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calmcoldevening · 10 months

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Pov: You knew slashers, when you was a child (Slashers x fem!reader)

I'm back! Well, it os a lazy post from my drafts, until I end my new idea <3

TW: no

Characters: Thomas Hewitt, Brahms Heelshire, brothers Sinclair

P.S.: English is not my native language, so lot of these words was translated by simple translator, sorry for misspells and e.t.c.

Enjoy this!

Thomas Hewitt

The transition to a new school has always been a great stress for a child, especially in the middle of the school year.

You and your parents often moved from city to city. Maybe it was their work, or maybe they just wanted to show you as many different places as possible so that your childhood would remain really memorable — you didn't know. But the constant moving was followed by a change of schools and kindergartens. On the one hand, you liked it — new acquaintances, interests and a lot of positive emotions, after all, you were a cheerful and active child — but it also brought its inconveniences — you didn't have "best" friends, you had no more than a couple of months to communicate with each of them, and multiple the change of the team has made you a real chameleon in society.

You were ten years old when you and your parents moved to Texas. The age when most classes have already been divided into peculiar interest groups, which are quite difficult for a new person to join. That's why your mom decided to bake cookies that you could distribute to new classmates. Who doesn't like homemade cakes? You actively participated in the cooking process. A little more practice, and you could learn these cookies on your own. As soon as the treat was ready — several pieces were successfully taken away by your father — your mother beautifully put it in a colored box, now tied with a ribbon. The inscription "Welcome" was painted on the lid in gold paint.

It was very hot in this area of Texas. Therefore, on your first day of school, you decided to limit yourself to a beautiful white T-shirt with some simple pattern and black shorts. The first impression is the most important, right? Your mom took you to school by car. At the reception desk, your mom introduced you and found out the number of the right office. After kissing you goodbye on the cheek, she left you to your own luck. Although you were already used to it, a nervous feeling of anticipation bubbled somewhere in your chest; your palms were sweating.

After a good seven minutes, you were standing in front of the right class, 212, clutching a box of cookies to your chest. Adjusting the strap of the gray backpack, you exhaled anyway.

Your homeroom teacher, Mrs. Sullivan, introduced you in the office. A lovely woman with curly locks hanging down on both sides of her face and freckled cheeks. Her soft figure, dressed in a white blouse and a black pencil skirt, caused a surge of strength and confidence in you. The woman lightly put her arm around your shoulders, so motherly, and asked you to tell about yourself.

"My name is Y/N Y/L," your voice trembled slightly while your gaze ran over the children sitting in the classroom, "I'm ten. I like animals and beading... Mm, my parents and I move around a lot, so I don't think I'll stay here for more than two months. I hope we'll become friends."

You ended your performance with a sincere warm smile. Mrs. Sullivan asked you to take an empty seat. Your choice fell on the farthest place by the window; a guy was sitting behind it, hunched over and staring at the street. Was he weird? No, rather unusual. He had long black hair, so unusual for a boy; his gaze was lowered somewhere on the dusty road near the school, so you couldn't see his eyes. Sitting down next to him, you quickly took out a notebook and pencil from your backpack.

"Hello?"

The boy seemed startled by your voice. He looked at you uncertainly, and you saw a face wrapped in bandages. Sad cornflower blue eyes peeked out from under the white cloth.

"I'm Y/N," you whisper, holding out your hand to the boy, "And what's your name?"

There was no response. Disappointed, you lowered your hand, now paying attention to the teacher's explanation. The woman was writing down her words on the blackboard, and you quickly began copying them into your notebook, clutching a pencil until it crackled.

There was something about this boy that attracted you. It doesn't matter if it was his shyness or isolation — you decided that you definitely want to make friends with him.

At recess, you approached a group of girls. They were dressed up like girls from fashion magazines that you often saw in kiosks by the road.

"Hi," — you said with a light smile.

"Well, hello," said one of the girls, popping a bubble of gum.

"I want to ask. M, that boy," you pointed to the long—haired boy, "What's his name? I asked, and he ignored me."

"Haha, he won't answer you. That's our little Tommy," another girl hissed sarcastically, giggling, "Thomas Hewitt is weird. Very strange. I heard that his father is his brother!"

"And he's also a terrible freak!"

You awkwardly put your hand in your hair. Thomas didn't look as disgusting as the girls described him. It's all rumors. And what to take from these children, they probably didn't even try to talk to Hewitt!

You didn't talk to this company anymore. After waiting for lunch, when all the children went out to the garden at the school, you again approached the boy. He didn't budge. It seems he hasn't even written anything since you sat down next to him.

"Hey, hello?" you waved your palm in front of the guy's face, "Thomas, right?"

This time the boy paid attention to you. There was no emotion visible under the thick layer of bandages, but you were sure that he arched an eyebrow questioningly. He's wondering how you know his name?

"You were sitting alone, so I came over. Your name is Thomas, right?" you repeated the question, finally the boy nodded, "That's wonderful! I'm Y/N, let's get acquainted."

Smiling happily, you hand the guy an open box of cookies. Golden crust with chocolate chips. You had no desire to share such a delicious thing with such terrible and tactless people. And Tommy. Tommy was different. He was timid and calm, unable to cause harm.

"Help yourself," you babble, sitting down next to Hewitt, "I made them myself! Not without my mommy's help, of course..."

You blush slightly and see Thomas's eyes narrow. He smiled! He seems to be starting to like your company.

"Can I call you Tommy?"

• Thomas has become noticeably happier since you met him. The boy began to spend more time outside the house, in your company (Luda was very surprised by this, because usually after school Tommy always came home and sat in his room).

• For your birthday, Thomas himself sewed a soft toy for you, a fox, as he found out later, this is one of your favorite animals. The toy was sewn from different, but matching pieces of fabric, a little sloppy, but quite skillfully. It made you smile. You threw your arms around Hewitt for joy.

• Once you praise him, Tommy immediately blushes a lot. It's good that it's not visible under the layer of bandages. From the moment you became friends, Thomas's self-esteem has risen a little.

• When you first offered to help Thomas change the bandages, he strongly refused. The boy just couldn't let you see his face. But when he finally gave up, Hewitt was pleasantly surprised that you didn't scream and run away. You didn't call Tommy a freak or a monster, but only sympathetically stroked his scarred cheeks.

• Over time, you began to understand Thomas without words, absolutely. You found the right answers in his movements, grunting, awkward head turning or excessive gesticulation. Even Luda was a little amazed at your nonverbal communication, but the woman was glad that her son finally found a real friend.

• Tommy often showed you his drawings. It was like the scribble of a five-year-old child, but you were always happy to accept the leaves and hang them over your bed. Basically, Thomas drew his family: angry Charlie in the corner of the paper, Monty sitting next to him in a chair, a little further away, Luda was cooking, and in the center of the drawing you and Thomas holding hands and smiling.

• It was the first time you begged your parents to stay in this city longer. Fortunately, they agreed after seeing your enthusiasm for the "strange boy".

Brahms Heelshire

• Your parents and the Healers kept in touch for a while, you can say your families were very close. You first met Brahms on his fifth birthday. He was a very well-mannered but private boy, so Mrs. Heelshire was only too happy to introduce you.

• At first, your communication did not work out. Brahms was a rude child in places, took away your toys and teased you.

• His true attitude towards you showed up when you didn't come to his house, although you were visiting the Heelshire family every Monday and Wednesday. He was seriously worried. All morning Brahms sat in his room by the window and looked at the road going through the forest, waiting for your little body in your favorite blue dress to appear from behind the trees. But you were never there. It turned out that you were just sick. That day Brahms went to your house and did not leave your bed, squeezing your hot palm.

• Your parents worked most of the time, so they were not against your games with Heelshire Jr. You stayed in their house more and more often, sometimes even overnight, and you and Brahms made noise all night, forcing his mother to swear. But still, the woman was glad that at least Brahms was behaving quite comfortably and boldly with someone.

• You were only a couple of months younger than Brahms, but you thought it was a good reason to tease you.

• The boy allowed you to enter his room without knocking, consider it a worthwhile privilege, because Heelshire does not let everyone into his personal space.

• When you were sad, Brahms brought you bouquets of flowers hastily made with his own hands. That's why his palms were green most of the time.

• Brahms makes wonderful sandwiches. He often makes them when the two of you are having a "picnic" in the garden. Although in fact he agrees to it only to admire you.

• Heelshire loves sweets very much. Very. His mom doesn't allow the boy a lot of sweets and cakes, so you secretly bring them to him from home. The boy is insanely happy.

• Brahms loves kissing. This habit, or rather the need, appeared in him because you praised the boy in this way. Has he finally cleaned the room? A kiss. Did he break his mom's precious vase during the catch-up today? A kiss! So now he can demand them for any reason. He especially likes it when you kiss him before going to bed, and Brahms falls asleep hugging you.

• You're his best friend. That's why Brahms trusts you with all his secrets. You are the only one to whom he has told about the strange and frightening thoughts that sometimes sound in his head.

"Good night," Mrs. Heelshire said, turning off the light and closing the door behind her.

You smile and blow her a kiss, covering your mouth with your palm. When the woman's footsteps recede, you exhale with relief, plopping down on the pillow with force. Squinting your eyes, you wrinkle your nose, trying to blow away the stuck strands of hair from your face. Brahms giggles and gently tucks your hair behind your ear.

The room is cool. The window is slightly ajar, letting in a light autumn wind. The curtains are swaying from side to side, taking chaotic frightening shadows.

You get under the covers up to your nose. Brahms follows your example, pressing his whole body against you, and you stroke his head.

"If I ever do something very, very bad, will you stay with me?" Heelshire whispers, looking up at you.

You look into his sad emerald eyes and laugh. He likes to put pressure on your pity, because he knows that at such moments you see him as a tiny abandoned kitten.

"I don't think you'd do anything so bad, Brahms."

"But if I do. What if everyone turns away from me. Even mom and dad. Will you stay with me?"

You pressed your lips together, frowning. Brahms had never asked such strange questions before. And how can a child who is only eight years old think about something like that after a while. Looking down at the ceiling, you turned your head, looking into Brahms' eyes.

"Yes. I'll stay."

"Honestly?" Heelshire asks incredulously.

"Honestly."

"Promise?"

"Yes, I promise you, silly boy!" you abruptly cover his face with a blanket, holding the edges on both sides of his head.

The boy was kicking, trying to get out from under your weight, while you tried not to laugh. Taking pity on his futile attempts, you took off the blankets, admiring Brahms' flushed face. Heelshire was breathing heavily, and his cheeks and nose were burning like Chinese lanterns that your parents launched on your birthday.

"I won. Again," you grin.

Brahms is silent. You sigh and lie down again, turning your back to Heelshire. Your eyes are shining with joy, and your lips continue to curve in a smug grin. You know that Brahms will not dare to do something to you in return. He always let you get away with such antics. Absolutely always.

When you are ready to fall asleep, through the chatter in your head you hear a plaintive whisper. Having opened your leaden eyelids, you groan with displeasure.

"Kiss me," Brahms whines, and you get up on your elbows, chuckling softly.

"Okay," you kiss Heelshire on the lips, "Good night, Brahms."

• "Now I've won," Brahms croaks, pressing you against the wall and spreading his hands on both sides of your head. Just like a child. Except now he's not the victim here, but you. Although was he ever a victim in your games? Rather, he always played the role of a presenter, you just didn't notice it, as if you were looking through your fingers. And who would have thought that that innocent little boy would ever stand in front of you, towering over your body by a good two heads, and grinning with eyes shining in anticipation through the black slits of the mask.

Sinclairs

Christmas is the most mysterious and magical holiday of the year; the day when the whole family gathers at one big table to properly celebrate this moment together; the day when you receive a lot of gifts from all kinds of relatives, which you sometimes did not realize; the day when all wishes come true.

You clumsily shuffled along the road, shaking your back every now and then to adjust the heavy backpack. Things inside rattled a lot, and you tried to straighten your back faster to avoid crumpled packages.

Christmas was your favorite holiday. And although your parents have been working constantly lately, you were glad that you could spend this family holiday with your friends.

You met not so long ago, only about four months ago, when you first moved here. Ambrose turned out to be a very nice and cozy city with friendly and caring people. Mrs. Sinclair, Trudy, and your mom became friends right away— their interests converged on art. That's when I met her sons, the woman suggested that you make friends with them because of their similar age. And it turned out to be a very good idea. The boys quickly became addicted to you.

Once again adjusting the canvas straps of the backpack, you quickly climb the steps requested by the snow and knock on the sand-colored door several times. On the other side, there is a fussy shuffling and dissatisfied grumbling.

"Hello," you say, smiling, when the door swings open in front of you, revealing a view of the timid Vincent.

The guy nods to you and opens the door wider, motioning you to enter. You kiss Sinclair on the cheek of the mask. Brushing off your feet at the threshold, you quickly take off your shoes and leave your backpack at the shoe shelf. Music from an old radio is coming from the kitchen, some station unknown to you is playing old songs from the seventies. As soon as you entered the room, Vincent stood at the stove again, frying something in a frying pan. Whenever Trudy was busy making figures and arranging a museum that she someday wanted to open, it was Vincent who did the cooking and other household duties. Bo was stubborn and didn't want to do "women's" work, and Lester was still too young for such a large-scale activity. The latter was now sitting at the table and skillfully sliced an apple with a hunting knife into neat pieces.

"Morning, Lester," passing by the boy, you leave a small kiss on his forehead.

"Hi, Y/N!" Sinclair winces contentedly, flapping his big copper eyes.

You sit down next to the boy and imperceptibly take a piece of apple from under his nose, throwing it into his mouth contentedly. There were already several plates and cutlery on the table. Vincent loved order, so he prepared everything in advance.

"Where's Bo?" you ask, rocking slightly in your chair, for which you get a menacing look from Vincent.

"Mom asked him to help at the museum," Lester replied, "He should be back soon."

You notice how Vincent turns off the stove and turns his whole body in your direction. The guy takes a notebook lying on the table and quickly scribbles something.

"Have you had breakfast?"

"Yes," you say shortly, when Vincent closes the notebook and puts it back, "Honestly."

Sinclair puts the hot omelette on plates and pushes you a bowl of oatmeal cookies. You happily take one piece. Vincent sits down across from Lester and lifts the mask just enough to see his mouth. You frown, noticing the edge of his deep scar.

"Hey everyone," it was heard from the threshold, when the front door slammed shut with force, "Oh, honey, and you're here," Bo walks past you, lightly touching your shoulder in greeting, and sits down next to Vincent.

During brunch, you watch Lester and Bo actively negotiate. When their plates are empty, you decide to step in.

"Since everyone is here," you babble happily, clapping your hands to attract the attention of the guys, "I want to give you gifts a little earlier than planned, do you mind?"

"Of course not," Bo abruptly pushed away from the table, "I'm all for it, babe."

Bo winked at you playfully, to which you rolled your eyes. Vincent signed something, and you looked at Lester. Your sign language was not yet good enough to understand most of the phrases, you barely remembered the words of politeness. That's why you've always relied on little Lester at times like this.

"He said: "Why are you doing this so early?"", Lester explained, innocently blinking his eyes.

"What's the difference," Bo frowned, "Sooner or later — the main thing is that she gave."

You didn't comment on the elder Sinclair's words, but just got up from the table and went to your backpack resting in the hallway. When you came back, the brothers were already sitting in a kind of semicircle on the floor. Bo sprawled impressively closer to the sofa and grinned in anticipation; Lester, in his usual manner, sat cross-legged; while Vincent tucked his knees to his chest.

You sat down between the twins and put the backpack next to you, unzipping it. You said "Close your eyes" and, as soon as the boys fulfilled your request, you began to take out colorful boxes. All packages had the same color, different sizes. Alternately, you put the gifts in front of them and allowed them to watch. Lester giggled when he saw that his box was the biggest.

"Merry Christmas," you drawled, spreading your arms out to the sides.

The very first gift was opened by Lester. The boy happily tore open the package, scattering the paper around him, and screamed when he saw the cherished surprise. A big stuffed fawn. He had a soft beige body and neat brown horns sticking out in different directions. The muzzle was cheerful, with a big nose and shiny button eyes.

"I knitted it especially for you," you babble, smiling, when Lester looks up at you with an enthusiastic look.

"Thank you!" the boy throws himself on your neck with lightning speed, squeezing your body until the bones crunch; you stroke his back.

Bo was a little surprised when he saw a set of tools under the wrapper. He loved tinkering and was well versed in mechanics; the fact that you remembered about this hobby touched the guy a little; his lips curved in a slight smile.

"Well, thanks, babe," Bo grins, patting your hair.

You're pouting a little. All the time spent in the morning combing this tangled nest has gone to waste. You are dissatisfied with blowing off a few strands that caught your eye.

The last person to open his gift was Vincent. The boy very tenderly unwrapped the package, not trying to tear it, as if stretching and savoring this moment. You watched the deft but careful movements of his fingers with burning impatience. Finally, Sinclair took off all the paper, removing it from the side, and looked down at what he saw. A large set with colored pencils. Exactly the one that the boy looked at with undisguised envy in the window of an art store about a month ago. Did you remember that? With slightly trembling hands, Vincent takes the box and turns it in his hands. There were several more drawing pads under it.

Vincent looks at you, and you see the trembling gaze of his azure eyes in the slits of the mask. Such unbelievers, but at the same time grateful. You crawl up to the boy and hug him tightly, nuzzling his neck. Vincent lets out a ragged sigh.

"Merry Christmas to you, boys," you congratulate them once again, seeing the boys' satisfied smiles.

"So why did you decide to give it to us so early?" Lester asked, clutching the toy to his chest.

"Oh, that," you awkwardly fix your hair, "Well, my parents decided to leave. To another state. We'll leave tonight. So I thought I could have some fun with you now."

There was an oppressive silence in the room. You were afraid to look up, but you could feel the disappointment on the boys' faces. Your heart was painfully squeezed in your chest, from which you gritted your teeth with a creak.

"Will you come back?" Bo broke the silence.

"I don't know. Dad was offered a job in another state. Mom just said I wouldn't be able to see you."

You looked at each of the boys in turn. Vincent's head drooped, Bo's brows furrowed, and Lester's lips tightened into a crooked thread. The elder Sinclair sighed heavily.

"We'll be waiting. All together," he looked at you from under his brows, "Just try not to come back to us."

• Vincent loves sweets; but, often, Bo takes most of the goodies. That's why you put an envelope with several edible bracelets in one of the donated notebooks. Bo will probably consider them girly and will not take them away from his brother.

• You have been knitting a fawn for Lester for about five days; the boy is very happy with your gift. Your relationship is like a brother and a scary sister. He is always ready to rely on you; Sinclair is glad that he has such a caring person, unlike the same brothers (in particular Bo).

• Trudy adores you. You could say that in these few months she began to perceive you as her own daughter. You even know where the spare keys to the back door of the house are.

• Bo always tries to impress you as a self-sufficient high school student. He saw his father's old magazines with tackles, seduction and other materials not for children, so he decided to train on you. He didn't notice how he fell in love.

• Vincent is a good cook.

• Most of Vinnie's drawings in the new notebooks are you. He will paint your portraits for many years after your leaving.

#slashers x reader #thomas hewitt #thomas hewitt x reader #brahms heelshire #brahms heelsire x reader #lester sinclair #lester sinclair x reader #vincent sinclair #vincent sinclair x reader #bo sinclair x reader #bo sinclair

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theoutcastrogue · 2 months

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That said, the D&D 3.5 Paladin was bad. It was badly designed, it had bad rules, and in conjunction with the other notoriously bad rule, alignment, it could cause havoc.

Now personally, I never had ANY problems with it in my tabletop games. I played paladins and loved it, and I loved it when other people played paladins, and it was great. But that's because, collectively as a group, we took ONE look at that terrible rule where the paladin's code of conduct prevents them from associating with Evil characters or "someone who consistently offends her moral code", and immediately went, "that's stupid, we ain't doing that, it would ruin the game".

We also didn't love the concept of alignment as a cosmic force, and didn't care for Usually Evil Goblins and Always Evil anything. And when a class's signature ability fully depends on whether creatures are capital E Evil, well that affects storytelling, doesn't it? But we all saw it the same way, and we were happily able to change it without any disagreements. In the end we had a Paladin… similar to 5e now that I think of it: completely ignore the Code's association clause, tailor the Code to personal stance or a specific Order, Detect only fiends and undead and the like, Smite anything you want, Fall only if you really fuck up, and never presume that just because you haven't Fallen yet everything you've ever done is justified and correct and anyone who disagrees with you is objectively wrong.

Basically, there were 2 options in 3.5. You either houseruled and/or handwaved things, and in matters of alignment interpretations erred on the side of "what makes the game go",

OR, you played with Rules As Written, and filled the forums with questions like "should the paladin fall?" (one such thread per week, conservatively), "we got into a fight over the Paladin, what to do?", "is it Evil to pick pockets? because we have a Paladin in the party", "the Assassin uses poison, shouldn't that offend my moral code?", and shit like that. Just... pointless strife, all the time. Again, never happened to me, but I was appalled to read about it, over and over and over.

People got intense with 3.5 Paladins (both pro and against) because it was BADLY DESIGNED and had BAD RULES. Its mechanics forced narrative choices on the entire table, and the only way to make it frictionless was having a party where no one wishes to explore a character's bad side ever, no one does things that aren't bad but WotC branded Evil™ in this or that splatbook, and everyone magically agrees all the time on "what is right and what is wrong" and "what is Lawful and what is Chaotic", which is simply impossible. The most subjective thing in the world (ethics!) was presented as an objective cosmic force, and how you interpreted it would determine how much damage the Paladin deals in combat, and whether the Paladin could keep associating with the party, and if the Paladin is still a Paladin. And all that in a game, let's not forget, whose basic, fundamental premise is "kill things and take their stuff". I'm sorry, this is tremendously stupid. It's the WORST design.

I know that for some people it worked as written, and good for them, but for the many many people it didn't work, well it's obvious why.

#how to rogue #d&d #3.5 #paladin #crunch #fluff #alignment #trs

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lightfeltmemories · 5 months

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episode one: phantom troupe and romance; headcanons from least toxic, to most toxic

characters include: chrollo, machi, pakunoda, shizuku, uvogin, shalnark, feitan, phinks, bonolenov, kortopi, hisoka, illumi, nobunaga, franklin. (not in order)

tw's: nsfw but nothing explicit, mentions of non-con, spoilers for the deaths of pakunoda, shalnark, kortopi and uvogin, toxic relationships, lovebombing, mentions of torture (not on reader), mentions of cheating, mentions of reader's death,

notes: a completely self indulgent post, you can probably tell who im biased towards by how long certain sections are.

because this contains mentions of nsfw, do not interact if you are under 18, you will be blocked if you do !! also, do not leave negative comments please, they will be deleted :)

pakunoda

out of everyone, guaranteed, she'll be the best partner out of everyone else, you might even end up shocked that she's apart of the troupe if it ever comes to you finding out.

she's a darling, spoils and cares for you like anyone else, a great listener and partakes in your interests in hobbies, its (almost) like a fairytale by how the relationship is, the troupe knows you but you don't know them! and she wants to keep it that way, of course still she's a murderer, so it would break her if you were to have found out about everything, she vowed to never let you know or even have you close to knowing about what she does, but you just can't help but wonder what she's doing when she's away for long periods of time.

until it comes to her death.

now, you eventually find out that she died from a close friend of hers, but he knows paku doesn't want you to know about the troupe, so, he's a bit vague, and a bit creepy.

nobunaga

personally out of everyone else, i feel like nobunaga would be other most normal when it comes to relationships, but then again, he's an enigma, he doesn't strike me as the type to be the best boyfriend literally ever or very very toxic, i feel like out of everyone else, if you're looking for someone to be in a semi normal relationship with, nobunaga is your best shot, but of course, he's a part of the phantom troupe, and any member apart of it isn't exactly the best partner by default.

he's still a murder and thief, like all members i believe that he would definitely steal things that remind him of you, he'd most definitely kill for you.

unlike someone like feitan or machi, he doesn't exactly have a problem with being vulnerable when you get to know him, he'll tell you about himself, and of course, because he's a criminal he can't exactly tell you what he does for a living, but can't bring himself to lie about it either, he's just hoping that one day, if you know, you won't leave or judge him for it, his childhood isn't exactly all sunshines and lolipops, y'know?

he'll love you from the ends of the earth, but he definitely won't let you walk all over him, quick to put your in your place and won't allow you to manipulate him, he won't lie to you (about trivial things, at least) so why should you? (who knows, maybe you're apart of a criminal organization and is pretty much a wanted criminal yourself :P)

bonolenov

similar to nobunaga i think if you want something that's somewhat normal, bonolenov is also a nice choice! (100% not putting him up so high because we don't really know that much about him it's totally because he would be a decent partner! honest!)

for one, you would definitely be introduced to usual romantic gestures and advances that come from his tribe, he'll tell you all about how things work with him, he'll do dances he learned when they were still here for you to show how much he adores you, and dresses you in garments that resemble such from his tribe, it's pretty cute, honestly!

now, what concerns him a bit is.. how you'll react without his bandages, he's not exactly sexy like chrollo but (to me, TO MEEEEEE) he's not the ugliest thing in the world! he just hopes that eventually if you see him in his true form, you don't scream and run away at the sight of him, its okay if you do! ..... kind of.

and if you don't, oh you'll mean so much to him!

kortopi

now, here's another one we don't know much about! but i'll try my best either way (i just want to contribute to the lack of attention him and bono get in these spaces.) he's another somewhat normal one, he also doesn't strike me as the type to be the absolute worst, but still is apart of a troupe of murderers and thieves.

similar to everyone else, he'll steal and kill for you (idk if this guy even has a body count but lets pretend he does.) and is a lot more open to being vulnerable than some other members.

now, nine times out of ten you'll be taller than him because this guy is even shorter than feitan, so, he'll definitely be wearing your t-shirts and hoodies, and he ain't complaining about it!

and eventually, he dies, now, honestly, something told you that kortopi seemed... like the odd one out when it came to the troupe, he doesn't seem like the type to be apart of... that! you better hope that hisoka doesn't care about you, or things are gonna turn ugly faster than you can blink.

uvogin

he's big (as hell), but he's sweeter (you know why they're in bold italics) than the others twice his size.

physically the strongest, you're rather lucky to have him has your partner, if someone won't stop messing with you, they're dead within a millisecond, or at least scared off since you know.. he isn't exactly built like the average guy and having someone that's eight foot fucking two walking up on you not really excited to see you is quite terrifying, depending on his mood they'll sometimes get away.... sometimes.

enough of that, how is it like when it's just the two of you? sitting on the couch or laying in bed watching movies together, his arm around you, it's basically a pillow! a hard ass pillow at that.

not the most vulnerable, he's not some weird incel who see's women as sex toys or anything, he's decently capable of being in a normal relationship, you won't see each other often sadly, but when you do, he'll pay 95% of his attention towards you, he'll even let you know straight up that he won't know when he'll get back, but he will! ... until he doesn't..

ah yes, his death at the hands of kurapika, how will you react? hell, how would kurapika react to your existence? something tells me that kurapika might kill you too, send you right off with him, or, in a rather strange twist of events, he might try to fuck you and take you to the other side, not in the way of barging into your house and straight up non con, nah, more like a get to know you then get in your pants type of way, uvo won't be there to protect you now would he? of course the latter is highly unlikely, but to be honest it's kind of fun to think about.

and now that you think of it... you don't even know what uvo was doing or where he was going, you choose how you want to react to how you found out about his troupe business.

shizuku

another woman! she's similar to another person right below her! she looks cute, but she's anything but!...... sort of.

she's not the best or worst partner, she's pretty normal, a bit distant but it's not something you can't manage, maybe she just needs some space and you're overwhelming her, but something that really gets to you is her forgetfulness.

at first, she'll forget things such as your birthday or your anniversary, but going further into the relationship, she becomes less and less forgetful (she might even remember things that you don't even remember.)

what exactly do you guys do together? well, she does try to partake in your interests, and does try to get things you like!

franklin

he's similar to uvo, he's big, he's actually nicer than he appears.

what makes him so low is.. well to be honest i don't know, i don't feel like he could be high up but not so low, so, this is the perfect spot for him.

for one he does have a bit of an anger problem, not as bad as phinks, but he doesn't mind a slight argument, good thing he wont assault you, and is quick to make up for the argument.

i don't know how to write him, so, please forgive me for how small this passage is. :(

shalnark

we're starting to get into uh... strange territory, he looks kind, and seems normal, but he's anything but that, he's not the most toxic but he also isn't the most caring and understanding either, similar to nobunaga he's kind of an enigma.

he's a love bomber and very good at manipulating, definitely takes advantage of his rather cute looks, he'll figure out what you're insecure about and compliment those things specifically, i do think he is capable of loving someone genuinely, but he sometimes does things without realizing that they aren't really normal, maybe he's getting his troupe personality mixed up with the one he has with you.

he does come off as sweet at first, brings you flowers and takes you on some rather expensive dates (an uncanny feeling creeps up on you about how the waiters act, but you don't pay much attention to it.) and sometimes he's more distant and a little bit aloof, you take this as him needing his space.

he's not abusive, but he isn't the absolute best partner, there's definitely better out there.

his death doesn't hit you as hard as the others but it was still devastating, you best hope hisoka doesn't come for you, and if he does, you hope he swiftly kills you, because you really don't want this murder clown to take an interest to you.

phinks

phinks is another one 'that's kind of odd to me, i don't want to judge a book by its cover and say "yeah he's a piece of shit!!" but again, he's a lot better in comparison to anyone below.

he's similar to shalnark in quite a few ways, one, he does things that kind of makes you think he's a bit of an odd ball, he's intimidating to look at and is the second strongest physically in the troupe, so you're lucky to have someone like him if you're looking for protection.

i don't see him as the type to take you out to fancy restaurants and bring you flowers, stuff like that is a bit too sappy for him, he shows other ways like giving you thinks you like or taking you to like carnivals or other fun events.

his main problem is his anger issues, he won't physically harm you especially if you don't use nen, but he's not above arguing with or yelling at you, he doesn't do it often, but he might call you an idiot or a bitch if you take him to that point.

the relationship is somewhat normal besides that.

chrollo

chrollo is weird, some say he's loving, caring, blah blah blah while some might say he's the exact opposite.

for one he is charming, he's a relatively good looking man, he's intelligent, and is looking for someone who's also intelligent.

i feel like chrollo definitely has a type, he likes people who are elegant, he wants someone that'll make him look good while he's in public, he doesn't care much for how people view the relationship outside of that, he also looks for someone with a personality he doesn't want someone who looks good yes, but is boring to be around, someone he can have a deep conversation with and talk about his interests with.

for one, you will not know about the troupe's existence, until he is 100% ready to tell you, which will definitely take a while, but he's confident that the troupe and himself will protect you from anyone who tries to avenge.

now, what makes him so low on this list? well, he's quite manipulative, a gaslighter, too, what do you mean you saw me with another woman? it's all for business, i'm just trying to steal her nen ability.

he does want to be a good partner, but this relationship is kind of a "too good to be true" type, something is happening behind closed doors and the thought is too persistent to ignore.

illumi

this guy is... strange, for one, his beady ass eyes make him look like a bug (affectionately), and section.. his very warped perception of what love even is.

i agree with the fandom that he has a breeding kink no doubt, his intention on dating is marriage, and you will bear his children, no ifs, ands or buts.

you'll meet his family but you'll never meet the troupe, he doesn't want you getting involved in fighting (he might have someone teach you some basic self protection) because he doesn't want you to die, that'll fuck with him... kind of, you're basically trapped in the mansion.

his overprotection is toxic on its own, you don't have that much freedom, you can't go shopping unless he's with you (or if he can't be there, one of his servants will accompany you), you're never truly alone unless he's away, and when he's here, things are no better, he's distant and cold, there's not much to talk about with him, sure, he loves you, but doesn't know how to express it much.

machi

one out of three toxic ass individuals, one of them consists of machi.

lets start off with the fact that she's cold hearted, as hell, if you cry in front of her she'll look at you like you're crazy, if she's really in that mood she'll tell you that you look stupid and you need to suck it up.

not good with physical touch or romance, who knows how the two of you managed to continue the relationship, she does leave flowers for you but won't tell you that they're from her, won't admit that she's the one who got them for you.

i feel like similar to a certain clown, she won't care much for you if you aren't either powerful or capable of protecting yourself in some way.

but all she's really doing is putting up barriers, she's actually caring in her own weird way, she'll still be there for you, patch up your wounds if you managed to get cut or stabbed and would probably mourn your death.

hisoka

were getting lower, and a certain sadist who loves torture is worse, but somehow, hisoka is slightly better than him in some way or another.

for one, hisoka probably won't be that interested in you if you aren't powerful, it would be worse if you were a regular civilian, he'll take that as an opportunity to take advantage of you sexually, physically, psychologically and mentally, and the relationship will be literal hell..

but, lets say you are pretty powerful, dare i say a troupe member yourself, he won't be as interested in fighting you as much as he would chrollo, but he would be interested in... other ways.

how you managed to get into a relationship with this freak is unclear, but you two one day just.. hooked up, and it all goes downhill from here.

he has no problem killing you if he gets tired of you, he already killed two and plans on killing the rest of the spiders, why not kill another? especially you? or, in an alternate scenario where he does manage to kill off all the spider, you're the only one who's left, this can go two ways, one, he can fuck you one last time then kill you, or, he takes you with him! if you managed to have a lasting impression on him, that is.

outside of sex, he just isn't a good partner, he's probably the only one on this list that's probably willing to cheat on you (don't you dare get back at him, both you and your lover will die) he's manipulative as hell, he doesn't necessarily care about how you feel and he'll provoke you just to get a reaction out of you.

feitan

and last but not least, feitan, oh boy, good luck to you for managing to have this man attracted to you. (im a feitan girlie, so this one might be a big longer than the rest)

for one, he'll hate your rotten guts for making him feel this way, for making him feel so weak, so emotional... he might even contemplate on killing you, but when that time comes he can't bring himself to do it.

i don't want to say yandere is his default since he doesn't really know how to properly love, because i do think he has some potential, but it does make sense for him, because there has to be something about you that makes you interested in him, maybe you're his polar opposite? maybe you're also a sadist?

he's not the most romantic partner, he doesn't want to come off as vulnerable, or sappy, so, what considers as a date to him? he's the type to probably take you to a cemetery at night as a form of a date.

he will not allow the troupe to know you or you to know them, for one he's going to be teased from hell and back for finally managing to pull someone and second while it appears that he doesn't care for you much, him protecting you from them is his way of showing you that he cares.

he can't find himself being vulnerable, he might teach you his language if you're up for it, and he might bring you some things he knows you like, but thats kind of it, also he won't force you to see him torture people.. unless you betray him in a way.

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tosahobi-if · 4 months

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GAME OUT NOW

Misfortune begets misfortune; evil will prey upon itself. Just as how the fox cannot live without the rabbit, the predator must understand what rises will fall.

Long before you were born, the Great Calamity, a calculated effort by Magyo cultists nearly wiped out the entirety of the Jungpa sects. If not for the noble sacrifice of the peerless Sword Saint of the Mount Hua Sect: the Divine Blade, Yeo Jinhu, demonic forces would have rent the heavens and the earth asunder.

Despite his triumph, nothing would ever be the same – the losses were staggering, the task of rebuilding the sects to their former glory seemed to prove an insurmountable challenge. Yet nearly two decades after his death, peace returned to the land once more.

After the death of your parents, you lead an ordinary, if not monotonous, life as the playmate of the spoiled young master of the Mount Hua Sect. However, all is not what it seems. Following the mysterious arrival of an amnesiac with strange abilities, whispers of a plot brewing in the shadows start to surface, and the world as you know it begins to fall apart around your feet.

Suddenly confronted with the uncertainty of the future, you must unravel the tragedy of what truly conspired all those years ago before you risk losing all you hold dear.

tosahobi (18+) is a muhyeop choose-your-own adventure game centered around elements of korean folklore and taoism in a tale of family, grief, and heritage.

play as a customizable main character: choose their physical appearance, gender, pronouns, sexuality, and more.

explore different relationships: from platonic to romantic to familial, build a variety of relationships with the cast (and hopefully make more friends than you do enemies.)

choose from different skill sets: pick between medicine, weaponry, tactics, and hand-to-hand combat. each field comes with its own advantages and disadvantages that affect multiple scenarios as the story progresses.

choice-driven story: with several routes and (many) choices, fail or succeed and find your way to an ending (whether it be happy or not.)

something is incredibly wrong: can you feel it too?

THE YOUNG MASTER

Yeo Jinwol of the Mount Hua Sect, is the youngest son of the sect leader. Contrary to his charming public demeanor, he has a childish side and can be extraordinarily stubborn. Having grown up in the shadow of his elder brothers he is fiercely protective of those he considers precious to him and struggles to measure up to the expectations placed on his shoulders. Assigned his playmate at a young age, whether you consider it fortuitous or not the two of you have been stuck together for years.

THE ENIGMA

Yul is your sajae, a disciple under the same master as you. Despite their amnesia, they're preternaturally talented at whatever they set their mind to. With strange yet unexplainable abilities that seem to stretch far beyond the scope of their powers, their missing memories may be the key to unlocking the answers you seek. Reclusive yet dedicated you'd almost think they were far, far older than their age if not for their intense sweet tooth and their tendency to follow you around like a very clingy second shadow.

THE PRODIGY

Baek Iseul, the Frozen Blade, is the rising star Emei Sect and has long been hailed as the next Sword Saint. Contrary to her cheerful personality you've never met anyone with a sharper gaze before. Hailing from obscurity, her power rivals even those who have trained for years and years, and has amassed an ever-growing collection of heroic feats under her belt. Popular and well-liked with a mischievous streak, you're really not sure why someone with such a promising future has taken a liking to you.

???

if to transcend means to leave the world behind, bind me to the soil so even long after my death, long after my body has turned to dust, i can find you once more.

#interactive fiction #interactive novel #if game #twine game #if wip #introduction post #if: intro #tosahobi-if

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halfmoth-halfman · 6 months

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a smaller part of my thoughts on the mw3 campaign that i think is important enough to need its own post:

(there are spoilers below)

i've seen many cod creators on here talking about the situation going on in the middle east right now, and a lot of posts condemning the ethnic cleansing and genocide happening in palestine. i think it's great, especially coming from a fandom based on games that are first and foremost military propaganda. what i don't think is great is that soap's death seems to be taking priority over the blatant terrorist storyline that happens with samara and the changing of the no russian mission.

a middle eastern woman - the second one to get a shocking, and brutal death (more brutal than soap's, might i add) - is taken hostage by a group and forcibly made to hijack a plane. she is forced to wear a bomb strapped to her chest and dragged to the back of the plane where more civilians are. when she tries to fight back we get this exchange:

hijacker: are you a terrorist?

samara: no!

hijacker: you look like one.

she is then handed a gun, shoved into a crowd, and we are forced to watch her struggle to get a phone against a crowd of people who think she is a terrorist before the plane blows up.

i see a lot of people in the fandom saying to reject canon as a way to cope, which i fully understand - canon is really really stupid sometimes. however, i'm also seeing a lot of people saying to pretend this campaign just doesn't exist, and i take a lot of issue with that.

this fandom, in particular, does not get to do that. you can be upset with soap's death, the thrown together storyline, the half-baked combat, whatever else you don't like about the game, but we do not get to ignore the purposeful mistreatment of a middle eastern character while also being vocal about palestine. we do not get to ignore that activision chose to change this mission from makarov shooting up an airport, to forcing a middle eastern character to blow up a plane while he escapes. we do not get to ignore that the cod games are military propaganda, and that just because we may enjoy playing or watching these games, that doesn't mean we shouldn't be looking at these games, their storylines, and their characters critically.

i need people to understand that it is an immense privilege to be able to turn them off and "ignore the campaign" while casually reblogging the occasional post about palestine. you are allowed to enjoy these games, and you are allowed to be angry and hurt over soap's death. these games are allowed to be a form of escapism for you, but i am begging you all to think more critically about the choices activision is making here, and understand that escapism doesn't mean you can disregard and ignore those choices.

and i think a lot of people, those who post about palestine in particular, should think about why this fandom is placing more importance on a white character's death than the blatant and egregious islamophobia and military propaganda.

#moth talks #mw3 spoilers #mwiii spoilers #call of duty #modern warfare #call of duty modern warfare

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stagefoureddiediaz · 14 days

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Costume Meta 7x05

Hello, Hey, how we all doing??

Ready for another super long meta post??

There is so much to talk about this week - admittedly mostly Buck and Eddie related, but there is also plenty going on for Hen and Karen as well.

No Bobby this week as we only see him in uniform, and only the one costume for Athena as well. I also want to say that I am not doing any of the costumes from the Madney wedding that we saw at the end of the epsiode - I want to give them the space they deserve and I will probably write a separate pre episode meta for those costumes specifically! All I will say is Maddie looks stunning, Buck in white - hello! and Eddie in a just a collar making him look like a pink priest - hilarious!

The rest is under the cut as always 😎

Let's start with some of the guest characters.

Alien Hand syndrome man continues to prove the check means bad things theme, which makes me happier than you can ever know!!

Then we have Deidra in her very bright pink coat. If you read my promo meta for this episode you will have read a fairly sizeable section at the end on my thinking about the use of pink in this season (going to make a separate post during this hiatus so its all in one place). All of the times we see it in this episode, play into (and I guess prove) my thinking. Deidra is acting with good intentions and while I don't think she's naive or innocent in the strictest sense of the word, she is perhaps continually being naive in thinking that not revealing Mara's past is the right way to go (don't come at me about child protection etc I am fully aware of what the real world laws state, but this story arc really highlights the fact that in trying to protect children who are at risk and in the system, they can also cause ongoing harm if things are not taken on a case by case basis - its a whole other essay that I am not getting into here).

Then we have Mara herself who is never without pink - namely her pink blanket. The pink plays into the theme of innocence especially with Mara and while she may not be innocent of the act of maiming Denny, her innocence goes much deeper. Its meant as a very clear signpost of the innocence of childhood - that pink blanket and her clinging onto it is a symbol of her clinging onto her childhood, despite the fact that she has gone through a terrible loss and trauma. she is still a child and the show is clearly going to play into the idea that as she settles into the Wilson home and is able to work through the trauma, her need to cling onto her childhood in this way will diminish and we'll see her slowly become less attached to the blanket. We already have signs of progress with the colour journey her tops have been on - lavender, pink and then the turquoise one at the end. Lavender is also a colour associated with childishness or lethargy, pink the colour of innocence, and childhood. While turquoise is a colour of calmness and clarity. its signalling HenRen's breakthrough with Mara and that she's growing and beginning to feel secure.

Hen and Karen

Hen and Karen go on a real colour journey this week - I'm doing them together (along with Denny) because they very much work in tandem clothing wise (and also because I was running out of pictures again - whats new there!)

So first up we have Karen in this beautiful dip dye ombre dress in purple, pink and mauve. it also has this drip staining pattern which has deliberately been created during the dying process. The lavender at the top of the dress is representative of hope and serenity, this is Karen in a great place - about to expand her family and fulfil a dream. The pink as I've said is all about innocence and naivety - more innocence in this case - both the new baby being innocent and Hen and Karens innocent hopes for their future. The dark mauve at the bottom of the skirt - eating into the pink is such a choice - gathering storm clouds, foreshadowing the turmoil about to come - taking away the innocent hope. mauve can be standoffish and withdrawn, and in this context those are great descriptors for Mara and her struggles that Hen and Karen will need to help her work through.

Hen's in cyan blue trousers - which is a colour associated with clarity and balance. whilst the cream, black and blue jacket with stars on is the beginning point for a theme that runs through the Wilsons arc this week - black is a power colour, associated with many things, but for Hen and Karen in this arc it is very much about protection and strength. Here for hen it is mostly about protection - protecting this new baby they are about to take in. The cream is warmth and tranquility.

Hen is wearing check - foreshadowing the upcoming struggles with Mara. Karens bronze and black Jacquard trousers are a symbol of strength - bronze as a colour means strength and support, it's also a symbol of faithfulness. It's telling us that Karen will take the lead on supporting Mara and being strong for her.

We see a lot of white on Karen in this episode, white, like pink is a colour of innocence, but it is more associated with purity and balance. It is also a colour of neutral refelction. By this I mean that it amplifies other colours by providing a neutral background - allowing other colours to shine. I find this a really interesting thing when connected with Karen - it amplifies her strength and supportive nature when the Wilsons meet Mara.

Hen adn Karen in bed are in dusty versions of blue and pink - Karen innocently tries to touch Mara and that is when the screaming starts. Putting Hen in blue is about relaying her trustworthiness and sets her up as a soothing and calming presence for Mara - hence the sleeping on the floor of her room!

At the hospital, We see Denny in red - he was wearing it when Mara woke the house up and its an indicator of what is about to befall them (in the same way Bobbys red in the cruise ship disaster adn Athenas red in relation to Harry, or Bucks back in s5 when Eddie broke down).

We again have Karen in white amplifying the other colour she is wearing, which in this instance is this buff/brown oversized sleeveless coat in teddy fleece. The brown is stability, dependability and responsibility - playing into the fact this episode really highlights Karen's position in the family as this stable rock which Hen and Denny lean on when they need support. Karen's unswerving and solid personality is once more being shown off. Its really a key thing for them to show as it feels like a set up for Mara and how she is going to bond and rely on Karen and that dependability as she unpacks her trauma.

The orange jumper is a really interesting choice. I do love the loose threads on the design of it - paying into the idea that Hen and Karen are at a loose end and unsure what to do going forward. But, the orange itself is generally an open minded colour, its energetic and its also a colour of transformation. These are all things we know are true of Hen and Karen and it hints at the fact that they will fin a way forward. Once again we have Karen in white amplifying Hen's orange and the energy and idea of transformation the colour brings.

Denim jacket and white tee. I love the distressed nature of this denim jacket and the way it plays into both scenes we see it in - playing into the distress Hen feels over finding out what Mara has gone through and how it explains why she has become non verbal and incredibly protective over her pink blanket.

Again the white of amplification and purity. Hen has pure intentions and the white amplifies Karens black when they are at dispatch listening to the 911 call.

We also have the Karen necklace back - once more showing this ism't about Hen - its about Karen and their family.

Black on Karen for this scene is such a choice. Black is a power colour, it means strength and protection. Here it is showing Karens determination, as she gains understanding, to protect Mara and support her through her trauma - it is representative of Karen choosing to use the power she has been given through gaining information. The gold highlights hint at success.

I love these lavender pyjamas on Karen - lavender is a soothing and sleep inducing colour (along with its scent which is possibly where the association came from for the colour) along with a Japanese print of mountains and trees, which plays into the idea of serenity and peacefulness.

Hen in contrast is wearing fairly bright and bold black and green. The green is all about that growth and learning once more, the growth of Hen and Karen, learning more about the issues Mara faces and seeking a solution, but also the growth of their family. The black is a reflection of power - much in the same way Karen wearing black when they heard the 911 call Mara made, here it is Hen, representing the protection that Hen and Karen are offering Mara.

Athena in green - again with the mesh open weave knit - this may be a theme for her this season - potentially something to do with feeling caged or caging someone/something - especially children as both scenes we've seen it so far have been to do with young people and the law in some respect - ending up in the system - Harry through is crime and Mara through her parents death.

Chim

This dark bottle green with a fawn brown (what I think is a polo) shirt underneath is Chimneys only non uniform costume this week . This kind of dark green, is as always a signal of growth, but its also a colour of harmony, and right now - everything in Chim's world is harmonious.

Maddie

I don't thinkI've said it yet, but I am so happy to have Alayna back dressing Jennifer - I feel like we're really back on track with Maddie's costuming after last season where they somehow managed to make Maddie look terrible. The costuming overall last year was fine - not as good as Alayna's work, but it was for the most part good - except for Maddie where it was all over the place!

Anyway - Maddie in black here is very much about focussing the attention on Hen and Karen - like with CHimney's muted green, in tandem they are making the viewers eye focus on Hen and Karen - especially Karen - who is the brightest in the room.

Maddie wearing this sage green colour when Buck comes out to her is sheer perfection from my perspective - we, once more have the green of growth and renewal, the green of learning - Maddie learning more about her brother - this new thing that he is realising about himself and choosing to share with her (even if inadvertently). But this green is also sage green - sage as in the play on sage advice - which we see Maddie give him. Buck needs that good advice - he needs to hear that its ok, that he can take the time to figure himself out and that its ok that he's only just uncovered this aspect of himself and that it doesn't invalidate him being an ally up to this point!

Ok not going to lie - I got a little carried away from here on out - so sorry in advance for the rambling mess you're about to read!

Marisol

I'm doing Marisol in a weird order - because I wanted to talk about her date night outfit in tandem with Eddies - because its relevant. So we start of with virgin Mary Marisol! Honestly this outfit is just perfection from the costume department - they saw the brief and went to town and I love it. Its so good to see what they can do when they get to play!

One of the things I really love about this costume is the blue that they chose. Because that blue - that is Bucks blue! the virgin Mary blue is usually a much brighter royal blue. It really helps to place Marisol in parallel to Buck and we get the play on t he fact that Eddie seeing Marisol in this way changes everything for him, whilst later on, whilst Buck is in the same blue, he reassures him that nothing will change between them.

Look, I'm not going to lie, when I saw Marisol in blue and yellow for this scene I laughed because Blue and yellow (as I've gone on a million times about) means queer coding so to blatantly put Marisol in it - in a washed out form, and very much connecting her to Catholicism - genius move. It marks her out as a roadblock, but also puts her into the role of beard (unknowingly on her part) because Eddie is still in the midst of his repression, even if it is beginning to unravel now.

The black top with spaghetti straps is clearly a theme they're going with on Marisol, as are the ditsy prints. The yellow high waisted trousers are interesting because of the specific shade of yellow. Yes the whole communication theme still applies here -and we see it in action, but this shade of yellow is sallow and sickly (one of the reasons its called sickly yellow is because its the colour of a lot of medications!!) - this relationship and its restart are ill and that automatically means its going to struggle to survive.

It plays into the more negative meanings around the colour - uncertainty and idleness and cowardice. For me the cowardice aspect is an interesting one in relation to Eddie - he has behaved cowardly up to this point - hiding out and not having the conversations that need to be had, and even in this scene it is Marisol who takes the lead.

It's really giving us an indication of things Eddie needs to work on in regards to himself - and once more it comes down to communication. Communication has always been Eddies major flaw - that he isn't good at it, unless really really pushed into it - essentially under duress. The other thing with communication is that it plays really well into the catholic guilt aspect - this idea that growing up catholic has taught him to repress part of who he is - to go along with what is expected of him, but that it also taught him not to ask for what he needs, to not communicate. We see it in this episode with his inability to say no to Marisol (the whole hiding out at Bucks so he doesn't have to have sex speaks volumes) even down to suggesting there's a third type of guy - who just needs a minute. Because, while that might be true to a certain extent, the fact that he says this off the back of her expressing her distress and upset about how all guys are one of two things, speaks volumes - its not him saying this because that's how he actually feels, its partly him saying it because he is pushed into a position where he doesn't want to be the bad guy. its really not a good place to be restarting a relationship from.

We also have the ditsy print of doom in play again - like I've said before, ditsy print on Eddies girlfriends - never a good sign - its really playing into this idea of Eddie jumping in headfirst with gay abandon (pun intended) and then regretting his life choices. Shannon wore ditsy print a fair amount - especially in the I think I'm pregnant' and 'we should get a divorce' scenes. Ana wore ditsy print A LOT - she was wearing it when Eddie had his panic attack in the shop and at other key moments that marked the death knell for their relationship. And so this appearance of ditsy print here marks the same - the relationship is not long for this world

OK date night Marisol. The way this outfit played out more or less as I expected, She was very much an 'innocent' bystander in this scene (whilst also creating one corner of a triangle with Buck and Eddie) , and the ditsy print very much played into this. Like I said in my promo meta, both Shannon and Ana were costumed in ditsy print as well as in lots of pink!!!

The other aspect of this outfit that is making me laugh is the fact that the skirt is giving me 1980's/early 1990's teen vibes (not to out myself as old but trust me I had some just like this back then and I wouldn't be caught dead in it now as a grown woman!!) and the baby pink handbag looks like something an 8 year old would have to play dress up with - its all very childish and immature - naive one could say, and while it didn't play out quite how I was expecting, her being a novice nun, sure explains a lot of why she comes over as pretty immature.

The other aspect of this childish style we're seeing on her plays into Eddies narrative of looking for magic and trying to recreate what he had with Shannon. He's attracted to Marisol because she is immature and childish - it reminds him of what he had with Shannon when he was young, and when you're trying to recapture that, its easy to fall into the trap of thinking someone behaving in a naive manner is you finding what you'd been looking for. Eddies journey, along side his catholic guilt, is about learning that he cannot recapture or recreate that magic he had when he was young - that the love of youth - in all its innocence is not something that is sustainable or actually what he wants in the present.

Then we have Eddie in white. I spoke in the promo meta about how the white set him and Marisol as opposites and that remains true - very true on more than one level. What I especially love about it and something I could not have predicted is how it plays into the novice nun aspect of their story this episode - truly this show is a comedy! Because nuns wear black and white this is an obvious play on that, but it is also a play on the fact that Marisol is still a practicing catholic, whilst Eddie is very much not. The other aspect of this white is that of Eddies two non uniform costumes, it is the first one and we get this black and white play on religion - the black and white of nuns and priests - the black and white of being religious or not. Eddie never questions if he wants to become a practicing catholic again - he is lapsed and that is how he intends to stay.

Eddie in uniform, with his green trainers, blue towel and water bottle. the blue towel and bottle play into the buck and Eddie blue green theming we see with them. But what is interesting is though is that Eddie is fulfilling all the colour theming on his own - he is both blue and green - to me this is about Eddies own struggles within himself as well as foreshadowing the Eddie Marisol break up down the line (green shoes suggest a road needs to be to walked before we get there) - it hints at Eddies internal struggles and implies that its will ultimately end in a break up a bit further down the line.

I also think it's only when in Uniform that Eddie can admit to his catholic guilt. Because we all know when Eddie is struggling with some form of emotional turmoil, he wears a black singlet - and he could've been wearing the same here, it would've been totally fitting with the situation - he is going through something emotionally and struggling with it.

But he's in his uniform. Part of it is to have him on a different level to Buck - they are both struggling with something in this scene. When we have previously had Buck and Eddie scenes like this one at work, the one dressed in uniform, tends to be the one offering advice to the one not in uniform. That isn't the case here. Part of it comes back to Buck not actually needing advice, but needing to reveal something about himself - to confess. Eddie is the one who needs advice.

This is a flipping of the traditional narrative for these scenes and is proof that even though Eddie might later tell Buck that nothing is going to change between them, that it has in fact already changed, it is just that neither of them are fully cognisant of that change at this moment in time. It is a key indicator to use the audience that this has happened before but that things are not going to play out the same way this time.

Put it this way - Eddie has form for doing something extreme with his relationships with women in the aftermath of Buck doing something dumb - its one of the manifestations of his repression. This time its asking Marisol to move in with him in the immediate aftermath of Buck going full green monster over Tommy.

Last time it was in the aftermath of Buck begins and then doubling down with Ana after the shooting when Buck had hooked up with Taylor and before that in the aftermath of Shannon's death and Buck suing the department he went and joined a fight club - but he has form. Its completely in character for him to pull this sort of a move. I know he says he's going with his gut but I argue he is in fact ignoring his gut - or at the very least confused about what his gut is telling him, because that would mean actually looking at why his gut reaction to Buck doing something dumb makes him do something dumb in turn connected to these women in his life.

Eddie in black - this is the same shirt as the white one - just the reverse colour - which is important. This shirt has several layered meanings to it. its about the reversal of what Eddie wants - from him being bubbly and excited about Marisol moving in, to the dread of her having moved in and wanting her to move out - his feelings go from white to black - light to dark - happy to unhappy and it all sums up the relaity of that relationship - while it was new and unserious, it was fun and light, when things got real - it becomes dark and oppressive.

I'll go into more detail about this shirt when I get to Bucks costume for this scene - because they are connected!

The other thing about this outfit is that the green trousers have been replaced with jeans. Now I see a couple of reasons for the wardrobe department doing this. Firstly is that it plays into the 'nothings is going to change between us' of it all. Its a visual indicator that in fact things have changed (along with Buck wearing a brighter shirt than we normally get in these buddie heart to hearts that take place in Bucks loft but more on that later) the Buck being bi and going on a date with Tommy of it all aside, this is the first time we've actively seen Eddie hiding out at Bucks to avoid his girlfriend - this was a barrier that had existed between them previously that has now been broken down. Then there is the fact that Eddie does go home to Marisol - and he couldn't be wearing green at that point because she was wearing blue and Eddie in green would've meant break up time - only the Marisol as a plot device arc isn't yet over (it will be soon I promise - all the costume signs are there!) so that couldn't happen.

Tommy

This dark olive green shirt that is almost brown. The brown undertones hint at the stability he represents while the green is hinting at his military past and once more paralleling him with Eddie. One of the things about green as a colour is that its not only a symbol of growth and renewal, but its also a colour of learning, and in an episode titled 'You don't know me' it feels like all the green is very much about education - learning about other people - and the growth that results from it. It feels especially important here for Tommy and Buck - that is after all what going on a date it all about - learning about one another and seeing if you're compatible.

The other fun thing about this green shirt is though that the green plays into the blue green colour theory when it comes to Buck and Eddie and their partners and the end of relationships. This one before its had chance to begin.

For Coffee we have a grey Henley and a blue zip front hoodie with a grey striped undertone to it (I am pretty sure this is actually a hoodie we've seen on Chimney but I can't remember when and I don't think it would be the very same one as pretty sure Lou would not be fitting into Kenneths clothes ever, but Chimney has definelty worn the same style!!). Again Henley's are an Eddie thing, so we once more have the parallel with Eddie being drawn.

The interesting thing here is that the grey blue is the same colour combo Buck wore on their first date attempt - the costume department played a lot with flipping colour in this episode, so to have it done here as well is really fun - the fact there is more grey than blue is also interesting. It's a neutral colour, it is seen as a colour of stability, but is also a colour of uncertainty. It really plays into that theme of uncertainty running through the Buck and Tommy arc. The blue hoodie is actually pretty important because we've had one of Buck and Tommy wearing something dark blue in every scene they've had together - usually the one on the back foot. Tommy in this scene is relatively neutral in terms of position for most of this scene - they are equals - but he is put onto the back foot by Buck asking him to be his date to Maddie and Chim's wedding.

Buck

Where to start with our beloved bi disaster!

I obviously spoke a fair amount about the date night shirt in my promo meta. The navy blue knit bowling shirt with these silver/grey close together pinstripes running down the front playing into the Buck wearing vertical stripes theme we've has running with him for at least the last 2 seasons.

What I said about false starts and this date absolutely played out - in the same way the sperm donation shirt represented a false start on that donation, this shirt also represents a false start on Bucks dating life as a bi man. The white trainers are also carrying on the theme of Bucks Journey towards happiness

What I find most interesting about this outfit though isn't colour theory related. its all about the fit of the clothes. Because these are ill fitting on Buck - not something we see from him very often - in fact I think the only time we see him in anything close to ill fitting to this extent is back in season 1 when he was figuring out who he was and if being a firefighter was the right for him and exploring relationships and what he was trying to find in that arena. The trousers are the most ill fitting of it all, but I'll come to the trousers later on as they are part o a wider Buck costume theme we have going on!

The shirt is a little roomie, but not overly so, it just stands out more because we're so used to his shirts fighting for their life, here this one is baggy and really helps to sell the idea of defeat, but also that h was trying on this new part of himself for size and that it doesn't quite fit. It's the only time this episode we see his clothes not fit him in this way and its a really small but expressive part of costuming that I love to see.

Then we have this blue broadcloth jacket over a white tee and with these plum/brown coloured trousers - they're a bit blink and you'll miss them so its hard to be sure what type of trouser they are, but I think they are essentially smart joggers - jersey material but trousers!

We all know that Buck in white means trouble, I'm putting him outing himself to his sister as the bad thing - along with the fact that the date didn't work out.

I'm really fascinated by the fact that we really seem to be leaning into navy blue and Buck being bi. Navy has always been a colour we've seen a lot of on Buck in general, but there is something about the fact we've seen him (or Tommy) wearing it in every single scene that is about his bisexuality. I'm talking from the kiss scene onwards, not anything before that as Buck wasn't aware of his bisexuality before the kiss. I can't wait to see if it continues!

The green shirt jacket is an interesting one. it obviously helps to play into the buck and Eddie blue green theory, but it does in a smaller way play into the blue green theming we see around Buck and Eddie and their relationships - specifically around issues arising. Both Buck and Eddie wear green when they break up with their significant others and while there is no break up here, there is a break of sorts. This was Buck about to try and tell his Best friend that he was actually out on a date with Tommy and that he's bi

symbol of growth - Buck went in with a goal - to tell Eddie he was on a date with Tommy, but changed tack when he saw Eddie needed to go through something - this is Buck growing as a person - not making something about him.

The other thing about this outfit is that its basically the same as the one Eddie wore at the airfield (even down to the badding of the trousers) - just in reverse - Eddie black trousers, black jacket, green top, and here Buck is black trousers, black top and green jacket - I find this fascinating as a metaphor for where the two of them are on their respective journeys.

Buck is now bi and out (he's told his sister) and has been on a date with a guy (regardless how successful it was - he cannot put it back into the box) - his growth is externalised and therefore expressed through the wearing of a green jacket. We get a lot of storytelling through the various Jackets Buck wears (we've seen him in over 35 at this point!)

While Eddie - who we could say was being taken on a date by Tommy - even if he didn't know it (because who flies someone to Vegas to a sold out fight if its not a date??) wearing a much brighter green that we've seen on him before now (pretty much all of his greens are more army green with a couple of exceptions - much darker greens akin to Bucks jacket in the below picture) - still in the army green wheelhouse, but much bolder. Eddie's queer status is still very much internalised - hence it being underneath the black jacket.

Buck coming out to Eddie from a costume perspective was a glorious parallel that I have already mentioned in the promo meta (I've run out of pictures so you'll have to go watch the scene yourself if you want to see what I mean). Its actually a bit deeper that I appreciated in that promo meta, but that is in part because at the time of writing the meta I wasn't 100% sure it was a coming out scene and I didn't get to see the way it was shot and how that also played into the paralleling.

Costume wise - I already spoke above about Eddies black shirt and how it is reversing him in the episode. But what I didn't mention is that fact that it parallels in colour terms, what he was wearing when Buck informed the firefam that Connor and Kameron were pregnant. Eddie wore a black marl henley - black with flecks of dark grey running through it, and Buck here is wearing a slightly darker blue version of the same top he wore in that same scene. He is standing in the same place at the counter of his kitchen, or sitting very close to the same position and we get similar camera angles. As a whole the parallel is very loud - Buck was happy and proud of something he had done and wanted to share it with his friends - wanted their approval. He was feeling good about himself and confident in his decision.

The biggest thing about the blue - this shade specifically is the way it play into the blue theme we saw last season with Buck - the theme that started in the 5x18 finale at Hen and Karens vow renewal, when he was free of Taylor and moving forward and essentially restarting his search for happiness. We saw it weave a thread through the entirety of season 6, being worn at key moments that played into that theme - after Lev died, at various points in the sperm donation arc, and a key points in the aftermath of his death and rebirth.

The successfully helping create life aspect of this is so interesting. It on a low key level plays into the you don’t find it you make it manifesto that’s been at the heart of bucks arc since s2. the whole year if yes was supposed to be about this very thing - about Buck creating the life he wants for himself - the sperm donation isn’t about the baby it’s about Buck and about him figuring out what he’s missing (which comes back to not only Thomas and Mitchell, but also Lev).

The other thing that ties into this theme is that Eddie isn't really changing but Buck is. Whenever we have a scene at the loft between Buck and Eddie Bucks costume and colour varies, but Eddies stays more or less the same. Bucks colour Palette for these scenes goes - dark grey in the you want to go for the title scene, then we have the grey blue on the balcony and now this much lighter blue. This is highlighting Bucks progression while Eddie who remains in his black shirt and that progression - while Eddie essentially remains steadfast - is key - it’s showing us that while buck is still doing dumb things, he is learning - he is listening to whatever Eddie is telling him - that he’s accepting Eddie’s absolution of his sins more and more - growing and understanding.

It’s building on his long running arc - his fear of being left behind, of not being important enough for people to stick around for - and showing us he’s increasingly understanding that that fear is unfounded - that he’s found his personal- the one who will stay and who is steadfast in that. That’s why we see Eddie unchanging in his black shirt green cargos while buck gets lighter - more unburdened by that fear.

Before you think all is lost on the Eddie front though, we are seeing change - the army green trousers are gone and have been replaced with jeans - perhaps, in the same way Bucks growth into his bisexuality began with his beginning to wear jeans again, Eddies own growth into his own queer identity also begins with jeans - moving him away from Eddie the soldier - fighting for others - being a rock for others and now into a position where he can do his own growing.

In the sperm donation arc, Buck was finally able to donate and was wearing that super pale mint green polo. we don't see the same with the outcome here at this point in the story (although the beige/mint green jacket from the bachelor party is making me👀👀👀 at this moment in time!) - we get this cream open weave linen shirt with black and terracotta and golden brown vertical stripes.

I love that they went with a shirt that has such an open weave - playing into the whole concept of Buck being open and embracing this newly revealed part of him that he's discovered. But what I love most about this shirt is the way it ties back into the Buck learning to accept himself and find his happiness.

Because this shirt is so similar to the one from 6x01 - when he decides he doesn't need a new couch, what he needs is to be ok on his own and with himself.

lets talk Buck and his trousers because the trousers are a whole thing this season and I am truly in love with the long game the wardrobe department have been playing on this one. They know that we have all been out here raising eyebrows at Bucks trousers for the past few seasons as they've gotten shorter and shorter and ill fitting. I know I've made comments in previous costume metas about the fact they must be doing something intentional with them being so short in the leg - that them doing this is giving the appearance of a child who is still in short trousers and isn't fully grown - hasn't moved on to wearing full length trousers yet.

Well it would seem I was right and thats exactly what they were doing, putting him in short trousers to show that he wasn't his fully formed self - that he was growing and learning and figuring things out. because - I've gone back through my spreadsheet and checked his trousers out for all of his scenes and there are only a handful where he has trousers on that are well fitted and the correct length. One of them is at the start of season 6 - at the end of the episode where he moves his armchair instead of getting a new couch - the one time in season 6 we see him most at peace with himself

I remarked in the 7x04 meta that we only saw Buck in his too short trousers in the one scene at the airfield, and from then on, he was was in jeans. Now the jeans are a mimicking thing - Buck hasn't worn stone wash jeans since Eddie appeared on the scene back at the start of season 2, so for him to start wearing them again as soon as he becomes jealous of Eddie and Tommy - and Tommy is wearing jeans - was pretty telling in its own right. It's Buck trying to get Eddies attention (not Tommys - Eddies) because, we do not see Eddie in jeans in 7x04 - but we do see Tommy in them - and in Bucks head he is loosing Eddies attention to a guy wearing stone wash jeans - so if he wears stonewash jeans then maybe he'll get Eddies attention back.

That obviously didn't work out how Buck thought it would, but it did lead to him figuring a new part of himself out.

We can see how his trousers are all now sitting at the correct length, I grabbed this still of the black ones, and you can see in the full length still from the date those are as well (even if they're too big more generally) but the others are all sitting at the correct length as well.

We also see the jeans back for his scene with Tommy - I truly am fascinated by the choice to put him back in stonewash jeans aafter so long as a theming choice for his bisexuality, I really am enjoying this more relaxed looking Buck from a costuming perspective - the journey we've been on with his costumes is great - the increasingly formal style thats just a little too small and tight we've seen over the seasons now slowly relaxing once more into something much more comfortable and well fitted - showing just how far he has truly come.

And thats me out for another week! Sorry it turned into another epic - it would seem `i cant stop myself! Not sure if this has come out longer than last weeks, I think it might've, but I can't be bothered to check! Thank you as always for reading this monster and I hope you enjoyed this deep dive into the costumes for 7x05. I'm off now to hyperfixate on Bucks bathroom door and get myself though this mini hiatus!

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vibingvoices · 2 months

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A speech made at the Academy Awards by Jonathan Glazer, along with the subsequent reactions, sheds light on how people tend to distort others' words to portray themselves as victims and, more concerning, their willingness to reside in a dystopian bubble as long as it doesn't affect them directly.

Rather than idolising Hollywood, I've previously posted about the complexities of my evolving parasocial relationships. But to disregard the influence wielded by these elites would be naive. It's frustrating to witness those in power facing backlash when they attempt to bring attention to pertinent issues.

While the Oscars' prominence in Western pop culture is waning, the ceremony and the fervour surrounding the nominees and winners, especially in the major acting categories, still hold significant sway in film culture and the broader world.

So when such a speech is delivered at the Oscars, it's bound to garner attention:

All our choices were made to reflect and confront us in the present — not to say, “Look what they did then,” rather, “Look what we do now.” Our film shows where dehumanization leads, at its worst. It shaped all of our past and present. Right now we stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation, which has led to conflict for so many innocent people. Whether the victims of October the — [Applause.] Whether the victims of October the 7th in Israel or the ongoing attack on Gaza, all the victims of this dehumanization, how do we resist? [Applause.] Aleksandra Bystroń-Kołodziejczyk, the girl who glows in the film, as she did in life, chose to. I dedicate this to her memory and her resistance. Thank you.

Glazer highlighted in his speech that victims of the ongoing situation and the last 75 years, whether Palestinian and Israeli, all stem from the occupation and are casualties of entrenched ideologies like Zionism. But when he said this on stage and was immediately misquoted online on social media and by reputable news sources, alleging that he simply renounced his Jewish identity.

He also faced considerable backlash from those indicating a persistent conflation of anti-Zionism with anti-Semitism. It really parallels previous speeches of resistance at the Oscars. Boos rang loud and clear during Michael Moore's opposition to the Iraq war (which we know was a colossal failure by Geroge Bush and the US Government who perpetuated and pardoned multiple war crimes in the region after lying to their own people about evidence of weapons of mass destruction).

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There was also Sacheen Littlefeather's advocacy for Native American representation and the direct of attention to the Wounded Knee Occupation, a speech that had bodyguards having to restrain people from getting on the stage and attacking her.

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And, of course, Vanessa Redgrave's aim at “a small bunch of Zionist hoodlums whose behaviour is an insult to the stature of Jews all over the world and to their great and heroic record of struggle against fascism and oppression”, which still feels relevant today.

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Turning to Glazer's film, I am baffled at those who vehemently objected to it: Did they actually watch it? Because if they had any negative feelings towards Glazer's speech, especially after watching his film, it suggests, to me, a deficiency in critical thinking.

Glazer's film portrays a chilling atmosphere where genocide becomes normalised, echoing real-world situations like the ongoing conflict in Gaza. The film serves as a stark reminder of humanity's ability to coexist with atrocities, often turning a blind eye for the sake of comfort.

The horrors adjacent to the characters' lives evoke contemporary parallels, particularly in regions like Gaza. With over five months of relentless violence, Israel's defiance of international court orders, and Western governments passively reprimanding while fueling the conflict with arms shipments, the spectre of genocide looms ominously. It risks becoming a mundane backdrop to daily existence. It is a stark portrayal of how affluent lifestyles can be linked to neighbouring atrocities, challenging the notion of denial and complicity.

The film doesn't centre around the Holocaust (Glazer's own words), with its specific historical context. Instead, it delves into a more universal theme: humanity's ability to coexist with atrocities and even derive some form of reconciliation or gain from them. The discomforting reflections are on purpose. It prompts us to acknowledge that the threat of annihilation of any people is always closer than we might imagine.

One of the most poignant moments in the film occurs when a package filled with clothing and lingerie pilfered from the prisoners of the camp arrives at the Höss household. The commandant's wife decides that everyone, including the servants, can select one item. She claims a coat for herself and trys on makeup discovered in one of its pockets.

How can the people who are so staunch against Glazer not draw parallels with Israeli soldiers who have recorded themselves rummaging through the lingerie of Palestinian women and slut shaming them? (Why are Israeli soldiers obsessed with Gaza women's underwear?) Or proudly displaying stolen shoes and jewellery for their partners back home (Israeli soldier loots Palestinian homes for his engagement party). Or celebrating International Women's Day with a photo of women soldiers posing for selfies against the backdrop of destruction (How an AP photographer made this image of Israeli soldiers taking a selfie at the Gaza border).

The film is rife with these parallels that it feels like a documentary. It is a grim reality: the potential emergence of the first live-streamed genocide, captured by its very architects.

Gaza doesn't mirror the systematic mass murder machinery of Auschwitz, nor does it approach the scale of Nazi atrocities. However, the entire purpose behind establishing the postwar framework of international humanitarian law was to equip us with the means to collectively recognise practices before history repeats itself on a large scale. And disturbingly, some of these practices – such as the construction of walls, creation of ghettos, mass killings, openly stated intentions of elimination, widespread starvation, plundering, gleeful dehumanisation, and deliberate humiliation – are recurring. And have been long before October 7th.

How do we disrupt the cycle of trivialisation and normalisation? What actions can we take? There are persistent protests and acts of civil disobedience to "uncommitted" votes, disrupting events, organising aid convoys, fundraising for refugees, and creating radical works of art.

And as genocide fades further into the background of our culture, some people grow too desperate for any of these efforts. I am certainly one of them.

Yet, these efforts seem insufficient, particularly when those in positions of power remain indifferent. It's insufficient when I watch a video of a little girl saying that the violence has made her feel less beautiful before she talks about her father being kidnapped by Israeli soldiers or of the orphans visiting their mother's burial spot in the street. It is insufficient when the death toll rises to exceed the daily death toll of any other major conflict of the 21st century.

Perhaps it's unfair of me to prioritise one tragedy over another, given the multitude of suffering in the world – the ones that are in the news cycle and the ones that are not. Yet, my connection to Palestine and its plight feels as personal as it can be without me actually being Palestinian, fostered from childhood teachings and further enriched through my own research. I have loved ones directly impacted by this conflict: friends in the diaspora grappling with survivor's guilt, friends in the West Bank enduring the daily hardships of occupation. And my friends in Gaza are all either dead, dying or being pushed straight into the arms of death.

The realisation that my efforts to help them are insufficient fills me with frustration. I'm angered by the indifference of those in power and by the hostility encountered by those attempting to bring the truth to the forefront.

#palestine #free palestine #gaza #anti zionisim #academy awards #oscars #jonathan glazer #the zone of interest #geopolitics #politics #i hate doing tags #Youtube

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