to eat if he has to, attends parties Vlad drags him to, and stays in his room all day if he can.

At parties, Vlad doesn't allow Danny to leave his side, or really talk to anyone -- not that Danny wants to. A product of Vlad's increasing possessiveness. Well, he almost doesn't let Danny leave his side. Danny has a habit of slipping off to hide somewhere for the parties whenever he can, and Vlad reluctantly allows it so long as he stays alone.

This becomes an advantage when eventually, Bruce Wayne returns to Gotham after missing for years, and holds a bright charity ball to celebrate the return. Vlad has been chomping at the bits to get his hands on Wayne Industries, and with the return of its owner there is no better opportunity to wipe out his rival. He goes, and he as normal, brings Daniel with him.

Vlad thinks Wayne will bleed his little heart out for Daniel's poor orphan sob story -- he's a fellow orphan himself, after all. He's not wrong; Wayne's little heart will bleed, just not in the way that benefits him.

Bruce sees Vlad and Danny approaching before they're even close enough to introduce themselves - and like with many of the children he will soon come to care for, it's like someone set a mirror into the past right in front of him.

Danny Fenton's suit is tailor-made for him, and despite the fact that it's his perfect size, the sag in his shoulders, the ducked down head, and the way he hunches into himself all pictures the image of a child in shoes too big for him. There's a far away, glazed over look in his eyes and grief marble-cut into the lines of his face. There's not enough makeup in the world that will hide the dark circles under his eyes.

("My nephew, Daniel Fenton." Vlad's hands are possessive on Danny's shoulders. Bruce immediately notices the way the boy tenses under his touch. "His parents passed recently, and as his godfather I was designated his guardian.") ("I'm so sorry, the loss must've been terrible.") ("Yes, carbon-monoxide poisoning caused it. Daniel was out with friends, when he came home... they had already passed.") (Bruce immediately dislikes that Vlad shared the details of their death unprompted -- he likes it even less when Danny flinches at the reminder and hunches into himself.)

Danny runs off at some point earlier into the charity. At this point, parties are still being held at Wayne Manor (because iirc google search mentioned that was a thing at first before it was changed), so he disappears and hides in one of the empty rooms nearby. It just so happens to be the same room Bruce Wayne hides in when he needs a break from all of the socialization.

Thus begins a long, long process of trust. Bruce can't reveal his hand as being smarter than he looks, but he can be compassionate. Kindness needs no measure of intelligence. He keeps Danny company for as long as he can before he runs the risk of being found.

Rinse and repeat. Vlad insistently wants Wayne Industries, and he'll go to as many Wayne parties as he can to get his hooks into the man. The problem is that Bruce Wayne is never alone, and getting him alone is impossible. Finding him too. It's like the man never stops moving. Always talking to someone, always circling somewhere. He orbits around the room as if he isn't the sun of the Gotham Elite's solar system.

Danny's had such repetitive behavior that Vlad never thinks to believe that Bruce Wayne is disappearing to go talk to him. That "Vlad's" son is even interacting with him at all. Danny never gives him a reason to think so, and neither does Bruce.

Danny doesn't actually acknowledge Bruce until a handful of parties in, where he hands Bruce a small slip of paper he smuggled in that says; "don't trust Vlad". Danny's face stays carefully blank, but he's so tense that his hands are trembling, and he's purposely looking away from him. Bruce plasters a smile onto his face, slips the paper into his pocket, and tells him "okay".

(he's been busy with his own goals with the mafia, but he sets aside time to investigate Vlad Masters. He was holding off. Until now.)

Danny does eventually start speaking to Bruce, he's starting to really like the guy. He's starting to see a little hope, even as Vlad is starting to get more and more agitated with him the more he refuses to use his powers.

He reaches out to Sam and Tucker again, and starts trying to reconnect with them. Vlad has spyware on his phone, and he limits the amount of times he can talk to them. A weird parental control lock of some sort that leaves a time limit on how long he can talk to them for. 30 minutes. Danny doesn't tell them anything about Mr. Wayne.

Danny, slowly, wants out of here, and he's slowly gathering the motivation to do it. Vlad is genuinely scaring him -- and Danny wonders just how truthful the past-future Vlad was when he told him that Danny wanted his ghost half separate. He starts trying to come up with an escape plan.

Vlad has anti-ghost wards everywhere around the mansion, and while they're always on, they boost to full power at sunset. The doors and windows are always locked, all main exits have alarms set on them. The only reason it's not super extensive is because Danny hasn't tried leaving at all yet, so Vlad hasn't had to tighten anything.

At night, Vlad locks the door to his room and puts up an anti-ghost ward around the room. The mansion is on the outside westward side of Madison, more entrenched in rural Wisconsin. The closest town is a four-way stop sign with one house on three corners, and an open bar on the fourth. Not much to go.

He refuses to go to Sam and Tucker; Vlad would look there first. It's too dangerous. Vlad would sound alarm bells and have a manhunt looking for him, Danny can't risk going just anywhere. Too much risk of being found, sold out, or caught. There's really nowhere for him to hide.

Until there is. Bruce is telling Danny about the history of Wayne Manor, and says, as casually as saying the weather; "The manor has dozens of empty rooms, I'm sure Alfred wouldn't mind filling another one if he could." And quietly, hesitantly, Bruce places a careful hand on Danny's shoulder, unrestrictive and gentle; "He wouldn't mind getting one ready for you if you need one."

And there it is. There's his out.

Danny, just as quietly, replies; "I'll keep that in mind."

The ball starts rolling.

Now I've been trying to summarize this au as much as possible for length convenience, but Vlad has been steadily growing more and more controlling. More emotionally manipulative. More agitated at Danny for not using his powers.

He wants Wayne Industries under his thumb but he's been steadily growing more and more concerned with Danny. He's started grabbing him, yanking him around, shaking him; trying to goad him into using his powers. He gets angry when Danny doesn't react, or tells him he doesn't want to use his powers. He hasn't outright attacked him, but he's getting there. This has been happening over the time it takes for Bruce to indirectly offer Danny sanctuary at his home.

It all comes to a head when Vlad stops going to parties at all -- something Danny has to pretend he isn't upset about -- because Vlad doesn't want him around other people anymore. Vlad rarely goes now without him, and only leaves to go to a Wayne function or to handle something at VladCo.

Danny can't wait for Vlad to leave long enough to escape. So he leaves during the night of a big storm. Vlad's locked him in his room, but Danny doesn't bother trying to go for it; he goes to the alarmed window instead. Danny's been repressing his ghost half so long that he can't access his powers immediately anymore -- he can feel it, he knows its there, but he can't quite reach it.

He breaks the lock by hand.

Immediately the alarm goes off through the entire castle, filling the room with red, and he scrambles for the rope the Wisconsin Ghost left for him a few months back. Danny's already out and climbing down the side of the castle before Vlad even reaches his door -- the only good thing about the entire room being ghost-proof is that Vlad can't get in that way.

The rope ends before it reaches the bottom, and he's still twenty feet in the air. It won't kill him if he lands it right. Danny takes his chances, and drops. He breaks his ankle, but he survives.

And he fucking books it to the back garden. He hears Vlad shrieking over the thunder and rain.

I'll save the full experience for a future oneshot, but Danny makes it out into the nearby woods and forcibly experiences what it's like to be in a horror game, trying to hide from the thing that's hunting you. There's only one thing going through his mind; "i'm going to die"

I have this mental image for this scene. Very stereotypical horror imo. Where Danny is hiding behind a tree, with a hand over his mouth, and Vlad is a few feet away from him, glowing ominously red through the trees, trying to search for him.

Danny doesn't get away from this unscathed, but he does get away alive. That's all he could ask for. He gets away by getting his ghost half awakened long enough to transform into Phantom and fly to Gotham.

But he gets to Wayne Manor, he gets to Bruce. Or, at least, Alfred answers the door from his insistent pounding. Danny's just in tears and Alfred gets him in the living room, wrapped in a towel, with ice on his swollen leg before he has to step out and alert Bruce.

Bruce already breaks multiple traffic laws on a nightly basis. And that's just with the sheer existence of the batmobile itself, not including the speeding and military artillery attached. He breaks double the amount trying to speed back to the cave and get out of the suit.

Right off the bat: Bruce will know, at least before Dick enters the picture, about danny's powers. He'll figure out something considering the fact that Danny traveled from Wisconsin to New York in a single night. That'll be a bit of complicated affair, but I've already got something in mind.

Actually it'll probably be very soon after Danny joins the family, because Bruce tries to offer to fight for custody for Danny - the state Danny was in at arrival is clear enough evidence for a trial. But Danny immediately shuts it down, says it's not going to work and then Vlad will know Danny's with him and he won't be safe. He tells him that Vlad cannot know Danny was with Bruce.

Danny's biggest regret was not telling his parents he was a halfa, and while he doesn't want to tell mister wayne (yet), he does tell him about Vlad being one. He needs to know why Danny can't be seen with Bruce. So he tells him, and Danny's current plan is to just hide out from Vlad until he turns 18. That way, he has no more legal jurisdiction over him. After that? He's not sure.

And to wrap this up, since this has already gotten very long and I can make more posts about this au later; I've thought about it, and I'm going to say that Danny does become a vigilante before Dick enters the scene. He goes by, as you probably guessed; Nightingale. "Gale" for short.

#dpxdc #dp x dc #danny fenton is not the ghost king #dp x dc crossover #dpxdc crossover #tales of the passerine au #i dont want to overemphasize how much vlad sucks but also i dont want to downplay it. but also i didn't wanna make this post too long #i didn't emphasize enough on vlad's possessiveness but i wanted to make this post as general enough as possible for the au.#for some more wiggle room in the future if i make more posts about this au.#the consequences for Danny repressing himself was not a concern i was focused on for the post but i am thinking about it and mulling it ove #i'll be blunt my main specific reason for why this occurs shortly after tue is bc it means dani doesn't exist yet and it means i dont have #to include her in the continuation of this au. i love that girl but she's a dead weight. i dont wanna come up with an elaborate reason as #to why she's not in the picture when i can just say 'she never created in the first place' instead. i don't have anything for her to do #I don't want to risk giving her a poor plot line just so that she exists in au.#sometimes i really hate just how long my posts get. i feel like it kills my engagement. but i also don't want to make posts that have #a part 1 and part 2 just because I think it got too long.#i feel kinda bad for having Danny take the spot of 'first partner' from Dick. But that was part of the reason i was inspired to make this a #i've already got the skeleton of a reasoning for danny becoming a vigilante being made in my head.#He can't go by Phantom since that risks drawing Vlad's attention -- a new vigilante showing up in Gotham. a place the visited frequently #who goes by the name Phantom? He'd be on that faster than chickens on meat. and nightingale has familial meaning behind it due to being #part of an ancestral name. it follows robin's theme of using it to honor his parents while still having its own unique enough lore to stand #on its own without feeling like a cheap copy. plus the bonus meta reason that it follows the bird theme. which personally is vital to me #my other alternative to Nightingale is Sparrow. mostly because it has good phonetic structure for a hero name. not too many syllables #a good balance of consonants and vowels. dont want a hero name with too many syllables or unbalanced consonants. or worse; both.#my reasonings is that hero names should be easy for a civ or teammate to yell while still being understood. max amount of syllables before #it threatens to become too wordy is 3. If it goes over 3 it should have a balanced consonant-vowel ratio. Wonder Woman is a good example #some things got cut here that were in the initial oneshot. like danny giving bruce his physical ghost core and showing up bloody.#the first son au

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daily-hanamura · 8 months

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#persona 4 #p4 #persona 4 golden #p4g #hanamura yosuke #yosuke hanamura #narukami yu #yu narukami #souyo #YOSUKE WINKING AT YOUR AIBOU WHILE TELLING HIM HOW GOOD HE LOOKS ISNT EXACTLY HETEROSEXUAL EITHER #honestly after everything i think it would be an even bigger surprise if yu didnt think yosuke was flirting with him all the time #actually lets dig even deeper into this - yu is dressed as a Generic Vamprie #but what is the epitome of vampire icons but dracula himself?#and heres whats interesting - Dracula and the his author Graham Stoker have been the subject of queer discussion #but especially discussions around repressed homosexuality and internalised homophobia #in part due to Stoker's friendship and association with Oscar Wilde #but the theme of dracula as an “other” in society that also embodies a kind of hyperphysical domination #anyway thats something that has been discussed at length by others so i won't go into it #im also sure it was entirely a coincidence that yu is dressed as a vampire #its just so serendipitous now #he's good with his queue

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birgittesilverbae · 1 year

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Through it, I found a family. A family who died, one by one, before my eyes. For the mission.

warrior nun + sister beatrice mourning her losses

1x01 // 2x02 // 2x07 // 2x08

#warrior nun #sister beatrice #bea + trying to school her expressions name a more iconic duo #girl only truly breaks in front of ava or because of ava #there's no good shot of her from the lilith memorial that fits the repressed-nunlet theme unfortunately #just standing there holding a flower like a woman waiting for her love to return from the sea lmao #mywn #myedit

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forgondor · 1 year

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I haven’t read the book so I can’t say but something that struck me in James Ivory’s 1987 Maurice is the fact that Maurice & Alec’s relationship is started by Maurice unknowingly sending a signal to Alec, which Alec largely misinterprets, but it works out anyways, and much later at the end, when they meet at the boathouse, Alec goes “did you get my wire” and Maurice goes “what” because again he completely missed that signal but it doesn’t matter because he’s here anyways. And it’s like. There were a million mistakes to make and a million mistakes they made, but somehow, they find their way to each other, almost unwittingly. Maurice says “It’s a chance in a thousand we met” but I don’t think that’s true. I think it was always going to be like this, in every world they would have found each other. It’s the way they fall into each other’s arms so easily and they try to get away from each other but they can’t and they’re separated by so much but they still collide... This story is SCREAMING at us that no matter how impossible it is no matter how alone and repressed you feel you mustn’t lose hope because your love will find you and you can’t avoid it! You will be happy!

#this isnt about being soulmates i don't really believe in soulmates nor do i love soulmate stories #this is about how queer people have never been alone and have always found each other throughout history even in the most repressed of times #this is about how maurice never gave up on his hopes for happiness and ultimately thats what brings him happiness (unlike clive)#if you trust life and you put yourself out there and you're true to yourself then happiness will find you #just dont lose hope #it's also when alec says 'when you arrived i thought I want that one and look at us now' its like well of course. of course #meant to be etc #also intertwined with the themes of nature and the natural and freedom etc #maurice #maurice 1987 #maurice and alec #maurice hall #alec scudder

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bthump · 3 months

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I couldn’t find the answer to this question on your blog (most likely I didn’t search well 😅). Why did Griffith sleep with Charlotte? It was quite a risky move

Hmm, I could've sworn I had answered this question before, but I can't find a post directly answering it at the moment.

Briefly I think there were four main reasons:

1 - He wanted comfort, and Charlotte is attracted to him.

2 - He wanted to hide in his invulnerable white knight persona. Charlotte doesn't know him, she's never seen his flaws, she thinks he's perfect, and he wants to hide from his own flaws for a while, so he goes to her. He thinks Guts left him for all the things he hates about himself, so he seeks comfort from someone who thinks he's perfect.

3 - It's a way of telling himself that the dream is more important than Guts. Getting together with Charlotte is a step on the road to his dream, and it's a step he absolutely shouldn't be taking yet lol, but it's like he desperately wants to reach for his dream now that he's lost Guts, so he takes that step prematurely. It's a way of saying to himself that it's worth losing Guts if he achieves the dream, but ultimately it isn't, which imo is part of the reason he cries afterwards.

4 - It's a self-destructive act. He's very aware that it's risky, and it's a risk he seeks out to the point of being borderline suicide. I think this is actually the reason most pushed by the narrative, like when Rickert tells Guts that it's "because of you, Guts," and when Casca tells Guts that Griffith's no good without him, and when Guts reflects to himself, "Was it me? Was I the one who drove you...?"

So yeah, that's my reasoning. I do have a few other posts that touch on the scene with Charlotte in various ways, if you're interested too:

How it fits into a pattern of Griffith's relationship with sex

This one's also about that but heavier on parallels to Gennon

Repression

Gay repression

And a little bit more on self destruction

Thanks for the ask!

#ask #anonymous #a #b #theme: repression #theme: dreams #ship: griffith x charlotte #theme: self loathing #theme: self harm #scene: everlasting night #(wish i'd been using that all along so i could find posts easier lol)

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collgeruledzebra · 9 days

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been listening to love as a construct on repeat the past few days and it's just. so well made... the way the melody and harmony emulate the tone of a pipe organ... the way all the layers combine to give the impression of a massive grand empty space... the way the melody of cara mia addio sounds at multiple points as if it's about to crest into the full version but never does... the power that has the influence that that has the craft the skill the elegance

#portal #portal 2 #original #i love... music.... AUGHHHHHHHHH #i so desperately want to hear a version where at right around the 3:08 mark where the harmony briefly intensifies it DOES take the plunge #into a fully orchestrated version of cara mia addio #but also im like but that would undercut the themes.... the themes... the repression... the self denial.........

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tomwambsgans · 8 months

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i know i'm not the first person to say it and i am in fact reminded of this specifically by reading that one fic from the pov of an HR guy but man. people actually witnessed tom on the verge of tears bc greg wants to move departments and shouting "i will not let go of what is mine" to greg huh. like there's NO fucking way that they're not widely assumed to be having an affair of some kind

#not at all upset that it's never touched upon in the show tho #like the 'unspokenness' of it all and by 'it all' i mean homosexuality period #just works with the general themes of the show #like it's SUPPOSED to be repressed #and that there's never any backlash from others about it is kinda the nrpi thing #anyway.#mine #tomgreg

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splickedylit · 3 months

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Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Relationships: Kongo Unsui/Hiruma Youichi/Anezaki Mamori, One-Sided Kongo Agon/Hiruma Youichi, Kongo Agon & Kongo Unsui Characters: Kongo Unsui, Hiruma Youichi, Anezaki Mamori, Kongo Agon, Lots of cameo Enma Fires and Saikyou Wizards throughout, …………………………and Musashi Additional Tags: Post-Canon, Bisexual Awakenings, Emotional Repression, Polyamory, Canon-Typical Quarterback (And Manager) Mindgames, these people can't be normal about shit to save their lives, Dysfunctional Family, Agon and Unsui's Convoluted Brother Emotions, And also. parent situation., College is for figuring out you're not straight OR emotionally okay: the fic, …..Unsui deserves to date two people Agon struck out with simultaneously: the fic, It's not exactly hurt/comfort but, Hurt/Validation, isn't a tag

Summary:

“What,” says Unsui, and is keenly, painfully aware that whatever stoic expression his face might have locked itself into in his shock, his cheeks are damningly warm. One part of his mind demands, do something, his plan is working, you’re losing! The other part says, your first kiss was a cackling bastard of a man, because he thought it would make you more likely to lose to him at football. -- Kongo Unsui gets kissed by a man. He's proud to say his performance as a quarterback doesn't suffer at all, in the…extensive aftermath. Hiruma Youichi makes a move, and then does what he does best, which is scramble like a motherfucker and improvise an offense from scratch. Anezaki Mamori analyzes the situation, and politely intervenes. Kongo Agon has a goddamn crisis.

#Eyeshield 21 #es21 #Kongo Unsui #Hiruma Youichi #Kongo Agon #Anezaki Mamori #although she and Agon haven't made much appearance yet. Many things to come >:Ic #Splickedydrabbles #or is the tag #Splickedywrit #I genuinely don't remember #anyway here is repressed monk-themed football boy finding out he has feelings actually. and those feelings include #y'know like. bisexuality. repressed parental baggage. Football Anger. want to be loved. brotherly drama. normal stuff.#the thing about splickedy is they will look at a dude with massive emotional repression and go 'is anybody gonna crack him open like an egg #and not wait for a response

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a-sketchy · 3 months

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ohhhhhhhhh “sea of thy soul” = personal unconscious, “sea of souls” = collective unconscious. hey guys did you know that persona is kinda jungian

#this is maybe a very obvious statement but a lot of persona makes a lot more sense when you start learning abt jungian psychology #i say learning but i just mean mr edogawa’s tv classroom for the most part lol #it is very informative though #and it’s incredibly interesting to hear about The Themes Of The Game from the game’s mouth #i’m not certain why i thought this but prior to actually playing the game myself i thought p4 was really ‘true self’-y #like that it implied that there was an immutable ‘true self’ and that personas and/or shadows WERE that #but it very much doesn’t. like at every turn #i guess i took ‘i am a shadow; the true self’ at face value…#rambles #p4g posting #rather than an immutable singular truth; ‘true self’ seems to be the knowledge of oneself. like the shadow and persona and shit #more as in the concepts than the guys. as well like personal growth a la slinks #like. holistically. the shadow and persona are but fractions of the self #the shadow what’s repressed and the persona how you face the world. neither are the entirety of nor separate from the self #that’s how i’ve come to understand it anyway #i’ll probably have some more solid thoughts once i see all the tv classrooms and finish the game

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v-thinks-on · 4 months

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Count Dracula, sequestered away from society for his unconventional lifestyle.

Jonathan Harker, terrified of temptation.

Lucy Westenra, overflowing with the flush of life and love for all her suitors.

Mina Murray Harker, tainted by a single intimate encounter.

R.M. Renfield, seduced and thought mad.

#v thinks #Dracula #queering the classics #themes of repression and transgression #Count Dracula #Jonathan Harker #Lucy Westenra #Mina Murray Harker #RM Renfield #obviously the optimal route is for Mina to be seduced by vampire!Lucy #of course there's no lack of subtext with Lucy's suitors (and Van Helsing) but they have less of a theme of repression and transgression

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queendomkey · 6 days

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Guilty as Sin? addresses the idea of emotional cheating, about longing for someone outside their current relationship. The speaker describes being in bored in her relationship, and fantasizing about a guy that she is texting* while her lover likely does the same**.

*In my romantic pirate heart, they're pen pals paramours as opposed to texting troublemakers. He "sent" her Downtown Lights, which could easily be read as being sent a streaming link, but I want to believe he sent her a burned tape. **As I've previously said, The Tortured Poets Department is an album in conversation with itself. The mutual emotional infidelity is only really implied by the speaker's questioning her right to be upset within Guilty as Sin? but is made clearer in other places throughout the album. Whether you allow other songs to affect your reading of the song is wholly up to you..

Diversion aside, I think the song touches on this theme very well, and I trust my fellow Department members will provide insights on the song's preferred reading in today's meeting.

In the reception theory of reader responses, a preferred reading is the audience understanding and agreeing with the author's (or producer, or lyricist, etc. ) intended vision for their media. Reception theory also says that readers can take oppositional and negotiated readings. Oppositional readings reject the author's stance entirely, while a negotiated reading may agree in part or whole, but still have their own "take" on the media.

Guilty as Sin? is intended to be about emotional infidelity. For the past few days, I have been analyzing the songs through their preferred reading. Today, I would like to destroy all of that, and present to you my Oppositional Reading of Guilty as Sin?

I know, very well, that the reading I am about to present is not Swift's intent, and indeed, I may be a koi swimming against the river's current. This post is not meant to be me saying that the song is my reading. I am within opposition to the text.

(I guess that technically makes this a negotiated reading? semantics—)

I am about to commit the cardinal sin of reading queer themes into a straight author's work. Crucify me if you please, but do so with the context that I acknowledged that this reading is not "canonical," to continue being biblical about it.

To reiterate, because this is the "how dare you say we piss on the poor" website. I do not believe that my reading is the intended reading of Guilty as Sin?

So:

When reading queer themes into straight work, I feel it is impossible to not draw from personal experience. This post is about Guilty as Sin? but it is also about me. It is about what growing up queer in the rural American southeast is like. It's hard to detangle those things.

I present to the department: A case for Guilty as Sin? as a song of queer longing. Half analysis, half personal essay.

On the surface, I feel this reading can be very simple. When the whole refrain is how can I be guilty as sin? and hegemonic Christian society deems queer love, queer living as sinful, the connection doesn't feel like that hard of a jump. The song travels through its religious theming, through the shame, through hushing yourself with the idea that thoughts don't count. The speaker works through those pains and repressions, so that she can come to the revelation:

What if the way you hold me is actually what's holy?

What initially got me thinking about this song in a gay way was one of the opening lyrics. ( Well, no, what initially got me thinking this was listening to it as I was writing fiction, but hush. )

This cage was once just fine.

As a bisexual woman, there was once a time where I really, truly, thought to myself that I would never come out. It was fine, to be honest. I still like men, so I just had to pray that my one big love was a man. That way, I could protect myself from my family’s imagined negative reactions. I don't think this is a unique experience, either. Particularly in the south, we hold ourselves in for the comfort of others, and our own safety.

I cannot speak for everyone, but I feel like that fear of rejection is common amongst the people I know. It leads to caging our feelings; locking bits of ourselves away from those who once knew us so closely, in order to preserve their original vision of us. As perfect, straight sons and daughters, as kids who would grow into the molds set forth. And for a while, we can hold together like this, the cage is fine.

But parrots pluck their feathers when kept under lock and key, and so too do we.

I dream of cracking locks, throwing my life to the wolves or the ocean rocks.

Doesn't it feel like that? The first time you consider telling a parent, or any loved one, that you're not what they imagined. Like you could be dashing your chances at life. The image brings to mind that of suicide, of a “I can no longer live like this.” People thrown to the rocks do not survive impact, and often are disfigured, beyond recognition. It's such a visceral image for a song filled with longing.

This song is textually about emotional infidelity, obviously, but I think it can also be about the longing we hold for the "unallowed." How we can both feel such beautiful love and hideous shame about the same thoughts. Repression is a funny thing, to smother the want can only make it come back harder, stronger.

What if I roll the stone away? They're gonna crucify me anyways.

I said that the Christian imagery is part of what made me think of the song as queer, and I stand by it. A lot of queer art deals with the trauma of religion; the idea of being guilty for the way you simply are, for the way you feel, naturally, drives one to consider the opposite. What if our way of being is holy. I'm particularly brought to mind Fipsi Seilern’s Portrait of Virgin Xtravaganzah (and the portraiture's subject - Virgin X - by extension.)

The connection is not hard to make; masturbation, the song’s main premise, is seen as sinful, as is infidelity. And so, too, is being gay. They are shamed the same way in conservative Christian society, as if they are of the same level.

In a way, it's very Christian of me to take a religiously charged song about emotional infidelity and make it about same gender attraction. On the level of infractions to the Christian hegemony, same gender attraction may be worse, truly, than infidelity. That to touch another man or another woman is worse of a crime, than to betray the trust of your opposite gendered partner.

Y'know, as a kid, I used to get nosebleeds every time I entered my family's church. It was high in the mountains of Tennessee, and I was prone to them anyways. It was my first experience with the hemming and hawing of Christian southern women, tsk'ing at me. I think we stopped going when I was like, ten, partially because of it.

And I look back now, and think about all these things I have learned since then. The pain that Christian dogmatism, that bigotry has caused, to me and the communities I love so dearly. Still causes, in the name of saving our souls, or more likely, extermination.

And think about bleeding every time I crossed the threshold into holy ground.

Does that make us all guilty as sin?

Nah. Any guilt we feel is only a consequence of the spoon fed hatred, and certainly no fault of our own.

( It is interesting, that this reading absolves the narrator of the song, where the original text is more ambiguous as to the level of infraction that the Speaker has committed. The answer to "How can I be guilty as sin?" here is more clear, especially to this specific audience. Swift's modern demographics trend towards young, leftist, and AFAB. Additionally, there's probably a whole essay in that idea itself, how queer people are treated with the same ostracism as adulterers. Going further, why are these "sins," a state of being and a social infraction, grouped with far greater transgressions in the Christian consciousness. Were I not a Biology student, that idea alone would be an excellent thesis topic. )

A defense of the idea of Queering Straight Songs:

When my family drove up the mountain to church, I listened to my Fearless disc on a pink Sony brand CD player in the back seat. How often are our first imaginings of queer love to straight media? Through characters or through idealized versions of us or through the music we're allowed, we find ways to feel queer love like sidewalk dandelions. Some call them weeds, but we all know they're flowers, beautiful and beloved, capable of coming back year after year.

We live in an age where queer stories and queer art are so visible, where we can look at Queering the Map and see all the places we are. And will continue to be. And have always been.

I think, in a way, claiming this song about straight infidelity as queer longing is almost a full circle moment, for me. In a time where queer liberties are at risk, we are still so loud and visible. It's nice, in a way, that I don't have to do this.

There are so many wonderful songs about this same longing, about locking your feelings up and bottling them away, by queer artists, even in this same genre. I don't have to stretch to see myself in these songs. They're radio play, they're opening Coachella.

( Also, protect small queer art. Protect bad queer art, too, while we're at it. We are so lucky that so much of queer lives are available at our fingertips, but without archival and protection, it can also be lost. )

I wouldn't say queer people are braver than we've ever been - that's a disservice to the people before us. We have ages of proof that this music, this art, has existed, and repressing it cannot stop it. We aren't any braver than our ancestors, just more widely seen, and more widely heard. Queer music, thanks to the internet, and thanks to wide, social pressure, is louder than ever.

But that doesn't mean we still can't queer the straight music we love too. This entire post (essay, can I call it an essay?) is about reception theory and seeing yourself in the other's work. It's a time honored tradition to make a song about yourself, to make it gay - I played Lover on violin at a lesbian couple's wedding, and my uncles danced at their wedding to Endless Love by Diana Ross.

I leave you with a final story, based on my favorite lyric.

What if he's written 'mine' on my upper thigh, only in my mind?

This line, in particular, made me feel many things, a rush of nostalgia and warmth. I've claimed many celebrities to be my bi awakening, but the first time I remember being attracted to a girl was at the Speak Now tour. She was a bit older than me, maybe 14, and sat across the aisle. Mid-show, she helped me write my favorite lyrics on my arm in the pitch black of Bridgestone Arena. I had seen the lyrics on Taylor's arm and got so excited about the idea, but my mother didn't have a sharpie. She did. In sort of loopy handwriting, she put, "You made a rebel of a careless man's careful daughter" down my right arm.

With purple glitter glinting off tanned, grinning cheeks, with her Speak Now glowstick hovering over my arm, I don't remember her name, or even if I asked for it. But she was so kind, crinkling eyes black as obsidian, twinkling the stage lights in their reflection, and made me realize exactly why that lyric resonated with me so deeply. How it was what I wanted to be in the future.

And I could see my future with her, or him, or them. And it is impossible to untangle Swift's music from that.

It's all empathy, all the way down. The kind of empathy that, I am not sorry to be corny and say it, Taylor Swift's music begs you to have. To take these songs that are very much written from her perspective, and see our own experiences mirrored through them, that's what her music asks. To see that we are not all that different, and to connect. How rare and mundane human connection, how we rip out our souls to achieve it. Swift's talked about it extensively, the catharsis of spilling ink, putting pen to paper and voice to recording all in effort to be seen.

I think that's the big motif: I feel seen by Guilty as Sin?, I felt seen back then listening to these CDs. That's the sorcery of storytelling. As an adult, who is so comfortable in her bisexuality that I flaunt it, I still like to do these oppositional readings, to see myself in songs not made about me.

And that's why Guilty as Sin? is, to me, a queer longing kind of song. Even if it isn't.

#taylor swift #ttpdminutes #Guilty As Sin?#this one got away from me #anyways this one goes out to my repressed queers it gets better. i promise you it gets so much better.#religion tw #tw christianity #brief mention of suicide #mentions of homophobia #man i realize this aint even ABT the song anymore.#but it would be too on the nose with the theme of this essay if i DIDN'T say these thoughts #queer every song you love. its good for you i promise.#long post

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