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#i like that their story is just a concept but i keep thinking of the possibilities
ichimerapunk · 3 days
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I’m kind of surprised I haven’t seen any fanfics that run on the idea that Alfred is a ghost? (Either as like the main focus of the story, or just a subplot.)
Think about it.
A lot of stories kind of have Alfred as being this eternally elderly man regardless of how old everyone else in the story is. The man doesn’t seem to age!
More importantly, where does he get the time and energy to do all the stuff he does to keep the manor and the family functional? He somehow manages to keep the giant house that is the Wayne Manor in order despite how many people live there plus his added duties thanks to the family’s vigilante lifestyle? When exactly does this man sleep? Also, I always find it amusing how in stories Alfred seems to always be cooking but it’s rare to actually show him eating himself.
What if someone plays with the idea of him not needing to sleep, eat, etc. because he is a ghost?
I just kind of imagine the idea of Alfred getting up one morning to start the day and nothing seems amiss either to himself or the rest of the family; however, when he retires to his quarters for the night he discovers his body laying still and cold where he had left it. (Could you imagine him, after coming to accept he is a ghost, just… getting rid of his own body and going about life as usual and never telling anyone in the family?)
Maybe I just find the idea of Alfred, rather than passing on, just continuing to take care of his family like nothing has changed touching, if in a morbid way.
The idea could, technically, be construed as the rest of the family not paying Alfred any mind or taking him for granted so much they don’t notice he died, but in my head its more of a fluffy/humorous thing where Alfred is just very good at hiding his ghostly nature from anyone.
This story idea doesn’t even have to necessarily be a Danny Phantom crossover. It’s just that this fanfic idea was spawned out of this brief scene idea of Danny coming to live at the manor (insert any other story plot as to why), and both Alfred and Danny clocking each other immediately. (The idea included Danny fretting over asking Alfred about it but being afraid Alfred might not know he’s dead, and Alfred noting Danny is half-ghost but his only concern is that anyone living under his roof is cared for.
(If I didn't already have a dozen or more story ideas sitting in folders not yet completed, I'd kind of want to brainstorm on this more because I think its a cool concept?)
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vent post. There are two stories i was told in my teenage years that even before i had a real concept of trans issues made me uninterested in discussing the supposed sacredness and safety of separated sex-based spaces.
First, when i was like 13 or 14 my PE teacher told us about a time she went to a women's public restroom, some guy was hanging out outside the bathrooms, she didn't think anything of it, went to the bathroom, and he walked in after her and like, creeped on her over the top of the stall. She was ok, she wasn't telling us this to scare us, just telling us what to do in situations like that (and iirc she was telling the whole co-ed class this, not just girls, bc it's useful for everyone), but this taught me immediately and forever that there's nothing actually keeping these spaces separate really, that anyone can be a creep in any space, and that establishing a space like that as for women only isn't actually particularly useful for safety.
Second, when i was 16 i was at an anime convention, a friendly acquaintance of mine and i ended up in conversation outside, and he showed me his bare wrist and told me he'd been kicked out. A female friend of his had stepped in dog poop outside, and between that and the stress of the convention she'd had a bit of an emotional breakdown, so being her friend, he started comforting her and ushered her into the women's restroom so they could wash the poop off her shoe together. And because he was a man who went into the women's bathroom, he got kicked out, no matter that he was doing something that was actually beneficial to a woman. Punishing a woman's friend for supporting her was supposed to... protect her somehow? This made it clear to me that a no-exceptions rule separating the sexes like that wasn't actually inherently good for everyone.
And this isn't even getting into me as a child needing to accompany my younger sister to the restroom when we were out with just my dad because she had certain support needs past the age he felt comfortable bringing her into the men's room with him. And what if I'd been born a boy, or she'd been the first born? Who's helping her then?
And of course even putting all this aside, we should always prioritize compassion and support anyway. But i never even needed to meet a trans person to know that "keeping men out of women's bathrooms" is silly nonsense. But trans people also need to pee anyway and as humans they have that right, so leave them the fuck alone. your precious women's restroom is just a fucking room with a door, holy shit give it a fucking rest, if someone is attacking you in the bathroom that's bad and if someone is in there to pee that's good and it doesn't fucking matter what their junk is or was when they were born.
a woman could have done the exact same thing to my PE teacher and it would have also been bad no matter how "supposed" to be in the restroom she was, and no one should ever be punished for helping a crying friend wash their shoe.
Anyway i know I'm speaking to like-minded folks here, i just think about those two stories literally every time bathroom gender shit comes up and it pisses me off.
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moghedien · 20 hours
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if you raise the egg with Lae'zel and stay in Faerun, she'll mention to you in the epilogue that he's being watched by "your newest allies" who she "trusts completely" tonight and just immediately wondering who that could possibly be that Lae'zel would trust completely to watch your son.
and it just made me think, that if you're playing a Tav who isn't an orphan, maybe has some siblings and somewhat of an extended family who they might want to get back in touch with now that they don't have a tadpole threatening them and everyone around them and also they have a githyanki wife and child that they want to introduce people to, Lae'zel would have absolutely no vocabulary for even just most of Tav's familial relations but she'd defintely have no concept of "in-laws."
She thought parents were made up and fake until like a week after you started traveling together and she admits that her "cousins" she mentions didn't indicate a familial relationship in like a societal standpoint and just indicated that they hatched from the same clutch as her. So if Tav started throwing parents, grandparents, siblings, nieces, nephews, actual cousins at her? she wouldn't understand it. So like assuming they're all on good terms with Tav, I could absolutely see her being like "These people seem strangely devoted to you. They have many stories of your past that indicate that they have protected you, but could also bring you to ruin and humiliation should some of these tales be spread. We will form a powerful alliance with them."
like just imagining the epilogue, someone asking Lae'zel and Tav where their son is and Lae'zel being like "He is being watched by our newest allies who are utterly devoted to protecting and keeping him from harm" while Tav just simultaneously goes "He's with my parents"
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cripplecharacters · 2 days
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Salutations! I’m in the process of creating a story wherein both characters are missing an eye. One has a prosthetic, but is presently isolating themself in the woods, and wears an eyepatch to protect the eye while alone; the other’s socket is either empty, or they have a glass eye with no actual details (iris, pupil, etc.). I’ve struggled to find references for the latter, and fear it may come off as unrealistic. I understand prosthetic eyes keep the eyelid from collapsing, but aside from that could a person just not wear one? If these options are unrealistic, please let me know. I can supply you with concept art if need be.
The story itself centers around these characters after one of them finds the other by accident. They’re painted as foils—the one hiding out in the cabin adhering to a self-made sense of logic that centers on cycles and confirmation bias, while the only who takes refuge there after running away is deeply paranoid and prone to hallucinations. The first character is missing their left eye; the other their right. I don’t want to make a symbol of their disabilities, but I feel their designs simultaneously stress their opposing perspectives, as well as the fact they paradoxically still manage to see “eye-to-eye.” Their visual impairment is just one of many ways they’re able to connect across the story, as they also bond over their obscure passions and delusions, and respect each other’s warped worldview to such an extent said worldviews start to blur together. In addition to this, the story places an emphasis upon an entity known as the “ocellus,” which is basically the “false eye” you see on moth wings. In my outline so far, it’s the name of a mysterious band which the pair discover in a record collection, and resolve to solve the mystery of (regarding the members, music, etc.) One of the characters also sleeps with an eye mask with the pattern of moth wings and their respective ocelli overlaying their own eyes; their paranoid counterpart also sees eyes in the trees and wood of the cabin.
Absolutely none of this is set in stone; before it is, I just want to know how much of it is fine, which parts “moralize” or make a symbol of a disability, and what is straight-up ableist. Please let me know if you need more details.
Hi!
The prosthetic eye has two main functions: 1) to keep the eye area stay in shape, 2) to protect the socket. Both of these can be achieved by conformers (it's like a big contact, except it goes into the socket and not on the eye) which I talked about here!
A blank prosthetic eye would probably be fine. The process of getting it custom painted is expensive from what I know, and IRL a lot of people will decide on the generic kind rather than a custom. If in your world the generic happens to be a blank, there's no problems I can think of? Potentially, you could explicitly say that it's not how most prosthetic eyes look like (maybe someone else knows a person with an eye prosthetic and they comment that it's unusual?). You mentioned that the character doesn't have it in all the time, so I don't think the trope of "blind character has blank/white/milky eyes" applies here because it's clear that it's a prosthetic.
A person could decide to go bare, but the sensation of blinking could be uncomfortable, and they would need to clean their socket more to get rid of anything that could get inside. Normal saline could be used for that.
I don't think there's an issue in them missing different eyes at all. If you want to make sure it's not giving "Just Magic Symbolism" energy then you could incorporate some boring everyday things that would make sense. If they go somewhere together, they could decide to walk missing eye-to-missing eye, so that they see what's going on the sides rather than in the middle, things like that. It could make it feel more grounded, so to speak.
I don't see any issues with the moth fake-eyes symbolism either, I think it makes sense for the story you're trying to tell.
If you want to be very safe, I would have a character (can be minor, or background) that's also missing eye(s) that's not connected to any of the potential symbolism and is more of an average Joe of Not Having an Eye.
In case you decide to get into that, it would be nice for them to have different causes of why they don't have eyes. It feels like in fiction it's always physical trauma, but there's a whole more that could cause someone to not have an eye;
anophthalmia,
retinoblastoma,
severe eye infection,
elective enucleation (removal) of an already blind/painful eye,
just to give you a few ideas! Giving them "boring" everyday reasons of eye loss will also make it feel less symbolic and more like a regular disability. Think "dramatic swordfight with Huge Meaning" vs "yeah I had cancer in my eye when I was 2".
I hope that this helps; if you have any further details you'd like to ask about feel free to send another ask!
mod Sasza
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blurakun · 3 days
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John Dory introduces his ghostwriter to the family (goes wrong 🤣)
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Branch: "FULL Offense John, Do you actually think ANYONE will want to read a book about you?"
Bruce: "Yea, Honestly John,"
Poppy: "That's a great idea!"
Clay: "This is not what I meant when I said Book Club"
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John Dory: "Okay, FIRST of all, my life is very interesting. Second, I wasn't asking your opinions."
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John Dory: "I was JUST trying to introduce my ghostwriter! Now you guys made me look like a total ass. Thanks."
Finny: Holy Shit what did I sign up for
The group is APPAULED to learn John even has the audacity to think any troll would desire to read about his life. John Dory- keeping most of his old life a secret from the family, knows they only see him as their boring eldest brother. Determined to get his name out to the public again, he hires a ghostwriter to write down the retelling of his stories and combine them into a cohesive Memoir. Having only read one poor excuse for a memoir himself, John Dory is convinced this will be a simple task.
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Little did he consider, tapping into his past starts to bring up problems and buried feelings that begin to conflict with those around him.
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Just a little summary for my John Dory's Memoir AU! I'm actually getting a TON of ideas for this concept 🔥 expect more hehe + bonus Finny sketch ;3
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some Thoughts on chapter 13 now that i've finished:
I LOVE HOEDERER.... i already did but like. Really enjoyable to get his POV in this event and see more of his inner thoughts and motivations. I'm fond of characters who are so tired and worn down and jaded, but manage to hold onto some scrap of hope regardless, even against their own better judgment. A lot like Mlynar in that way, tbh.
regrettably this chapter sold me on hoederines a little. i'm CONFLICTED because i love wines so much, dammit. (and manhoe, but there's not as much of a conflict with my headcanons there.) But their relationship is so good regardless of whether you read it as romantic or platonic.
speaking of, Ines was a delight in this chapter. Love her role as the resident non-Sarkaz Sarkaz who is completely unaffected by whatever arcane bullshit is getting to Hoederer and W in any given moment, so she can yell at them to snap out of it and save all of their lives lmao. I love her deep loyalty and care for them that she expresses in everything but words. ugh ugh i love her
the little subplot with Vendela and the Sarkaz commander who tried to keep her safe was sweet and sad, I wish he'd gotten a unique sprite at least. I kind of want to see her meet Flamebringer now and her reaction to the friendship between him and Perfumer... I feel like there's some parallels there.
We're starting to see some payoff to the buildup with Siege in this arc, and I'm so glad! I've never really understood the hate her arc gets - I know it's partly that I'm biased, she was my first 6* so I'm rather fond of her, and I just really like the whole concept of the Glasgow Gang. And I think it doesn't help that ch12 was (imo) the weakest part of act 2 so far. But also, it was always really clear to me that we've been just... laying the groundwork with her up til now, I didn't really expect her to have big moments or turning points yet? Idk. i kind of want to write a whole post about her arc and my thoughts on it at some point. BUT, I really liked her in ch13, seeing her start to really come into her own and how all the events of act 2 up until now have shaped her decisions.
I'M REALLY SAD ABOUT GUARD ACTUALLY??? :( Tbh I have not really cared much about New!Reunion until this chapter, except for Talulah, but I'm finally getting invested. And Talulah's confrontation with Eblana was AMAZING. I've always seen her as a foil to Talulah - while Talulah started down her path with good intentions and ideals, Dublinn seems to have been like late-stage Reunion from the very start, because Eblana has always cared more about seeking power than about the oppression of the people around her. SO FUCKING SATISFYING to see Talulah, of all people, calling her out on that, and protecting Reunion from her. I really hope we get more of these two in future, and also more Reed in main story please please pleeeaseee.
This chapter was wonderfully cohesive with the themes of tradition and bloodlines vs forging a new path. Siege, Delphine and Horn, all beginning to break away from their inherited roles in Victoria's hegemony and fight on their own terms instead. The Kazdel flashbacks, the spacetime feranmut, and Hoederer's POV - a character who wants to see a better future for Kazdel, while still remembering and learning from its past. Nine, Guard and Talulah dealing with what Reunion means as a symbol, and figuring out what it should become. Shining and Nightingale, confronting the Confessarii and their own past. Even Vendela, having to let go of the life and traditions she'd grown up in, the townspeople clinging to familiarity and the hope that things would go back to normal to the point that it was literally going to kill them. The confrontation with the Sanguinarch was such a great culmination of all of this, with his fixation on blood purity and the glorious lost past of the Teekaz. And he's defeated by several people who all soundly reject his vision of what the Sarkaz "should" be - Amiya, the outblood King; Logos, who does have a "pure" bloodline by the Sanguinarch's standards but refuses to be defined by the role he inherited; Hoederer and W, two of the mixed-race "commoner" Sarkaz he's so contemptuous of (and Hoederer specifically rejecting the idea that the Sarkaz's destiny must always be soaked in blood); Ines, who isn't a Sarkaz at all, except she is, because her family is Sarkaz, and she's always going to be one of them. It was! So fucking good!
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goodluckclove · 3 days
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An Open Letter to a Professional Author
I came across a writer here who I imagine will probably never see this, but their presence was enough to make me pretty mad for two days now. I've decided to pen a little statement to this Long-Term, Professional, Full-Time, Published Author who makes a habit out of being deeply unpleasant in a way that apparently has only attracted an audience of other deeply unpleasant people.
People here seem to like it when I get mad. So, uh, enjoy?
Dear Professional Author,
I came across a post of yours on some feed here the other day and enjoyed your commentary. It was one of those writing memes that sort of called attention to actually writing as opposed to just thinking about your project - the kind that people usually respond to with some sort of joke expressing their repulsion at the concept.
You responded with distaste and I generally agreed. The tone was a little aggressive for me, but that kind of humor also leaves me generally confused. I personally ended up concluding that the self-deprecating humor was a coping mechanism for a larger issue that keeps these people from writing - intimidation, lack of confidence, physical or mental pain, things like that. You seemed to think it was a matter of will, which I found to be an approach that at the very least was well-intentioned.
Turns out it wasn't.
First off, I should say that this isn't about your political beliefs. Your political beliefs that are really more like general human beliefs. I don't want to get into that. Instead, I just want to talk about your writing. You are a full-time, published author, as you say in nearly post where you talk about writing. A major point of pride to you seems to be the fact that you are traditionally published. Any other method doesn't seem to be as legitimate to you. That's interesting to me.
You also don't seem to have much of an audience outside of people who mainly come to agree with your politics. I didn't really see a single positive interaction between you and another writer on here for as much as I was willing to scroll through your blog. That's also interesting to me.
I didn't spent too much time on your blog once I realized that you were definitely not the kind of person I would ever want any interaction with. What I did want to do is use your presence indirectly to prove a point that I've been wanting to get into for some time now.
To put it simply, I'll say this: a career in professional writing is not actually as cool or important as you might think it is.
Now I'll be direct and say that I've never been traditionally published for anything longer than a short story or long-term, unpaid column. You don't give any details on any of your writing, as far as I've seen (Once again - interesting!), so there's a chance you've made more in contracts and royalties than I have. But I'm a working writer. I've had a career in ghostwriting and technical writing. I've written and produced plays that have been featured in festivals in multiple states. I'm not speaking from a place of no experience, is what I mean to say.
What I also mean to say is that - while I view writing in many ways as a spiritual and healing act that I couldn't live without - it's also a job. It's not always exciting, and even when it is exciting it's only exciting to me. I consider the best date night to be when my wife works on video game development while I write my draft. I leave the house on a regular basis, but it's mainly to go to different places to write.
In short - I love to write, but I don't think it makes me cool. Or interesting. Or valuable. Or intelligent. Or just generally fun to be around and talk to. These are things I strive to cultivate in other aspects of the way I live and grow as a human being on this planet.
Being a Professional Author in one particular genre doesn't give you authority over the craft as a whole. You can't just throw yourself into conversations and start with I'm a published writer and assume that means you have the final say on any discussion. Believe it or not, in many cases it does not matter.
Lots of people are published traditionally, and it does prove some level of validity in their line of work. But there are a huge variety of people in the world of trad pub. There are people who write books in genres that don't apply to writers here. There are people who write books that aren't very good. There are even people who write trad pub books that are very good, but their careers are sullied by the fact that the authors themselves are not good people.
Being a successful writer does not mean you're a good person. Being a writer at all does not mean you are a good person. I believe in Death of the Author to an extent, but when that author insists on making a presence on a public website and doling out advice and opinions to other writers the lines start to blur considerably.
Writing is a job. You work it over a period of time and learn skills and strategies that work for you. The same applies to virtually every other job, including ones that society views as less romantic as something in the arts. Can you imagine me breaking into your home while you're making lunch and telling you how to arrange your cheese slices based on what I know as a full-time, professional sandwich artist at Subway? You might be interested based on leaning something you didn't know about a place you might've eaten at before. But that does not entitle me to your respect on its own.
I am not entitled to your respect based on how well I learned how to make a sandwich based on my hypothetical career at Subway. Just as I don't deserve it solely because I know two card tricks, can get out a variety of stains, read most of the works of the major beatniks, can make a really good carbonara, or any other specific about my life that ultimately does not play a huge part in who I am as a person.
When I am on my death bed, I hope to god the core of my character was not the fact that I typed stories from my brain until I got carpal tunnel. If my obituary begins and ends at "writer", no matter how positive the qualifier is before that, it will be the greatest failure of my life.
Because I am a writer. But that does not matter. It does not matter if you're a writer. It can be fun and enjoyable if you are, even better if you make a living at it, but it doesn't mean you'll be happy. It doesn't mean people will like you or perceive you to be the leader and teacher you might think you are. It certainly doesn't give you a free pass to throw cruelty at strangers for truly no real reason.
Professional Author, you had a chance to raise up the next generation of an industry I assume you must value. You're choosing not to, and that's fine. You don't have the obligation to. You do have the choice to not get involved and pretend to give advice that ranges from vague to untrue. You seem to be taking that responsibility very seriously.
It's like some twist on crab mentality, where instead of dragging crabs trying to escape the bucket you're swiping at anyone who tries to crawl in with you. Then, as they struggle, you're looking down at them and making comments on how easy it is to get in the bucket, if you only just do it and maybe read some books.
To all of us, I say this: question authority, even in the arts. Especially in the arts. Nobody knows as much as they say. That includes me, but I do know this - any branch of publishing feels really good. It's scary but it's fun. If you're traditional published or indie published or self published, it says nothing about how good your book is or how good you are as a writer or how valuable you are as a human being.
Don't be this lonely bucket crab. They seem mean and I'm tired of talking about them.
Best Regards,
Clove
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poorly-drawn-mdzs · 2 months
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I want you whipped into shape!
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yuriyuruandyuraart · 1 year
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*sighs* precious baby version of night and his mentally drained brother/dad got me dropping everything for a quick doodle<333
au by @dreemurr-skelememer
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fictionadventurer · 2 months
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The worst part about reading in a genre where you have low expectations (in this case, Christian historical fiction) is that when a book impresses you, you have no idea if it's actually good or if you're just overly impressed because it was a fraction of a degree better than the usual garbage.
#basically lately anytime i read a christian fiction book that isn't romance-based i find myself surprised by the quality#i do think that some christian publishers are getting better#and trying to tell stories that dig deeper into real faith and messy issues#instead of making only vapid squeaky clean prayer-filled tropefests#but i'm not sure *how much* better#because anything above the low bar feels like great literature#the most recent is 'in a far-off land' by stephanie landsem#and let me tell you setting the prodigal son in 1930s hollywood is a genius concept#i have some issues with the history and the mystery#but the characters!#it has been a long time since i cried this hard over a book#several chapters of solid waterworks#(and i also have the issue of figuring out if it's actually that moving or if i'm just hormonal/sleep-deprived)#i keep thinking about this book but also i worry about recommending because what if it's actually terrible by normal book standards?#(also the author DOES NOT understand the seal of confession and i was SHOCKED to find that she's actually catholic)#but also looking at the reviews makes it clear that if most of christian fiction is vapid garbage it's these reviewers' fault#here you have something that's digging into sin and darkness and justice and mercy and these people are just#'how can it call itself christian fiction if it only mentions god at the end?'#are we reading the same book this WHOLE THING is about god! and humanity and our fallen nature and how this breaks relationships!#your pearl-clutching anytime someone tries to get even a tiny bit realistic is destroying this genre#i'm gonna run out of tags so i'll stop now
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bookshelf-in-progress · 7 months
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There's always a danger of caring too much about a story, and then getting paralyzed by the need to do it justice, so it never gets written.
I've solved this problem in the past by writing stories so fast that I don't have time to get too invested, or writing stories that I'm not that attached to.
But maybe the trick is to love the story so much that I want to share it any way I can, even if it's imperfect. To feel that any version of this story is better than the story never getting written at all. To get out of my own way and stop worrying about what other people will think of my writing, or even what I think of my writing, and love the story for its own sake, love the readers enough to want to have the joy of sharing the story with them.
Maybe it'll work. Maybe it won't. But so far it feels like a much better approach.
#adventures in writing#i think inklings has finally born fruit for me#other years i've stayed far away from beloved story concepts#for just this reason#and then i mentally shelved most of those story concepts#recognizing i'd likely never write them in a way that lives up to my imagination#and that probably gave me the distance i needed to pick some of them up again#for one thing the short time frame of inklings forces me to get down to the heart of the concept to fit it into a short story#and the long development time means i've had time to figure out what the core of the concept *is*#what keeps this story lingering in my imagination; which means i know what the good parts are#and then the deadline also forces me to try to write it fast and short#because if i don't write it for inklings i likely never will#and that's a tragedy i want to avoid#having such a clear concept of the story's core#means i can put up with ugly haphazard drafts#because i know what the overall story feels like; i've had years to develop it#so instead of a bad draft proving a story's not worth writing#i *know* that the story's worth writing because it's stuck with me this long#so the ugly drafts are just the building blocks necessary to create the final product#of course the danger is that i'll put out a story and it won't be as cool outside my head#and people will hate this piece of my soul i've poured out to them#but if i love it enough maybe it'll reach that special status#where it means so much to me personally that the wider audience reaction doesn't matter#but before i worry about this i gotta write a draft first
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distortedmoondisc · 7 months
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Do you ever think about the parallels between Rinne and Aira
Not only they have a shared interest in protecting Hiiro and ensuring his well-being/growth as a person, (and it's extra interesting given how Aira sort of dislikes Rinne for how he dealt with Hiiro in general—by leaving him alone at their hometown and disowning him in the summer of the MDM—, so even though they have the same interests and goals regarding Hiiro, they aren't exactly friends nor like each other — though this is mostly from Aira's part, because Rinne does like Aira and even acknowledges him as someone important to Hiiro that he must keep in his life), but Aira kinda is what Rinne used to be, before his dreams of becoming an idol we're crushed by the new rules of ES.
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!! Main Story, Episode 171, "Revolution"
I've seen many people talk about how Rinne and Aira would get along because they're both idol otakus, but I believe that's a common misunderstanding of Rinne's character, because Rinne isn't an idol otaku (at least not anymore). He doesn't like the current idol system and the way Ensemble Square is running the industry. That's why he tried to change it by force in the !! Main Story by acting out. This is different from Aira, who loves the idols born from this system, and is a participant in the ES system that is going to hurt the industry in the long run (because ES is mass producing idols like a factory, stripping them from their own individuality and what makes idols especial in the first place — which is why Aira likes idols to begin with! Because they're different from ordinary people!)
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!! Main Story, episode 220, "Despair"
Aira is aware that the idol industry isn't perfect, in episode 171 he even acknowledges that the mass production of idols similar to items of consumption made in a factory is wrong and it strips idols from their beauty and value, but he doesn't have the insight and first hand experience with heartbreak as Rinne had, so he doesn't have the motivation to protest or change the way ES is running the industry. They both love idols and dreamed of becoming one, but Rinne isn't an idol otaku, because he can't be a fan of idols mass produced by the current system.
What Rinne does instead, is support underground idols that would otherwise be trampled or forced to disappear by ES because they don't fit their sets of standards (and because ES has monopoly in the idol industry, they can easily do this without much repercussions or public outcry) and gives them his protection. This is explained throughout the course of the story of Night Club.
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Nigh Club, Epilogue 2
Aira tries to impersonate an ideal idol persona, as the ones he watched when he was younger. He wants to embody a model idol and inspire others as idols inspired him in the past. Rinne used to be similar, but ES arbitrarily destroyed his solo career making him lose that dream, and that's why he embodies the wild and rebellious persona he portrays on stage, which is a complete opposite to how a traditional idol should act (and this is a constant point of conflict between him and other idols, such as Himeru; Himeru tends to scold Rinne for being so wild and doing whatever he wants because it goes against what is expected of an idol, but in Night Club he comes to understand that this is Rinne's soft way to protest against ES, despite having lost to them in the first part of the !! Main Story).
(Sometimes, I wonder if Rinne is happy being the wild and playful self he is with Crazy:B, or if he would prefer to be on stage as an ideal idol like he used to do years ago....)
However, despite their differences and the dislike/intimidation Aira might feel towards Rinne, he admits he understands his feelings and where he comes from, and that he can't help but to relate to him due to the fact that they both love idols. Aira scolds Rinne in episode 220 "Despair" to make him stop his pity party, but later in episode 224 "Flutter" he comforts and encourages him instead—telling him that he should not give up being an idol, because he recognizes that Rinne loves idols as much as he does, and that he still has a reason to live because he has fans of himself and of Crazy:B waiting for him among the crowd, meaning that he is still loved and accepted by someone, despite all the wreckage he had caused.
(And if I'm allowed to get personal for a moment, I just need to make emphasis in how important Aira is to the development of the Amagi brothers in the last arc of the !! main story, and this scene is a perfect example of that. Aira is the one who encourages Rinne to join the others on stage and sing, and after that it is Hiiro that pushes Rinne to give that step which finally leads them to perform on stage together 🥹)
So as we can see, Rinne and Aira have a lot of similarities, but they act in completely different ways due to their circumstances. They have similar backgrounds as idol lovers but they have different views and feelings about the industry and the profession, (however, they seem to share the same ideals as to what an idol should be, and love the same type of ideal idol inside their hearts). Adding to that their shared most beloved person, Hiiro, and how the two of them want what's best for him but they have a point of contention due to Rinne's bad actions in the !! Main Story, and their relationship becomes x10 more interesting, and I wish we talked about it more!
And we know Happyele hasn't forgotten about them, because Aira appeared in Rinne's recent relationship chart, just below Hiiro.
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(also, a little unrelated, bu i think it's funny that despite having a heart to heart at the ending of the main story, their relationship is still "want to tease him" and "he's a little scary" ahdks Aira, who scolded Rinne in front of hundreds of people in the MDM, regressed to feeling intimidated and troubled by him. A couple of friends commented that it was probably because Aira had a burst of courage in the MDM because of the severity of the situation, so he had the determination to call out Rinne, a senior that he particularly feels intimidated by, publicly without second thought. It is canon that after the fact, Aira admitted that looking back on the MDM he felt embarrassed for doing such a bold thing. Idk, it's just something i find very interesting and fun about their dynamic www)
So this leads me to believe that they haven't forgotten about the history these two had in the main story, and all I can do is just wait for them to expand on their relationship and dynamic more eventually in some future event.
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blluespirit · 2 months
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I sort of like the thought that Zuko and Aang take the Sun Warriors' warning not to tell anyone about the dragons a little more seriously… and they keep it between them. Of course, they trust Sokka, Toph and Katara. Of course they know they wouldn’t tell anyone, but now three people (including Iroh) know the truth about Ran and Shaw. And that’s three too many when you’re trying to keep a secret.
(and there are other people at the temple as well - like Haru, Teo and The Duke - who, while trustworthy, aren’t as close to them as the others, and when it comes to secrets with as much consequence as this one, you can’t afford to take any chances.)
Furthermore, the culture within the Fire Nation since Sozin’s rein has been warped. The culture is not to respect the dragons as the original firebenders, it’s to conquer and kill them. It’s the ultimate proof of your strength as a firebender. All it takes is one mistake before rumour spreads, and people go looking for the ultimate hunt. It’s not something Zuko or Aang can risk.
Whether Katara, Toph and Sokka (and Suki) ever find out the truth is up to you. But post-war, after Zuko returns from a strange, poorly explained trip with a dragon, and eventually develops the ability to use rainbow fire, either the others have some questions about Aang’s knowing look, or they are finally let in on a monumental secret.
#it’s a kids show so i think for that reason it was played for laughs about keeping the dragons a secret is not necessarily a bad choice...#the show does that sometimes where it says something off hand and then leaves me lying face down contemplating ✨the consequences✨ of that#but there are some… implications there about being too loose lipped with the truth in leading up to the end of and immediately post#war fire nation. just because zuko understands the spiritual significance of a dragon it does not mean the rest of his people will. actuall#its more likely that they'd reject zuko's opinion considering that he's basically coming into power and then telling everyone that#they've been lied to their whole lives. the fire nation is drowning in propaganda. for a lot of people this opinion of dragons and#firebending's true nature being violence and destruction is all they know. fire is LIFE but to most people that's an alien concept#and in terms of keeping secrets - it’s not even a matter of trust it’s a matter of too many people knowing#you might not even realised you’ve revealed some incredible information to someone who has the means to spread it or pursue it#so… i think zuko would be hyper aware of this. since he grew up hearing stories about the 'glory' of dragon hunting#and since iroh has also made a concerted effort to keep this information hidden i think it makes sense he’d be very hesitant to let it#get out to the public#aang would agree i think esp if zuko explained the importance of hiding them even from loved ones#ALSO random but it also makes me wonder what the fire nation said about roku in wake of the war#he had a dragon but he didn’t kill it. he didn’t ’conquer’ it#sozin would have had to work his ASS off to reframe history as him being the more… loyal(?) patriotic (?) of the two#did he frame it as roku didn’t have the courage to kill a dragon??? that he lacked the strength of a true firebender?#the avatar works hard but sozin's propaganda machine works harder 🧍‍♀️#zuko#aang#avatar the last airbender#zuko & aang#jack talks#sun warriors#book 3#what is it with me having a whole separate post in the tags 👁️👄👁️
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goldkirk · 2 months
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I opened Pinterest for the first time in months.
That made me realize a lot about how bad I was actually doing and how much of a Waffle House Index use of Pinterest is for adult me, apparently.
I hadn’t realized it had grown that foundational to me in a healthy-brain-exercise-and-hobby-joy way. Nice to know moving forward! It’s another sign I can keep track of and use to spot correlation/indicator patterns earlier my behavior.
I love this kind of thing, it makes me so excited!
#personal data hacking is my passion#someday I’ll tell a story about the most notable times I tracked things or hacked my own mental processes from childhood to now#including the fear of spiders and bed wetting and behavior changes and posture and heart rate and cursive and putting kitchen items and#trash away as soon as I’m finished using them instead of never ever or ages and ages later#I’m so proud of that#you have to give it time and still commit. chaining thoughts and routines and behaviors really works#we are not separate brains and bodies and external environments#anyway I’m gonna go haha I used up he last of my energy burst on Discord and here and I need to go rest and lie on the floor and probly doze#love you all be back soon bye mwah!#add to journal#trauma evolution#my Waffle House index#this is going to be a fun new tag I’m so going to have fun with this and I bet it’ll be a helpful example reference for other people too#more than just for future me!#so excited so proud of myself so happy so grateful for hope about me really trusting that my ability and my behavior and my performance#are able to and going to yes keep getting better#long many-milestone path-journeys of potential#like when I was a little 6-7 year old kid-team athlete looking ahead at a concept of a future with me over time getting#stronger and cleverer and faster and slicker and calmer and even happier and more and more capable and able to accomplish!#a gift. all this time I didn’t think I’d have and have been living anyway is such a gift.#knowing that I truly have future time to grow and explore and change and improve in even though I still can’t FEEL or IMAGINE that future#time yet. also a gift.#the time I will one day realize I can imagine a future and imagine myself alive? will be a gift.#breath is a gift. experiencing life is a gift. other life is a gift. rhythm is a gift. motion is a gift. awake is a gift. color is a gift.#such a great expanse. all of it new. all of it eternal. all of it me. all of it nothing I’ve ever known before. all of it all of it#all of it. gifts.#gonna go have floor time now. this would be such a nice time to re-re-regain my ability to cry!#mwah I love you future me. take care of your hand and thank u for writing all this down 💛#hey little star whatcha gonna queue?#my poetry
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sysig · 9 months
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Hey. Read Roundabout. Love Awesome. (Patreon)
#Doodles#Wander Over Yonder#Commander Peepers#Emperor Awesome#Lord Hater#As always check the tags first but hgggg Roundabout is so gooooood <3 <3#Absolutely the fic that convinced me that Awesome was worth thinking about more than he initially appears lol#The™ fanon interpretation to me <3#Like the Eyesome stuff obviously (also the thing that convinced me to try out Eyesome and ended up loving it :D)#But also the Death Glare stuff! It's terribly cute the way Peepers and Hater go bouncing off each other haha ♪#Plus there's just a lot of fun phrasing like the one I put in the caption of Peepers curled up haha#Everyone's characterized so fun!#Plus there's just something very fun recalling my first reread lol - I don't actually remember my first reading experience#But I do remember getting fic-hungry for it later down the line at a local Mexican restaurant and reading it on their wifi lol#It's so fun to finally be at a point where I can confidently draw them and then to come back to the story and ahhh <3 <3 Very enjoyable#The first two aren't tied to anything specific other than the basic concept of those two drinking together lol#Same size glasses but very different alcohol-to-body-size proportions lol ♪ Buying drinks for Peepers saves hand over fist!#We all know he could put it away like no one's business so really it wouldn't matter in the end lol#It was so fun to doodle him curled up ahh <3 His silhouette <3 <3 Toss a blanket over him!#And the Drama! The deliciousness of Peepers keeping Secrets from his Lord Hater! Ah!#It feels so in-character of him to have alone time away from the ship that Hater doesn't even notice until he's been away awhile ♪♫#They're both adults ♪ They have aspects of their lives that aren't Entirely intertwined ♫ Until they do hehehe#Love 'em ♥#Hater was fun to draw there too lol slowly getting used to him! I like his PJs haha
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markiafc · 6 months
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to fulfill my promises to @ananeiah and to expound on @seventh-fantasy's post, there are many conceptions of enlightenment. because buddhism is a massive and old religion with a very robust canon, enlightenment goes by many names, it's articulated and imagined in many different ways. let's play the game of how many of them are adopted by the show...
popular metaphors that embody enlightenment include a refuge, a flame going out, or a firm island - because this world is often described as an ocean. all human beings are floating in the 生死苦海 sea of rebirth and suffering. to escape it, one must make their way to the island or to get on a boat. mahayana buddhism (aka. chinese buddhism) is literally named 大乘 the great vehicle, the primary idea being that enlightenment = to board a vehicle of transport, it will take you away. however, buddhism doesn't just envision this as an ambiguous vehicle. 乘 the vehicle specifically refers to a 船 boat.
the mortal world and the cycle of suffering is a sea and the way out is enlightenment, envisioned as a boat.
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an extension of this is the concept of 彼岸 the faraway shore (alt tl: the further shore, the distant shore, the other shore, or at times the opposing shore). it draws on the same notion of 苦海 the ocean of suffering. to achieve enlightenment is to swim to shore, where there is finally safety and stability, free from suffering. this is why the euphemism for enlightenment is to 度到彼岸 reach the faraway shore.
此岸 this shore, is this ever-changing world full of agonies. you wade across the 苦海 sea of suffering, and reach 彼岸 the faraway shore. this is enlightenment.
as @seventh-fantasy depicts in this post, the final shot of ep 40, and as seen in the bonus ep 40.5, this is where llh is. ep 40 ends with the camera moving further into the distance, moving further into the sea. and the bonus ep 40.5 makes it clear again that lxy/llh has found his way to a different beach. llh has crossed the sea to another beach. he is on another shore, the 彼岸 faraway shore, far from 东海 the east sea where everyone else is.
let's look even closer at this.
enlightenment is also conceived as a place: 淨土 the pure lands, 极乐世界 the realm of greatest bliss, and so on. one of the geographical markers of this idea is 西 the west. this "land" accessible only to the enlightened (佛 buddhas, 菩萨 bodhisattvas, and 阿罗汉 arhats) is also dubbed 西方淨土 the western pure lands and 西天 the western heavens, etc.
enlightenment is imagined to be westwards. the opposite direction and away from 东海 dong hai = the east sea. where the story began and lxy famously plunged into; he fell into the 苦海 sea of suffering located in the 东 east. from this starting point, llh makes a meandering journey to his final location in the show. he makes his way 西 west, towards enlightenment, and reaches a 彼岸 faraway shore, the enlightened "after" and what is beyond.
now that we're on the topic of the pure lands, it's worth mentioning that this concept is furnished with a lot of descriptions in buddhist sutras. it is a beautiful, glorious land brimming with lotuses. because, of course, the lotus is yet another ubiquitous image that represents enlightenment.
the lotus position is crucial to the buddhist practice of prayer cultivation, especially in 禅宗 zen buddhism that is built around the central practice of prayer. lotuses are motifs in buddhist art, and buddhist myths (the legend goes that lotus flowers bloomed under the buddha's feet when he took his first steps as a child). people practicing buddhism are referred to as 莲友 lotus friends, 芬陀利花 the white lotus is a synonym for the buddha. lotuses are also integral to buddhist canon; the pure lands are detailed to have seven 宝莲池 treasure lotus ponds. every buddhist has their own lotus waiting for them in the pure lands; it is believed the more you cultivate, the more your bud in the pure lands grows/blooms.
of note, every living thing residing in the pure lands are made from lotuses. in fact, buddhist canon states that the enlightened are reborn inside a lotus bud, similar to an incubation. their new body is reconstituted from lotuses and they emerge anew when the bud blooms. crucially, it is also stated that every enlightened in the pure lands will have 莲花座 a lotus seat. this is a vehicle of transport, usually likened to the magic carpet from one thousand and one nights. it is described as 随心所欲、飞翔自在 something that acts after your heart's desire, something that flies free. the lotus seat is about boundless, freeing travel.
this isn't comprehensive at all, there are tons of other ways lotuses come up throughout buddhism. but the connection to the show is straightforward and self-explanatory. the primary motif in 莲花楼 mysterious lotus casebook is the lotus - a famous marker for buddhism itself. one of the dominant illustrations of enlightenment, the cultivation process to achieve it, and enlightened entities themselves.
the buddhist notions of rebirth are similarly heavily intertwined with the lotus. it is your body; you become it, it becomes you. from then on, you are surrounded by its image and its presence. you even have a lotus vehicle that becomes your main method of travel, a mode of travel defined by carefree contentment. sound familiar? llh's identity and his living carries major markers of enlightenment. it is one of the primary concerns of his character arc.
quick detour. a prominent moniker for enlightenment is the setting of the sun, as yet another epithet utilized by the drama.
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detour over. crazy connections time.
discussions of death and suicide is, to my knowledge, particularly prominent in japanese buddhism. but as a whole, a significant portion of buddhist canon and a good number of buddhist media deals with this too. dying as a means to get closer to enlightenment, equating death and enlightenment, the subject of suicide itself. characters seemingly pass away and become enlightened, or characters strive for death with this express purpose as death is connected to enlightenment. this is true. one does not necessarily cause the other, but the concepts are interconnected in buddhism. it comes hand in hand, dissecting one means dissecting the other and vice versa.
most buddhist texts and masters do not condone a direct correlation, suicide is not the way to enlightenment. there is no buddhist value to killing yourself. but the key exception lies in one of the most important buddhist texts: the lotus sutra.
"These include several themes dealing explicitly with death, such as how suicide was committed to speed up rebirth in the Pure Land based on the sanctioning of voluntary death as a superior form of sacrifice in Chapter 23 of the Lotus Sutra ..." [1]
the chapter 23 in question talks about a bodhisattva who turns himself into a human candle and burns himself up, in offering to the buddha. there is more to the story, but it mainly functions as a lesson about cultivation and enlightenment.
in the canon about buddhist suffering, there lies a subset dedicated to physical pain and torment. there is a heavy focus on our 5 senses, specifically (that's a whole separate topic i won't go into here). very briefly, to suffer is to experience the world through our 5 senses. to live as a human being is to suffer in a sensory way.
buddhism aspires to transcend this flesh and blood suffering. so annihilation of one's body is an essential step to achieve enlightenment. usually, this theory centers natural death and decay. you accept that you are always aging, your senses will lose their edge, your body is always subject to illness, injury and other failings. let the body waste away, it will do so regardless.
hence, the human body is set on a course of gradual deterioration. this suffering is processed through our 5 senses and is defined by them. in the face of this, the lotus sutra is the only notable buddhist text that looks kindly upon "voluntary death" to transcend it.
similarly, llh accepts the effects of bicha on his body. it mimics the natural decline of the human body, accelerating the degradation of his senses, his immune system, and his physical capabilities in general. his experience of this form of suffering is also emphasized through a period losing his sense of sight. it is a very buddhist torment. but at the end of the day, it is still a man-made, unnatural cause generating this effect. accepting this is not the same as accepting 生老病死 death via age, sickness and other natural processes.
llh embodies the sentiments and themes in the lotus sutra when he consciously chooses to let bicha run its course. he chooses to die, it is a "voluntary death". let this destroy his body. let this suicidal choice (though its more nuanced than simply suicide imo) free him from buddhist physical suffering. thus bringing him closer to peace, a version of himself that will be happier.
finally, enlightenment is about ambiguity.
凡人 the common people are incapable of comprehending enlightenment. it is understood that the human senses and the human mind is too inept and unrefined, too clouded by illusions, to grasp it. there are a million ways to express it, depict it, and name it. but there is a consensus across buddhism that these are simply aids for the common student of buddhism, and they are not accurate to the truth. at the core of enlightenment is an abstraction, an inherent unknowing.
it is, by definition, a departure and a continuation. it is a removal from this world and a transition into another place, another realm. all at once, the phenomenon straddles a greyness between an ending and a beginning. it is unclear whether the enlightened has left, or is it the common man who is so lacking he cannot recognize or even perceive the enlightened? in the theory of enlightenment, buddhism accounts for both factors. but we will never know for sure.
where do the enlightened go? where are they, where have they gone? these are questions buddhists often ask and explore, and it is also the question that the remaining cast engages with. what is enlightenment, exactly? there is a suspicion, some notion of what must have happened. it might be death, it might not be. only the enlightened can answer this, everyone else is left without clarity.
in the end, the seekers get close to the answer but there is no real fruition. and so the search lasts indefinitely.
that, too, is part and parcel to enlightenment.
as for how enlightenment narratives function, i leave you with this.
"Nirvana provides the full stop (period) in the religious story; it gives what one might call, to use Frank Kermode's well-known phrase, "the sense of an ending" - that is, a real ending and not a mere breaking off. Such an ending is only possible within a narrative.
[...]
Nirvana, I want to suggest, is a moment within a discursive or practical dynamic, a formal element of closure in structure of Buddhist imagination, texts, and rituals. One might say that nirvana has primarily a syntactic rather than semantic value: it is the moment of ending which gives structure to the whole. The fact of narrative structure and closure provides a meaningful and satisfying resolution, although in itself nirvana has merely the formal value of a closure marker.
[...]
Earlier I called nirvana the full stop (period) in the Buddhist religious story; now I can add that it is a full stop in an eternal story, a full stop which brings closure to individual lives in a master text which itself can have no final ending." [2]
Sources:
Tragedy and Salvation in the Floating World: Chikamatsu's Double Suicide Drama as Millenarian Discourse by Steven Heine ↩︎
Nirvāna, Time, and Narrative by Steven Collins ↩︎
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