Losing my shit about this article in which a transphobic Tory was so busy panicking about existing in the vicinity of a Trans that she almost certainly misheard "jeans" as "penis" and decided that not only was this a problem with the other woman, but also that the world must be informed of this pressing danger.
"a trans woman! I had to stand directly behind her....I thought, 'this is going well', I'm handling The Situation fine'..."
translated: I saw a tall woman with broad shoulders. How would I get out of this alive? I thought. she has a PENIS. PENIS PENIS PENIS. through some force of PENIS I mean will I managed to PENIS behave normally towards her. My hands were PENIS PENIS PENIS shaking as I tried to dry them. summoning up all my PENIS courage I said 'dryer's crap innit'. she turned to me and said " yeah I'm just goiPENIS PENIS PENIS"
It's been a week and I'm still shaking. This proves trans women are the problem and I'm not weird. I'm fine. It's fine. If you think about it I'm the hero hePENIS!!!!!
very this
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Thank you so much for all the kind birthday wishes! I'll try and respond to them soon! You guys are so sweet and I love all of you <3
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god i wish they hadn't retconned maul's death. i get wanting to explore more of his character because he was, objectively, one of the coolest star wars characters to ever hit the big screen and didn't get much screentime prior to his death, but also his role was fulfilled perfectly within those constraints so i wasn't too upset by it.
but by retconning it and making it so he never died it's like. okay. what now? the whole point (well, to me, ymmv of course) of the theed generator fight was that it was the first ever fight between the jedi and the sith in thousands of years, and that in the end even though the jedi (obi-wan) won the fight, a jedi (qui-gon) and a sith (maul) still died. a master and an apprentice dying together to herald the start of a new age/the return of the sith. perfectly paralleling the way in rotj a master (palps) and an apprentice (anakin/vader) died together to herald the return of the jedi. in both instances, a father figure (qui-gon/vader) dies in the arms of their son (obi-wan/luke) as a sith (palps/maul) is cast down into the abyss to their deaths. (palps being alive in the ST and retconning his death in rotj is also annoying for this reason)
i mean i like maul. don't get me wrong. he's an incredibly compelling character and i enjoy seeing more of him... but there's always the thought hovering in my mind like "he should be dead though. he should 100% be dead. this wouldn't be happening if he was dead, but i honestly would rather it not if it meant that maul was dead."
like the tpm fight just doesn't hit the same knowing that canonically he's just. going to become a robot octopus at some point. (shoutout to palps becoming sith glados in the ST) it cheapens the moment for me. it was supposed to be a moment of triumph marred by the deep and soul-crushing loss of a loved one and it's just... not, anymore. or at least not to the same extent. AUGH i'm just. frustrated. wish star wars as a whole wasn't constantly reframing/retconning what's been established. just puts a bad taste in my mouth.
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I find it hilarious that like, most popular headcanons/ideas of HMS come from something that's in the actual album. Whether its the cover art or from a lyric, it makes sense with context or a metaphor. Then there's just a random ass chicken that came from nowhere.
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read a post that classified?? explained??? the various ways kuukou’s been written across hipumai’s media and it made laugh lol so it went
stage:
DEMON
anime
functions on actual common sense
actually uses fundamental buddhist monk arguments
his father will tell him to do something and he will actually do it diligently
the kuukou with the least corrupt personality
arb
a completely pure individual. purity at its finest
he’s living his best life out here, the kinda guy that excitedly runs to his dad to show off his decorations, and had a blast celebrating halloween, christmas, hinamatsuri etc
adults tend to treat him to food
will also throw away the mattress his teammate sleeps on
the kuukou with the most corrupt personality
drama tracks/manga:
a healthy 19 year old that may have experience with women
the kinda guy who will sing a song like get busy and can also make a lady ghost experience nirvana
because of an intense and overwhelming love for his family, he will occasionally adopt a buddha-like tone of voice
he has a corrupt personality
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an epiphany: Silver does not, and cannot, have a backstory, simply because he is the archetypal pirate. and pirates do not have histories.
I do a lot of research on pirate history in my free time, and one thing that has always really struck me is just how little we have to go off of. We do have primary source records of their exploits - primarily reports from the crews of ships they attacked, and if they were unlucky enough, transcripts from their trials and executions , but as soon as you ask "well, who were they before they were pirates?", almost always, there is simply nothing to draw up, even for the most famous of figures. Calico Jack Rackham appears on the scene in 1718, already Charles Vane's quartermaster, with nothing to say of where he came from. Samuel Bellamy sailed from Cape Cod to raid the treasure-wreck of the Urca d'Lima, but his life in Massachusetts is marred in speculation. Blackbeard made landfall in Nassau soon after the War of Spanish Succession, but so many pirates used pseudonyms that we cannot even be sure that his real name was Edward Teach. All we can say is maybe, maybe, maybe.
so of course Silver, being the icon that we can trace nearly all of our modern conceptions of piracy to, would have no past. the real ones didn't either. As far as written history is concerned, the sea conjured them up. Even if their stories were not unremarkable, they were simply... without relevance.
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SECOND BRACKET CONCLUDED
we are on a roll of cat perceival everyone
CONGRATULATIONS TO BUMPER FOR WINNING THE SECOND BRACKET!!!
he will be participating in the winners bracket!!
the second place goes to SUMMER. she was so damn cool i will never forget violent impulses. the contestant with the most pictures submitted in this tournament history at least for now i am saying that as if we are at least half-way through
the third place is taken by MR CRINKLES!! so fluffy so friendly!! watches birds but can't be bothered to play in an actually active way?? wack
and for the fourth place we have CASPER. an exceptionally pretty boy with an exceptionally pretty bow. cares abt snacks and cuddles and escaping to places he can't be in only which is a prime cat behaviour if you ask me
and just like last time i badly cropped them all and put on a weird postcard
they're celebrating :)
remindind yall that the next bracket is already announced and starts 26th at 15/3 pm utc
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oughh......
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I noticed that in some of your fanworks on the Pevensies, you imply a deviation from canon where they reign to old age before returning to earth through the wardrobe, and I think that's really neat! I also realize that that would probably mean they would spend more time with Cor and Corin in that alternate scenario and I also find that really neat.
You don't know this, my dear, but you've just gotten me up on my soapbox ;)
So you know how the Tolkien Legendarium has a sort of tiered canon where a given text is considered more or less legitimate with reference to what we understand of JRRT's final intentions? Like LotR and The Hobbit > published Silmarillion > Children of Hurin, Beren and Luthien, Fall of Gondolin > HoME > Unfinished Tales, etc? Star Wars used to do something similar, back before the Disney buy-out.
Well, I say Jack's timeline is second-tier canon and should be treated as such. The fifteen-year Golden Age, in particular, is all but contradicted by the actual text of LWW: "Long and happy was their reign." (Emphasis mine).
The list of things they're supposed to have done also doesn't fit into fifteen years terribly neatly. We're told the Pevensies (1) finished stamping out the Witch's army (2) drove back the Northern Giants in a series of wars (3) entered into friendships and alliances with countries beyond the sea (4) became tight enough with Lune that he trusts them to manage Corin, his only remaining son, in a hostile country and in battle even after Cor's abduction (5) saw new construction on Cair Paravel (6) build up a Narnian navy and made them a "seafaring people" (7) had enough peaceful leisure time for hunts and tourneys and balls and whatnot, and (8) forgot about England. They were also pre-teens when they took the throne and, presumably, needed to be educated. I honestly do not believe that Jack intended a fifteen-year reign for the Pevensies when he wrote LWW.
Also, consider that a Golden Age has to be long enough to actually, ya know, be considered an age. It would be another matter entirely if we were told that the Pevensies' reign was the start of Narnia's Golden Age, but no. Doctor Cornelius says "Their reign was the Golden Age in Narnia and the land has never forgotten them." Would we call QE1's reign over England a Golden Age if she had reigned for fifteen years rather than forty-five?
So yeah. I tend to imagine between forty and fifty years for the Golden Age. The timeline, and with it the fifteen-year Golden Age, is second-tier canon and doesn't overrule what Jack put in the actual text of his books.
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Barb and Barbatos, Traditional Ver.
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Also, Ruan Mei was the one who lent the Phase Flame to Ratio, wasn't she?
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When I approach Yelan (or anyone else I've written), I don't just look directly at her character, but I also look at her surroundings. Both the ones that she knows by some semblance of necessity, but also those that she chooses. Like here, I talked about the Chasm, and what being 'okay' with existing down there needs to mean for a character, because it's not normal. Someone's surroundings, room, or home say a lot bout who they are and what their mindset, or specifically, their perspective is of the world. And sometimes, I think it says more about people than even the characters realize.
This brings me to the topic of the city of Fontaine. Now, I personally think it's rather obvious that a lot of the nation takes from historical France, and so when looking at it, I think it really adds to remember its monarchy, the view that the 'common folk' had of it, and its inevitable demise to non-existence today in terms of importance as a result. So my first question is, who constructed or decided on its layout? Was it Furina, Neuvillette, Egeria? Whoever it was, there's a lot that can be said about their view of the world and their placement in it when you look at locations of buildings. Look at where Palais Mermonia, its governing body, is located within the city; it sits at a rather astounding elevation in comparison to, well, everything and everyone else in the city. This frequently represents the concept of 'distance' between groups in one way or another, and seeing the consistency in other nations, this is something that is rather intriguing to me, especially keeping Fontaine's characters in mind (and considering this is the nation of 'justice'). Mondstadt has everything almost entirely uniform, with arguably the church on the highest level (but it isn't greatly elevated in comparison to all else), but it's joined with the plaza and statue which are a common gathering site for all people in the city. Liyue had the gods and adepti visibly living among the humans back in the days of the Guili Assembly for reasons of 'integration' (my apologies to numerous from our dear Guizhong!) The fact that numerous adepti now live far outside of the harbor is a different matter entirely, and the one who seems to function within a semblance of separation of sorts is Ningguang with the Jade Chamber (but I'm not one to speak on behalf of her character as I don't bear the knowledge). Inazuma also has the Tenshukaku at a higher elevation in comparison to the rest of Inazuma City. Sumeru is interesting, but ultimately Nahida was kept at the very peak of the city, far out of reach of humanity— but that's exactly the common denominator that has my interest, the distance between the 'governing body' and humanity for one reason or another.
But Fontaine really takes separation to a different level in my opinion (and again, think of this when you think of the person having designed the whole city), not only because of the above which I'll elaborate more on in a moment, but also its separation from the outside world. Now, this is interesting to think about if you keep in mind that it was perhaps done in eventual protection of the city's inhabitants in terms of the prophecy (which means that this would have been constructed anywhere during or after Egeria's reign), but then why is only Palais Mermonia far above the water's reach? If the walls surrounding the city were ever breached during said prophecy, all its inhabitants are pretty much immediately caught in the flood and would drown, which tells me nothing positive of the city's 'architect' or whoever signed off on the designs. But if not done for the prophecy, then why? Stand in the middle of the Court of Fontaine and really look around you, the only sights you really have of the outside world are the sky, and it's obstructed by a fair bit of the waterways and gardens that hang overhead, which you can only properly enjoy when you take the ages long elevator to the upper level where the palace is located (which, credit due, seems freely accessible to everyone in present-time). But if you don't venture up, how much of the outside world do you get to see? It feels very secluded, very much under lock and key. On some level (and this is one of the many reasons why I think that the Meropide is so excessively important in Fontaine and it's likely why we spent so much time there; it's all to show the ever, ever important contrast and nuance between this 'autonomous nation within Fontaine' and, well, 'Fontaine'), it almost feels like a prison, regardless of how pretty it may look or come across (and despite not 'lacking rights'). And considering how people in the Meropide speak of not always wanting to return back to the 'overworld' following their sentence, I think that there's definitely quite a bit of truth in that. But again, stand there and look around for yourself.
Now to return to the original topic, but keeping the last one in mind as well, look at one other thing that I'm unsure how many have really kept an eye on: the massive effect Palais Mermonia's level has on the rest of the area (inside and outside of its walls). Have you ever walked through the city of Fontaine at any given time of day or night, north to south, east to west, clockwise or counter-clockwise circling through it; have you ever seen how it overshadows an immense part of the streets below it either entirely on its own (which to me signifies a very domineering presence), or together with those outer walls that surround the city? I know how I've spoken thoroughly with people before about how much I enjoy Fontaine and how dark it is in its storytelling, but despite how gorgeous this region with its water- and landscapes are; its city bears quite a heavy weight to me. I don't know who designed it, or ordered it to be constructed in this way, but nothing about the city itself truly, rationally, shows a healthy perspective versus its citizens.
Me: /continues on to ramble in tags because I'm me and I'm a nuisance with always more to say than I know how to coherently put into these posts.
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DOGPILE
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