#most of them have posts about them i believe.... but don't quote me on that

[felicjana050896]

A few words about Charlastor

Today I saw this post:

(Sorry, I can't post the link, Twitter doesn't want to work on my computer today :\ )

I will quote it here because it made me think again:

Currently, the closest person to Charlie is Vaggie, while Alastor invades her space, Vaggie and Alastor are opposed to each other, Vaggie wants to run a hotel for Charlie (her whole life is based on Charlie...), while Alastor has his own reasons (more on which later we don't fully know) and the two are portrayed as opposing forces pulling Charlie, Vaggie in one direction and Alastor in the other. Charlie's relationship with Alastor will deepen in future seasons (which the author wrote about, that Alastor and Charlie are the main characters of HH and what we see after the pilot), thus distancing it from Vaggie, which we see already in the first season (and what I wrote posts about ), that Charlie's relationship with Vaggie will surely deteriorate as it goes on, their quarrel over Vaggie's lie was, in my opinion, just the first glitch in their relationship (although not very well written in my opinion anyway), at some point in the story Charlie will had to choose between Vaggie and Alastor (and Niffty):

And considering the other screenshots, they are either forshadowings only to the fact that in future seasons Charlie will be getting closer to Alastor and away from Vaggie, or they may generally herald Alastor's victory over Vaggie, it depends, they are definitely confirmation that the further the seasons, the more Charlostor's content we will have than Chaggie's, the only question is which one will be the endgame?

Alastor stealing Charlie:

Significant bed scene, Vaggie wakes up without Charlie, alone, and Charlie is later in bed with Alastor on a heart-shaped pillow:

Besides, I read about Zoophobia and old sketches of Alastor and Autumn, and in my opinion Autumn reminds me a bit of Charlie... but in order.... First, let's go to Roo or Eve (if you prefer), well, I saw one Tik Tok and I definitely agree with it:

Charlie actually resembles Eve much more than Lilith, it always surprised me that Charlie has more father-like features both in appearance and character, and has none of Lilith's (especially when it comes to her ahem... physical qualities...), but I thought they just made her a typical "daddy's girl" and that's it... but if Eve is Charlie's mother and not Lilith..., we still had Lucifer's comment that he stole from Adam both wives, both Lilith and Eve, and although he married Lilith, he probably slept with Eve..., then the only question arises: why did Lilith decide to raise a child that was not her own?

Roo (Eve):

Charlie:

Lilith:

Lucifer:

Charlie and Eve (Roo) have exactly the same nose, the same lines under their eyes (Charlie in his demonic form has them) and the body sharp is the same, Lucifer by the way does not have a nose (:D), Lilith has a completely different nose, only Eve's nose matches Charlie's....

Moving on, we know that Alastor made a deal with someone, many people speculate that he made it with Lilith, but there are also people who believe that with Roo and I, although I also considered Lilith at the beginning, it was thrown in our faces this 7-year break (that Lilith has not been in Hell for 7 years and Alastor disappeared for 7 years), seems too obvious..., moreover, we know that Lilith had a contract with Adam (end of episode 8), and Adam did not know Alastor, so how could Alastor have an agreement with Lilith and be with her for these 7 years in heaven, if Adam didn't know him at all..., while Roo..., and this is where the issue of Zoophobia begins, i.e. Viv's first idea, where most of the HH characters came from:

In Zoophobia we had the so-called KayCee, i.e. chaos itself and the main antagonist, interestingly KayCee liked apples (a reference to Eve and her picking an apple from the Garden of Eden, the first sin?):

KayCee had white hair, horns, and the original Alastor was in love with her:

So KayCee is nothing other than the prototype of Eve.

Moving on, the original Alastor was also obsessed with Autumn, the character of Zoophobia, a blonde deer:

Autumn is a very helpful and good-hearted character and: ,,Although outwardly he appears mature and rational, in reality he is extremely insecure, suffering from low self-esteem. Autumn continues to seek recognition and thanks from others for a little help from him, showing that he needs the appreciation of others. Autumn is also very sensitive and short-tempered: in the webcomic, when Rusty teases him about the little antlers, Autumn explodes in anger and violently scolds him."

Doesn't this in some way resemble the description of Charlie..., a girl with a good heart, wanting to help everyone, and also sometimes quick-tempered (when, for example, heaven rejects her or when Susan pisses her off :D )

So we have Eve, who used to be KayCee, and Charlie, who has a lot of Autumn in her, and if it turns out that Charlie is actually Eve's daughter, Charlie will be a combination of KayCee and Autumn, considering her appearance and character traits are taken from both, two characters that the original Alastor was crazy about ;)

And finally, some shots of Charlie and Alastor:

And remember about Niffty and KeeKee, they are very important, after all they are in the HH logo :)

KeeKee, a pet belonging to Charlie and Niffty, Alastor's ,,pet" ;)

Sorry for the long post again, but I just can't keep it short :D

Thank you for reading and have a nice day, evening or night :)

#charlastor #hazbin hotel #radiobelle #alastor #charlie morningstar #charlie x alastor #anti chaggie #niffty #keekee #zoophobia #eve #roo #lilith morningstar

[licorice-lips]

Hi, everyone! So, I know there's a lot of controversy about Rhys's behavior Under the Mountain (at least in Brazil fandom it's a hot topic), a discussion that is valid and definitely needs to be had, so I did a lot of research on the subject and compiled the three texts that influenced me the most into a compilation that I'll share here — along with my thoughts and additions.

These texts that serve as my supports were made here on Tumblr and can be found under the following titles, although the third one is the most comprehensive of them all:

*Rhysand's Defense Post (The author had only read A Court of Thorns and Roses when she wrote this).

*The Difference Between Tamlin and Rhysand: The Man on the Throne and the Man in the Arena — Acotar and Acomaf's Excerpt Analysis (The author was following the small teaser quotes for A Court of Mist and Fury and analyzed them).

*Understanding Tamlin and Rhysand — A Post-Acomaf Reconciliation of Rhys's Actions Under The Mountain in a Culture of Defeat.

In addition to discussing Rhys's behavior, however, I'm also going to discuss Tamlin's behavior and compare the two. It's going to be quite fun… Just a heads up that I don't want any hate messages. Do you want to share your thoughts agreeing or disagreeing? That's fine, but with respect. Any offensive comments will be deleted.

Now here's my defense post for Rhys:

Leadership is a heavy burden. When you're a leader, especially when it's not your choice but comes to you because of the family you were born into, for example, responsibility can be a burden. But when you're a leader, there's something very important to consider when making a decision: those who follow you.

All of Rhys's actions as High Lord of the Night Court must be thought of to put the well-being of those he is responsible for first. And when he, Tamlin, and the other High Lords are Under the Mountain, he decides that he will be Amarantha's whore to ensure that his Court is in the best possible condition within the situation — he lets himself be raped to ensure that his people and his family remain safe when he could have done nothing.

But from the moment Feyre strikes the deal with Amarantha, he is the only one who is truly in a position to make a difference: the other High Lords do not have enough of Amarantha's trust for her not to suspect anything if one of them tried to bargain with Feyre as Rhys did, for example. If any other High Lord — Kallias, Thesan, Helion, etc. — tried the same thing as Rhys, Amarantha would have been suspicious.

So in this case, he is the only one who can truly act.

But he doesn't have to. The point is that his Court is reasonably safe because of his role in the court Amarantha built, so Rhys doesn't really need to help Feyre win. But he does it, not because he wants his power back, but because he's the kind of leader who will do everything achievable to change — for what he believes is the best — the lives of his people.

And I'll talk about how admirable that is later on when we're talking about the culture of war and defeat, and about Tamlin's behavior. So, he decides to act, and he tells Feyre in A Court of Mist and Fury:

"I decided at that moment that I would fight. And fight dirty, and kill and torture and manipulate, but fight. If there was any chance of freeing us from Amarantha, it was you." (A Court of Mist and Fury, page 550, Brazilian edition)

He knows, then, that the fight he would have to wage was not the beautiful, heroic, noble thing we're so used to seeing: Rhys knew that his actions to ensure victory — for Feyre and Prythian as a whole — would be horrible and would probably haunt him for the rest of his life. He knows that. And he doesn't excuse himself for a moment. He doesn't invent, he doesn't embellish, he doesn't paint himself as a hero. He knows he's not and he really isn't a hero.

A hero is someone who sacrifices themselves in a grand gesture to save the entire population, a true hero doesn't really sacrifice one person to save others. And while Rhys does have his own share of sacrifices, that doesn't excuse him from the horrible actions he took Under the Mountain:

So, the first part of his questionable behavior in Under the Mountain comes to light: the moment he twists Feyre's injured arm to convince her, to scare her enough to accept his bargain. This is a minor moment and my description alone makes it understandable: he does what he does to keep her alive and charges an insignificant price (which he planned to release her from later, as he himself says) to keep up appearances.

And Rhys needs to keep up appearances because his whole game to defeat Amarantha depends on how he appears to her and to other people: no one can notice while he moves the pieces on the board to bring the advantage to them. No one, not even Feyre, who is the "lamb to the slaughter," so to speak. And she can't know for several reasons:

Feyre is not in a mental condition to act and pretend to hate him as much as he needs her to pretend. So if she knew what he was doing, she would probably let something slip, or wouldn't be convincing enough, because honestly? Who could?

Rhys spent the last 50 years fighting alone and being surrounded by people who constantly despised him for being Amarantha's whore or for those who tried to ingratiate themselves with her through him, so he doesn't trust others easily, even though he was falling in love with Feyre, as he says in ACOMAF.

He couldn't trust that Feyre wouldn't trust others — Lucien and, therefore, Tamlin — with this knowledge. With their mutual hatred, they would surely end up messing things up.

Feyre was there to protect the High Lord who killed his mother and sister — and Rhys didn't know that Feyre didn't know the history behind his and Tamlin's relationship — so, in theory, it made sense that he wouldn't want to show his "true face" to her.

That's exactly what the book is about: like a retelling of Beauty and the Beast, the book is about how appearances deceive. If Feyre found out that Rhys is a decent person right away, it would be the same as throwing the whole intention of the story out the window.

So we have the second — and most controversial of all — point: the dance and the wine. I'm not going to mince words about this: It was sexual harassment. Period. But with this, Rhys manages to:

Get Feyre out of her cell, which is driving her crazy, as she says in this part: "I was alone, locked in silence — although the screams in the dungeon continued day and night. When they became unbearable and I couldn't ignore them, I looked at the eye in my palm." (A Court of Thorns and Roses, page 356, Brazilian Edition). And let's face it, anyone would go crazy in an environment like that.

Keep an eye on Feyre so that no one else could harm her — something he disguises with a comment about not liking others to touch what's his — and that's a curious thing because Feyre never expresses concerns about being abused by others after Rhys starts taking her to these parties (it's also interesting to note that despite the various traumas of what happened Under the Mountain, Feyre never showed any signs of trauma from sexual abuse, as far as I know — and again, not that this excuses Rhys, it's just a factor to point out that maybe she understood his game better than we did).

To leave Tamlin full of anger — which he claims is the main reason for all that theater during A Court of Thorns and Roses — so that he wouldn't hesitate if he had the slightest chance to kill Amarantha in the end or between challenges, no matter as long as he didn't hesitate. Because from Rhys's perspective, Tamlin is the noble golden prince who might spare Amarantha's life to demand some kind of trial or something. Which I consider he might have been dumb enough to do too.

Divert Amarantha's attention, as, thinking that Feyre was already humiliated and abused enough during those nights, she wouldn't give Feyre those ridiculous tasks anymore (like cleaning that filthy hall or collecting lentils from Rhys's fireplace). And if you reread ACOTAR, she really never gives those small tasks to Feyre again after that.

Send a message to those who could read, as Rhys himself says: he crowns Feyre every night, and for the cruel ones, this would be a subtle kind of mockery, but for those who could see beyond the evil, Rhys was declaring Feyre the champion of them all. He declared that he believed in her and in her potential to free them all.

Convince Amarantha that he's still playing on her side — a belief that was shaken by Rhys betting on Feyre in the first task and closing that bargain to heal her arm. This might be the most fundamental of all points: the one that allows the game to continue toward victory. He needs to prove to Amarantha that he's doing it for fun, out of cruelty, considering Feyre as the whore of the whore, someone lower than the lowest of courtesans. Thus, Rhys clears the way to act when the time is right.

By taking Feyre with him to those parties, he moved not one, but six pieces of the game to be in his favor. He killed six birds with one stone. Strategically, it's an incredible tactic, by the way. But morally, this act leaves something to be desired.

So why the wine and the dance? Because Rhysand plays with appearances. Everything in his game depends on it.

Feyre wouldn't play the whore of the whore while conscious, no one with a shred of self-respect would accept that without knowing the reason behind it, and Rhysand, for the reasons I mentioned, wouldn't tell her anything. So he makes her drink the wine to keep the whole purpose of that show and keeps her close to prevent her from being touched by anyone other than him.

But besides that, the wine is a form of escape, a way to forget about the horrors, as Feyre herself says at the end of the chapter where all this happens:

"[…] and I began to long for the moment when Rhysand would hand me the goblet of faerie wine and I could let loose for a few hours." (A Court of Thorns and Roses, page 381).

In fact, Rhys sees it this way: when he is forced to kill the High Lord of the Summer Court (not Tarquin, but his cousin from whom he "inherited" the title, Nostrus), he himself drinks the wine with Feyre — it's an escape from the character he so carefully plays because not even Rhys can bear everything without letting the facade fall, even if only a little.

Note: not that I'm saying this would be a healthy way to deal with all that trauma and accumulated stress, but considering the place they were in and the situation, perhaps it was the most… effective way.

I have to say, however, that all of this doesn't justify what he did: it was still sexual abuse and it's still very bad and very serious. However, I need to point out to you: what we do to survive often does not reflect what we would be in a normal situation (normal being their everyday life without Amarantha, in this case).

When we are confronted with a situation like this, where to survive we end up needing to do something horrible, many say they would never do and would take the noble path of dying before giving up their values and principles, which is great, it proves that you have a very good character. The problem is that Rhys doesn't have the choice to think only of himself and how much this abuse will cost his dignity and principles because every decision he makes affects his people.

So here's my question for you: could you love someone who chose to preserve you instead of saving thousands of innocent — children, women, and men — who are under their responsibility?

Because I couldn't love someone who did that. And that's how I make peace with what Rhys did to Feyre Under the Mountain: I couldn't love someone who condemned the world to save me from abuse that I know I can endure — even if it causes me terrible harm.

Of course, it's entirely valid if you decide not to forgive him for what he did, because, after all, it's a morally gray action when you consider the whole situation they were in and what Rhys did. So, no one is really wrong for not forgiving Rhys for what he did, but those who forgive him aren't wrong either. It's very important that we understand that.

Now, an argument that is often used and that annoys me every time I hear it is that Sarah "changed Rhys and Tamlin's personalities because of shipping", so she ignored everything Rhys did Under the Mountain to make him the hero just because fans liked him. There are so many things wrong with that that I don't even know where to begin, but let's analyze all of Tamlin's, Feyre's, and Rhys's behavior throughout the ACOTAR and ACOMAF stories and show why I know Sarah did absolutely everything with careful consideration:

There is a trait that is very striking in Tamlin from the beginning of the ACOMAF story and is especially explicit when Alis tells the whole story about Amarantha, Tamlin, and the curse, which is the fact that Tamlin can't deal with the consequences of his actions:

The first time he does this is at the beginning of the curse when he gives up sending his soldiers to die for him, thus Tamlin simply gives up not only freeing himself but all of Prythian, all the people who live there, and still condemns the human lands in the process. He only started sending the soldiers out of desperation after 46 years, look at Alis's speech:

"For two years, he sent them, day after day, needing to choose who crossed the wall. When there were only a dozen left, Tamlin was so devastated that he stopped. He canceled everything." (A Court of Thorns and Roses, page 294, Brazilian Edition).

The second time I can point out is Feyre herself (this because I'm ignoring the events during her stay in the Spring Court, as I don't remember what happened): he takes Feyre to Prythian with the intention of making her fall in love with him, but at the first glimpse of direct danger from Amarantha — in this case, the scene where Rhys makes him kneel — he sends her away.

He gives up saving Prythian because he can't stick to the decision to put Feyre in danger so that she could break the curse, so much so that he condemns himself for it, because Feyre only doesn't say that she loves him — and breaks the curse — precisely because she's leaving:

"— I love you. — He said, and stepped back. I should say — should say those words, but they got stuck in my throat because… Because of what he needed to face, because maybe he wouldn't find me again, despite the promise…" (A Court of Thorns and Roses, page 261, Brazilian Edition)

These are the main events, and perhaps I could list more for you if I reread A Court of Thorns and Roses. But what does this show us? That every time Tamlin makes a decision, he freezes and backs down at the first sign of an obstacle. He retreats and avoids anything that shakes him.

So it makes sense that Tamlin's reaction Under the Mountain is paralysis — a common behavior among leaders in times of war and defeat, by the way, which aligns not only with Tamlin's personality but also with the reaction of a true leader in such a situation.

Alright, let's stop there and go back in time to analyze Feyre's behavior:

Right from the start, we learn that, even being the youngest of three sisters, Feyre was the one who, when they were starving, took action and sought a solution, which shows us right away the kind of person Feyre is: she's the kind of person who acts when forced to face danger, whether it's something intangible, like death by starvation, or tangible, like Amarantha.

This is proven repeatedly throughout the books: when she seeks answers with the Suriel, when she tries to fight off the bastards who tried to rape her at Calanmai (because paralysis can also be a reaction to abuse of that kind), when she goes to Under the Mountain to fight for Tamlin without even hesitating, when she heals from the traumas of Under the Mountain as soon as she has something to focus on, something to dedicate herself to.

And this is one of the fundamental differences between Tamlin and Feyre: while he paralyzes, she acts, and whether we like it or not, differences create friction. Especially with what happened Under the Mountain because she and Tamlin were separated, and neither of them experienced trauma together. Paralysis generates a different trauma from the trauma of someone who is acting, so the end of their relationship begins when she goes to save him Under the Mountain — and Tamlin freezes.

Then we have Rhysand, who is exactly like Feyre: he acts when confronted with danger or defeat and has thousands of actions of his that exemplify this:

As soon as he becomes High Lord, he bans the wing clipping of Illyrian females regardless of the reaction of the Illyrian lords or what they thought about it. It's not that he doesn't care: Rhys, unlike Tamlin, is willing to pay the price that comes when a decision is made.

He becomes Amarantha's whore to protect his people from her getting too close to them. He doesn't care about the cost to himself simply because Rhys knows he's doing some good for his own people by letting himself be raped.

When he sees in Feyre the chance to do something to free all of Prythian, he goes all in knowing that that game would be total defeat or victory. He acts.

When Hybern starts threatening Prythian, he is willing to do whatever it takes — lose a potential friend, hand over the city he loved with all his heart to horrible women, give up his own life — so that they wouldn't fall into slavery again.

When the war comes anyway, he faces it head-on and uses every card he has to stop the King of Hybern: monsters of all kinds, all his power, his own life, and the truth about himself, about who he is.

And these are just a few examples. The fundamental difference between Tamlin and Rhys, just like between Tamlin and Feyre, is how they respond to situations and traumas.

Quoting Teddy Roosevelt (btw, this is a direct translation of the Portuguese version of the quote, so it can be different from the original):

"It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat."

Feyre and Rhysand are the ones in the arena, they are the ones who fight to be able to act in the face of evil — Amarantha. And it's interesting to note that those who condemn Rhys for the dubious actions he took Under the Mountain never say anything about Feyre committing murder there as well, which is a crime as heinous (or at least should be when it comes to innocent people) as Rhys's.

I'll tell you why: when we're faced with a gray and complex character like Rhys — and we don't know his heart, instead we're "infected" with the main character's partial view — we tend to connect him directly with evil, instead of understanding that this character is neither wholly good nor bad. We forgive soldiers for killing people in a war — that's also a combat in Under the Mountain, so why can't we forgive both Rhys and Feyre?

We forgive Feyre because we know how sorry she is, we know her heart, and we love her. But Rhys? He's the High Lord of the Night Court — which alone triggers some unconscious alerts within us — and he's playing dirty, hiding, and being a horrible person, so why should he be forgiven?

That's what our brain unconsciously thinks sometimes, and it makes us judge some characters more severely. Understanding the duality and complexity of a character is not an easy task; it requires a lot of empathy and an open mind.

But why am I saying this? Because it's important to understand: Rhys and Feyre are extremely similar, and they understand each other at a fundamental level because of that. Tamlin, on the other hand, has a completely different personality. He's the one who freezes, who paralyzes.

Rhys and Feyre experience the trauma Under the Mountain together, so Feyre and Tamlin are separated, which, combined with the glaring difference between the two, makes it difficult — perhaps impossible — for them to heal together because, out of loyalty to the character's nature, Sarah can't make Tamlin talk about what's happening like Feyre needs.

Even after Under the Mountain, Tamlin's instinctive action is to freeze. So he doesn't talk about Feyre's nightmares, he pretends not to see her despair, he turns away from her need to talk about the subject — because looking at her trauma would be the same as acknowledging his own.

And he can't do that because it's part of his nature to freeze. But this isn't healthy, hence the explosions of anger, and hence he locks Feyre up the moment she tries to assert herself: these are the consequences of forcing someone who deals with PTSD by freezing to actually deal with their traumas (that and the fact that he's horrible).

I can understand that (not in his relationship with Feyre, I'm talking more generally here, about him as High Lord, he can rot otherwise) but I can't forgive it like I did with Rhys because, unlike the actions Rhys took, paralysis only allows evil to continue to grow and end up imprisoning us (this is, in fact, one of the reasons why Tamlin didn't try to fight like Rhys while Amarantha was killing Feyre: his lack of previous action left him unable to take action when it was time to "put up or shut up").

While Tamlin's paralysis pushes us down while doing us harm, Rhys's actions, as horrible as they may be, are done in the hope of something good, they're done to move us forward. I can forgive him because I'd rather be someone who does horrible things in the hope of creating something better than be someone who allows evil to continue to grow until it imprisons me.

It's that simple.

And Feyre is exactly that kind of person. She needs to act, she needs to talk about it to heal. She needs to have a purpose, not be coddled like Tamlin — and his trauma — wants her to be.

The relationship between her and Tamlin becomes abusive the moment he tries to stifle her feelings to maintain a state of paralysis. And that's something you'd expect from a character like Tamlin, that's how he was built. But this happens long before Under the Mountain: I remember that on the first day Feyre yields to the dresses Tamlin gave her in ACOTAR, I think it was the morning after Calanmai, she warns herself to be gentle, to be kind, when dealing with Tamlin and Lucien.

But after Under the Mountain, Feyre can no longer accept that her feelings be stifled simply because her traumas are consuming her from the inside out. So she fights back. And that's what completely ends their relationship.

But the point is: both Tamlin, Feyre, and Rhysand follow exactly the line of their personalities throughout the story. They are those kinds of people from start to finish. There's an evolution, of course, but it's an evolution of beliefs, opinions, and perceptions — their essences remain the same.

That's why Sarah is brilliant in these books: by being completely faithful to her characters' personalities, she created a story that discusses abusive relationships, the varied responses of certain types of people to trauma, and the various reactions of leaders in times of war and defeat.

But the point is: none of them were changed to fit a ship, simply because they weren't changed. All three of these characters act exactly the way they should within the limits of their own personalities.

Rhys is the High Lord who plays dirty to create a better world, and Tamlin is a leader who can't make a tough decision. And there's another fundamental difference between them:

While Rhys knows that, from time to time, he'll be forced to make decisions that will end up harming part of his people (and will choose the lesser of two evils), Tamlin still struggles with the enchanted vision of a superhero who saves everyone without exception. And when that doesn't happen — because it's never possible to save everyone no matter what you do — he prefers not to act.

I think the two things that illustrate very well the kind of person Rhys and Tamlin are is the Illyrian tradition of cutting the wings of their females and the Tribute:

Rhys risks a revolt to improve the lives of his people and sticks to that decision, willing to pay the price for it if the result is a better life for the Illyrian females, while Tamlin fails to abolish an extremely unnecessary tax because his inability to act makes him cling to archaic traditions like the Tribute.

So, yes, I forgive Rhys for what he did Under the Mountain, because I couldn't love someone who freezes and leaves me to die. I prefer to love someone who cares so deeply about something — a dream — that they're willing to fight and play dirty for it. And then go to battle to defend it.

Hope you enjoyed it! Feel free to point out points that I didn't comment on; I'll try to respond to everyone's comments!"

#acotar #rhysand #feyre archeron #feysand #rhys acotar #books #fantasy books #sjm #sarah j. maas #sarah j maas #cassian acotar #a court of thorns and roses #acomaf #a court of mist and fury #a court of wings and ruin #tamlin #tamlin acotar #morrigan

[iamadequate1]

"Discomfort in a Married State" What does this mean?

In Discord, I jokingly said I'd do the Webster's Dictionary trope to start a post.

But... was I joking?

Webster's Dictionary defines marriage as "an intimate or close union," or closely, marry as "to unite in close and usually permanent relation." Taking about marriage is not just about a literal spousal union, and it is not just about romance. You have aspects and ideas in your life that you are married to even though you don't put the word to it. "Marriage of flavors", "married to your job", "marry academic disciplines,"... I had a teacher who said "I'm not married to this idea" when writing something in scratch work as a possibility.

The title "Discomfort in a Married State" is pulled from a quote from the real Stede Bonnet at his trial, and it's repurposed in the show, used at the start of Fictional Stede's pirate journey rather than the end. To me, I do not feel like the adjective is used in the episode as actually being about a spousal union. Stede is not a good fit with Mary, no, and the episode opens with both Stede and Mary both being pushed into the marriage by their parents because of societal expectations and goes on to show that their marriage doesn't work. However, Mary's not alone in Stede's horror dream, and it doesn't just feature his failures in their marriage: the "married state" title drop slides directly to his father mocking Stede's aversion to violence (and weakness, in his, the father's, eyes) and Smoke Blackbeard and Alma serving as a callback to his naive pirate dreams becoming more starkly real when he was stabbed. Mary wasn't what Stede left; unfortunate as it is, as a man, he had other less extreme options to make an unhappy marriage more comfortable for him. The "marriage" Stede has is the life that his father and role at birth pushed him into, and initially, Stede planned to take Mary with him in leaving it. Stede pushed out into what he viewed as a more idealized lifestyle, even though he's finding out its not the final destination in his journey.

On Ed's side, his parallel is not his relationship with Izzy. In his first big conversation with Stede (the one in the library), he says plainly what his "discomfort" is:

Ed: You ever feel trapped, like you're just treading water, waiting to drown? Stede: Yes, I very much have felt that way. Ed: Blackbeard always wins, that's the thing. He can't fail. It's not even a challenge anymore. People just see the flag, and they freak out, Blackbeard!, and they basically just give up, they surrender. What's the point? I don't even need to be on the boat. I'm a ghost. There's no chaos, there's no drama, there's no fucking life! Stede: Look, I can't believe I'm saying this, but have you ever considered retirement?

Ed's "marriage" is with the Blackbeard persona and the pirate life. He's not happy, and he is also looking for a way out. He's idly mentioning death as an alternative (e.g., the "I haven't died yet, have I?" outburst with Izzy, and "I'm thinking about packing it all in". It can be a bit of a grind"" to Stede before Stede introduces Ed to retirement). He then pivots to the brief identity theft escape, then the China plan with Stede. There is a parallel of the marriage -> finding escape pipeline. Ed and Stede were both intrinsically bound to lives they do not want, and they had to take dramatic steps to leave them.

Izzy narratively differs from Mary in that Mary isn't an antagonist (bless you, DJenks). This is a storytelling medium without monologuing voice overs or Shakespearean soliloquies, and something needs to be in story to represent that conflict. Izzy is the representation of the external antagonistic force that adds fuel to Ed's internal conflict, analogous to the function that the Badmintons (instead of Mary) have for Stede. This is what we mean when we say Izzy is a plot device for Ed's (and to a lesser extent, Stede's) story: most of his scenes (all in S1?) revolve around keeping Ed in a life he doesn't want while also functionally servicing as a conventional reaction to Stede's brand of captaincy (characters like Lucius or Frenchie have their own independent quirks, so that's why they don't get this same comparison). Izzy is in story as the obstacle that keeps pulling Ed into that life, into that marriage with that persona. The story is not literally saying Ed is married to Izzy or that they were former lovers, but as the representation in story, Izzy is going to act like a jilted spouse. (And Ed's not into him and views him as a father figure, so... not a literal spousal marriage.)

In the end, the "married state" is not literally about Mary or Izzy. Stede would still be unhappy with a different wife or as a bachelor in the same stagnating lifestyle. Ed would still be unhappy with a different first mate but still living as Blackbeard. Ed reacting strongly in 2x7 when he thought there would be a conflict of a possible deal breaking choice of staying with Stede and leaving piracy show that it isn't just about the right person but making sure that the two perfect people who found each other are both in a position to live a life that makes them both happy outside of their relationship. This is also a romcom very pointedly leading toward a climatic wedding of Ed and Stede, and the message is not that Stede and Ed don't like being married at all: they need to work together to reach a "married state" that satisfies all facets of their lives. They're so close!

We're joined to one another. Intertwined. We wrote our names on each other in permanent ink.

They're working together on their relationship ("the inn" at the end of 2x8 isn't literally about the inn), and they're finding the path to go on that takes them both to a place to where they want to be.

Also, "Comfort in a Married State", calling it as an episode title after WBD collapses and OFMD gets a pick up 🥰

#our flag means death #ofmd #stede bonnet #ed teach #mary bonnet #izzy hands #discomfort in a married state #i can't wait for wbd to collapse #don't stream on max #Youtube

[monstrsball]

list of rarepairs you like GO!

oh man this will be a long list... okay lets go.

sugayaku

iwasuga

kurosuga

akasuga

sugaten

iwaoisuga

oidai

bokudai (....? i actually don't know how many fics this one has so idk if this one would count as debatable... i feel like it's less popular than kurodai at least)

daikita

osadai! somewhat a new one but i like it... guys who like to eat

osamu ships in general i also like bokuosa. which is partially motivated by the fact that i think it's funny when guys who are friends with atsumu date his brother.

and bokuakasunaosa. or sunaosaaka... any combination really.

(both of those are thanks to bex @osamusbigtits u should read his posts)

bokuasa

asaken

aoasa

okay i think all of the asahi ships here are thanks to @teddy-takeda

kiyoyui!!!! women...

kaoyukie

kanokiyo <- last i checked they had 0 fics but listen to me... i have a vision.

kanoyachi (i liked this ship before BUT i wanna shout out @kanoyachi anyway. look at their kanoyachi art.)

runayachi (thanks lyz @itachiyamaas)

kuromikashou

shibalev (thanks sou @kimbapisnotsushi :3)

levtsukki (thanks clem @clementinecoastline)

USHIIWA

yakunoya

miwalisa <3

takeda and his normalcore husband (this is mostly a joke and an inside one at that but like. it's funny. shout out to ash kanoyachi again)

kanoka's little sister and natsu <- i don't think this counts bc it is basically an oc x character ship lmao but i am including it anyway. can u imagine. i have posts about it somewhere. (shout out to sou and lyz again btw)

debatable rarepairs but it would feel wrong not to mention them:

oisuga

kurodai

mikashou (they technically meet the fic count requirement but like. they're also canon. so i don't think it counts)

tsukkiyamakagehina ? idk how many fics they have. i think my perception of them being popular is skewed by my mutuals tbh. tsukkikage, tsukkihina, and yamayama fall individually under this btw. (didn't want to listen them all even though it's like. three)

i have gained an appreciation of tsukkihina through my mutuals thank u mutuals

#some of these are ones im obsessed with #and then the others are like... i like them but not obsessed. but i wanted to shout out the ships that my friends like #hi friends #if any of the ships where i mentioned a friend sound good to you CHECK OUT THEIR BLOGS #most of them have posts about them i believe.... but don't quote me on that #i collect rarepairs from my friends like pokemon thats why this list is so long #and also well. this is a media with lots of characters. so.

[craycraybluejay]

You know how a pretty obvious majority of kinksters are submissives? You want to know a big part of the reason why it's hard to find a dom that's into the same hard kink you are?

Ask a hardcore masochist what they think of being whipped.

Then ask a hard sadist what they think of whipping someone.

Do you notice that the sadist/dom will often either dance around an answer or try to use soothing language/euphemism not unlike the way how in many places people are still expected to discuss sex if at all. Gentle, calculated language.

The issue is, especially with a new surge of purity culture overtaking so-called "leftist" online circles, is that fantasy becomes a moral judgement.

Sub with a noncon kink: "I want to be raped" (cnc but like. People can talk ab it how they want don't cancel me fr.)

Response from Normies: "well that's weird and kinda dark but ok"

Dom with a noncon kink: "I want to rape"

Response from Normies: "I'm calling the police and you should kys and you're also a sexual abuser and even though you haven't said anything about kids you're also also a pedophile :)"

Not only does the attitude of murderous hatred against doms/tops with hard kinks/fetishes/paraphilias make it difficult for them to practice those kinks (safely and ethically) out of fear of social backlash if it's ever found out even if both they and their partner[s] had a great time and are fine-- but, it actively puts innocent people in danger by equating thoughts and attractions of ANY KIND to the act of hurting others against their will. It equates fantasy, which can oftentimes be played out safely if in a modified way with real harmful actions.

Also, kink is still illegal in many places, so don't "its illegal" me about harder kinks. Law is not morality, none of us are free until all of us are free, etc. You get the gist.

You want to see more doms? Meet someone who can indulge your "scary badwrong" sexy feelings? Then maybe don't actively promote a culture where you put ANY kind of attraction or kink under fire. It doesn't matter if it'd be unethical to act out in real life. Some of the most common kinks worldwide are unethical as fuck to act out irl, including rape. That's why we have cnc, come on, guys.

You know what? In fact, you SHOULD actively shun people who shame others for their sexual feelings. EVEN if you think it's gross. EVEN if it wouldn't be ethical to act on irl. Let these types know that their puritan ideals are NOT accepted here. Let them know that if they want to go to church they can do that but not in your space, not forcing other (non consenting!) people to listen to their hateful and repressive ideology.

Like, hey, I'm not into ABDL, for example. But I will defend to the death other people's right to be into that. To think and feel whatever they think and feel. You think diapers are sexy? Great! I don't personally see the appeal, but you do you boo. There is no Correct Way to be sex/kink negative. Either you believe in thought crime or you don't.

And yes, this post includes "harmful" paraphilias (I put it in quotes because they're only harmful if acted on), sadomasochism, mutilation fetishism, etc etc. Every "gross" or "evil" kink, fetish, para you can possibly imagine. The stuff that makes you horny is just stuff that makes you horny, and being horny is normal. Being "weird horny" is also normal. No one deserves to experience shame, let alone public harassment or hate over feelings they most of the time don't Choose to have. Be mindful of puritan rhetoric and strike it down when you see it.

#important #psa #hard kink #nsft topic #pro para #pro kink #the 'dom shortage' #obv there are other factors but this is just a connection I'm pointing out #purity culture #purity wank #puritans #sex and sexuality #tw r@pe mention #p3d0 panic/the trend of calling everyone you don't like a p43d0phi13 despite that that's as i said before #NOT the same thing as csa or ANYTHING like that and simply an experienced attraction #attraction is not r@pe; foot fetishists r not going to randomly hump ur foot and same w ever other kink #thought crime #puritanism #the purity culture wave #discourse #except if you disagree pls block me this is a pro kink blog forever and ever #thoughts are thoughts #anti para people scare me bc if u think someone cant help but have sex with someone/something theyre attracted to... #what EXACTLY are you going to do if someone romantically rejects you???????????? #turning the argument around here. if this is your belief then i do not trust you around me and my loved ones #because if attraction is action then i am scared for the people you are attracted to #because it isn't. and the fact that you think it is says more about you than anyone you hate for their attractions

[rubysparx]

Honestly I don't think I'm qualified to make this post, I just don't know if I can make coherent enough words man. But the thoughts are in there and I will try to articulate them. This is probably going to be mostly images though. anyway yeah KABRU POST.

A couple nights ago (at approximately 2:30am, lasting a little over half an hour) I had a bit of a moment about Kabru. That, too, was mostly images- most of what you see in this more concise post were presented then as well. I think my main points of the "moment" were about Kabru's trauma + self hatred, his autism and/or general otherness, and also a little labru if you'd like..

I think something easy to start with is I wanna point out Kabru's constant back and forth and conflicting opinions of demihumans and how, I believe, thats a reflection of how he goes back and forth on what he believes his purpose of living is- and the general worth of his own life. I've said it before and i've just kinda shown it in images; Kabru is "i think im a monster and it disgusts me" where Laios is "I know im a human and it disgusts me" (i could go more into the latter on another post)

the above are both from the world bible, with the left being from the section on kobolds and the right being from the section on Kuro specifically. Utaya was very near to the desert where most of the kobold population is, this is likely why Kabru is able to speak Kuro's language- he grew up around demihumans. (chapter 48 cover, kobold chapter in the world bible) I won't try to speak for how his mother or the rest of utaya felt about the kobolds but I can say that Kabru was very much othered as a child, as was his mother, purely for the way her son's (kabru) eyes looked.

I feel like its fair enough to say that both kabru and the kobolds were othered, and possibly for similar reasons (villager's seeing them as nonhuman, as monsters) and the fact that Kabru learned their language probably didn't help his case. I think his perception of kobolds (and all demihumans, subsequently himself, as he probably still views himself as nonhuman or not human enough.. deep down) was damaged by the Utaya incident. at 2:30am when I first started this ramble my main comment was that "had the utaya incident not happened kabru would have little reason to feel ashamed for his connection to monsters. and may have ended up similar to laios in that he couldve had otherkin swag" which is just a sort of silly way of saying Kabru could've learned to love the thought that he is possibly nonhuman or at least not hated himself so much for it.

in the original ramble I said, and quote, "he has been STALKING laios. laios is his hyperfixation to learn how he can ever be loved. he keeps going back and forth so harshly on wether or not he wants to kill Laios and he clearly sees his survival from utaya not as an unfortunate trauma [*] but as a necessary, deserved fate. a punishment for his mother's witchy sins, and for his sin of being non-human. to atone for it all, to apologize for being alive, he tries to better the lives of all humanity. He was set on his way to dethrone the governor of the island . do you understand? im going insane" *i also said somethings about the way he processes other people's traumas and not his own. He's able to understand and even help some people, but he struggles to process his own issues and see himself as worthy of love and life.

^some examples of Kabru being understanding of or helping others who have suffered greatly. I think its also worth mentioning that with Rin (called "Lynn" in that translation) he says "I wish there was a way to get her out of this" though he's insisted and pushed for himself to go into a dungeon;

In chapter 94, Mithrun says "The desire I had left wasn't revenge. All I wanted.. was for it to finish devouring me." and I don't feel like it's a stretch to say Kabru was in a similar situation. Mithrun sought out the demon with no plan on how to kill something like that because deep down he wanted it to end his (Mithrun's) own life, to finish the trauma it caused and kill him. I think Kabru went into the dungeon in part with the hopes that it'd kill him. That the same thing that destroyed Utaya and caused him so much trauma would just.. finish him.

I just think Kabru is a beautifully complex character, I have a lotta thoughts on him and I don't see nearly as many analysis posts for him than I do Laios (despite labru being such a popular ship)

there is no tldr for this post idk how to summarize it. do what you will with this collection of images. have fun. go crazy

fun fact the woman in the bottom left corner is his mother, she is labeled here as "witch"

#dungeon meshi #delicious in dungeon #dunmeshi #kabru #kabru dungeon meshi #kabios #labru #yeah its a long post i dont care. read it #also i only mentioned it briefly but i do think kabru is autistic . #yk that post thats like 'no im not autistic i know all the social cues etc etc etc. hey wait a minute' yeah. that #ok whatever. starts making another laios post

[am-i-the-asshole-official]

I am not the asshole, and I think this whole thing is stupid, but I was promised that if I sent my side of things to this blog I could pick the hotel for our honeymoon, and I am marrying a man who once tried to take me BACKPACKING of all things, so this ask has become a necessity. In light of that:

AITA (I'm NOT) for planning the seating for our wedding in a logical way?

I got engaged in June, apparently in part because of my partner writing in to this blog (I don't know how to find or link to his posts, but I'm the man who got the cat to bite him, if that rings any bells?). At any rate, for the past ten weeks, I've been in the beginning stages of planning our wedding with my fiance, whom I have been secretly attempting to remove from the planning process as much as possible. I have ALREADY been given a list of his must-haves, and I AM incorporating as many of them as our budget allows. This has NOTHING to do with the emotional side of the event, and EVERYTHING to do with the fact that this is an idiot with no real planning experience or taste who thinks he knows more than me.

For the most part, this has worked very well. I'm the one who's been collating all the contact information for things, so I just replaced all the emails for the tacky companies with false addresses, responded to his inquiries as the companies to say the date was already booked or the price was outside our budget, and let him filter his way to the ones I DO like on his own. I also made a fuss about being "willing to compromise" on the few things he's picked I'm completely fine with in the hopes I can use it to make him compromise later, and have been humming portions of the songs I want on the playlist in the hopes he'll think he came up with the idea to include them himself.

None of this is the real problem. The PROBLEM is that he is deliberately ruining my seating chart, by moving our horrible friend's seat when I'm not looking.

The man in question dated both of us at one point in our VERY early 20s (both ended BADLY), is generally the messiest person we know, and will almost certainly get sloppy drunk and try to make a speech IF he does make an appearance. I'm banking on the fact that he won't, because he's also ridiculously wealthy, and will almost certainly send us some very lavish gift in lieu of coming.

He is SUPPOSED to be sitting beside my fiances aunt, at the same table as his grandmother, his work friend, and her girlfriend, because all four of these women are stone cold terrors who I believe are more than capable of keeping him in line on the slim chance he does come. My fiance INSISTS they won't be able to have any fun if they're running interference all night, and keeps moving him to sit at the head table instead. You know, where WE are. I finally caught him switching the label magnets on my planning board last night, and confronted him.

I tried leveraging how much I've been compromising already, that he's almost certainly going to RSVP no, and that I shouldn't have to deal with him on our big night. My fiance said he knew about all the fake emailing and such, and told me, and I QUOTE: "Look, the mind game shit was hot when it was just about the colour scheme or whatever, but I actually care about this. So you can suffer with everybody else, or you can do the normal thing and not invite a guy you hate to our wedding, you weirdo."

I said that if I did that, it would take out half his groomsmen, he called me an asshole and said I should go explain this to "literally any rational adult" so they could tell me I was in the wrong, and now here we are.

Would you recommend calling my fiance's bluff, since he doesn't want the man sitting near us either? Or should I focus on ensuring he'll turn down the invitation no matter what, so the matter of where he WON'T be sitting can be a moot point?

What are these acronyms?

Original post

The update

#aita #am i the asshole #the saga of proposal anon

[5ummit]

So there's this post with a troubling number of notes going around insisting that "dead dove" is not a genre, it doesn't inherently have anything to do with darkfic, and that the tag could be applied to fics that are "100% fluffy where everyone's having a good time" if they happen to contain some abnormal (though entirely non-problematic) content like an unusual kink. The claim is that "dead dove: do not eat" is simply a "courtesy tag" that means "this is a very specific niche, mind the tags." And that's just... wrong.

I wrote up a whole rebuttal to this post since I can't stand misinformation and frankly OP was being kinda rude and judgey on top of their wrongness. But right after I posted my reply, OP turned off reblogs because, and I quote, “some fuckwad added some dumb shit onto this post and it is no longer educational” (the “fuckwad” being me and the “dumb shit” being proof that they were wrong). A couple people have asked me to make a rebloggable version of my response, which I've decided to do because this isn't the first time I've heard similar claims and I want to help set the record straight. However, I'm not linking the original post on the off chance this gains traction because OP did the right thing by turning off reblogs, preventing it from circulating further, and I don't want them to get hate for being unfortunately misinformed.

For those who don't know the history, "dead dove: do not eat" was originally proposed as a catchall "hydra trash party" alternative label for any fandom to warn that the content of a fic may be considered problematic or potentially upsetting and to read the tags carefully so you know what you're getting into and won't complain later. Specifically, DD:DNE was intended to convey that the Bad Things in the fic would likely be reveled in and not explicitly condemned by the narrative, which some people tend to get up in arms about, hence the need for the extra warning in addition to the tags. Don't believe me? Here's the original proposal (note DD:DNE can be found on a handful of fics dated before 2015 but this is when it really took off and became a Thing).

There are currently around 50,000 fics tagged as "dead dove: do not eat" on AO3 and close to 50% of those also include the rape/noncon warning (which of course is not the only type of "dead dove" but is one of the most popular and most consistently tagged). The normal percentage of noncon fics in any given fandom? Around 1-3%. That's a HUGE disparity. So don't tell me that dead dove is just a general "courtesy tag" and doesn't or shouldn't have dark connotations. Even the context of the original joke on Arrested Development has a dark undertone. Micheal Bluth casually finds an animal carcass in a bag in his refrigerator with the label "do not eat", as if eating it would be any sane person's first thought. The whole situation is kinda fucked up. And this fucked up vibe very much carries over into fandom usage too, as was intended.

The claim that dead dove has nothing to do with the content's genre and could just as easily be used to describe a 100% fluffy fic in which everyone's having a good time is straight up Wrong, or at the very least, severely warping the original meaning. Also, when someone these days says that they like/dislike "dead dove" most people in fandom automatically understand what that means because of the consistency of its usage over the years and the way language evolves. Whether you like it or not, "dead dove" IS a genre now and the term does carry a specific connotation. I do agree that DD:DNE should definitely still be used in conjunction with other tags, when applicable, to be explicit about the exact type of fucked up content you may find, but to say that the term is meaningless on its own is patently false and I'm tired of people who don't know what they're talking about pushing this narrative and causing even more confusion.

You want a generic term that also means "mind the tags" and doesn't have any inherently dark connotations? Just use good ol' "what it says on the tin" instead of trying to force dead dove to be something it's not.

#fyi I've tweaked my response slightly to remove specific references to OP and make it read better on its own #I hope I don't regret making this post and inviting The Discourse #but dead dove is a topic that is very near and dear to me #I feel like someone has got to say something and put a stop to all of the misinformation around it these days #fandom #long post #my words #psa #wendy's help desk

[love-belle]

yeah my boyfriend's pretty cool !!!

*ੈ✩‧₊˚ in which they're living the childhood best friends to lovers trope.

or

for when you just can't help falling in love. ˚ ༘♡ ⋆｡˚

social media au // charles leclerc x fem!reader

warnings - language

author's note - just had the most amazing idea for a daniel social media au omg!!! anyways i hope u like this i love you thank you for reading <3

≡;- ꒰ °instagram ꒱

liked by lewishamilton, carmenmmundt, charles_leclerc and 896,525 others

yourusername they say home is where the heart is

7,826 comments

username AIN'T NO WAY

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lilymhe chuckles knowingly

*liked by yourusername*

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pierregasly y/n.

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username NOT Y/N TRYING TO SOFT LAUNCH HER RELATIONSHIP

charles_leclerc no surprise he had to cook considering you can't even make cereal

-> yourusername well fuck u too ig

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≡;- ꒰ °instagram ꒱

liked by maxverstappen1, landonorris, yourusername and 936,685 others

charles_leclerc eyes like sinking ships on waters so inviting i almost jump in

8,627 comments

username GOODBYE

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lewishamilton hope you're both having fun 🤍🤍🤍

*liked by charles_leclerc*

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yourusername charles is a swiftie confirmed ⁉️⁉️⁉️

-> charles_leclerc in your dreams

carlossainz55 she has changed you

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-> pierregasly i don't

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≡;- ꒰ °instagram ꒱

liked by f1wags_, chxrleslxclxrc, hearts4y/n and 78,637 others

paddock.news charles leclerc and y/n gasly spark dating rumors after "soft launching" simultaneously on various social media platforms. rumors have always surrounded the pair through the years, but this time we believe that they're not just rumors. they have also been spotted out on "dates" as y/n has been attending various grand prix to support her brothers and friend and now apparently, boyfriend. they've also been posting each other on their instagram stories a lot lately. neither of the parties have made a comment about this, though we are rooting for them. for more details, click on the link in our bio.

5,267 comments

username NAH THEY'RE DEFINITELY DATING

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username i want what they have 💔💔💔💔

≡;- ꒰ °instagram ꒱

liked by yourusername, pierregasly, carmenmmundt and 892,915 others

charles_leclerc no i don't like the tshirt

tagged yourusername

8,156 comments

username SHUT UP

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username THE FIRST TSHIRT OMG

username i NEED that tshirt omg

lewishamilton personally, i love the tshirt

-> yourusername RIGHT

-> charles_leclerc both of you are so wrong

username HELLO HI WHAT IS THIS WHAT WHATCJWAT

username SIR U CAN'T JUST POST THIS AND DIP

username I NEED THAT SHIRT SO BAD OH MY GOD

username these bitches need to stop playing

username mf say it with your chest that y'all dating

yourusername but u like the one who's wearing it

-> charles_leclerc eh debatable

-> yourusername sorry can't hear u over u sending me 2528298 messages when i went out to get the newspaper from outside our DOOR

-> charles_leclerc STOP

-> username NAH THIS BOY IS DOWN BAD

-> username OUR DOOR?????????

-> username HELLO????

username the real fashion icon of the paddock

-> yourusername real lewis got nothing on me

*liked by charles_leclerc and lewishamilton*

username im so ❤️❤️❤️❤️❤️😭😭😭😭😭

pierregasly someone let me out

-> charles_leclerc will you chase me with a fork again?

-> yourusername and will you stop throwing napkins and spoons at my bf???

-> pierregasly yes

-> pierregasly (no)

-> yourusername ur staying in the bathroom

-> pierregasly LET ME OUT

-> username NOT PIERRE CHASING CHARLES WITH A FORK

-> username CAN'T BELIEVE THEY LOCKED HIM IN THE BATHROOM

-> username IM CRYING OMG

≡;- ꒰ °instagram ꒱

liked by lewishamilton, carmenmmundt, charles_leclerc and 916,628 others

yourusername yeah my boyfriend's pretty cool but he's not as cool as me argue in the comments

tagged charles_leclerc

comments are disabled for this post

#f1 x female reader #f1 x reader #social media au #fake instagram imagines #f1 imagines #charles leclerc #charles leclerc x y/n #charles leclerc x female reader #charles leclerc x reader #charles leclerc x you #charles leclerc imagines #charles leclerc instagram au #charles leclerc imagine #charles leclerc blurb #charles leclerc fluff #charles leclerc fanfic

[cleolinda]

Re: @dduane's post about authors staying away from fanfic for legal reasons:

This is a strange contribution, but years ago, I got quoted on the topic, if you'd like to see the full thread in the article up there. And while I'd spent a lot of time thinking of copyright in terms of someday publishing a novel--that is, from the position of the author rather than the fan--the experience I was talking about was actually on the other side of it. I was the fan who could have potentially sued an IP holder. Except that the production sent my teenage unsolicited script back, still sealed, in a second/larger envelope, very clearly unopened and unread. (You can recognize a manuscript by the sheer heft of it. Nothing good comes in that many sheets of paper you didn't ask for.) Years later, an episode aired that I felt was weirdly similar to my script--except that the show could prove that it was coincidence. They hadn't read it.

If they hadn't sent my script back so unceremoniously, I could have believed in my heart of hearts that they'd "stolen" from me, when I was the one who had managed to extrapolate the kind of thing they would write. I could have tried to sue them, wasted our time and money in court, most likely lost, and spent the rest of my life being bitter about getting ripped off. And meanwhile, the show hadn't asked for any of that and didn't do anything wrong.

That's why authors clap their hands over their eyes and start yelling LA LA LA CAN'T SEE IT. Because I can tell you, I was 14 and full of hopes and I had the best intentions, but throwing my unsolicited writing at them would not have helped anyone, including myself.

#publishing #copyright #edited for correct username!

[z0mbiefrank]

i have a lot of thoughts i'd like to document about mcr's auckland show, but here's just some of the things gerard said that hit me particularly hard.

first off, of course, we have the quote of the whole night, which i'll try not to dwell on too much.

"In the face of extermination, say fuck you."

there have been many posts about this. despite it not being included in the live stream, this video swept the dashboard. there is a pride flag front and centre in the audience. gerard is barely visible but all we needed was his voice. within hours it had inspired countless textposts and art pieces. i know i'm not the only one who cried. it is exactly what i needed to hear during this time of trans rights being rolled back all over the world. then came this video where you can see gerard. they walk right to the front centre stage, legs planted strongly in their skirt and tights, face set with intent, and he spits out those words for the whole world to hear.

now this next one i have not seen any posts about, but it struck a chord with me anyways. before planetary go they speak to the audience:

"You all look wonderful. You do. I see you when the lights are bright on us. I see you. Don't worry, I see you. There's some wonderful costumes. If they're costumes. Are they costumes?" The audience yells back with a resounding "No!" source video

every night my chemical romance performs, they look out to a crowd of visibly queer people staring right back at them. my mcr show was the first time i saw my trans best friend able to walk into the men's bathroom with his head held high. recently there has been a huge onslaught of anti-transgender laws across the world. i'm sure we've all seen posts pointing out that gerard's cheerleader dress they wore in Nashville would now be illegal. the new tennessee bill bans "male or female impersonators who provide entertainment that appeals to a prurient interest." many people have claimed the bill is 'only' about drag performers, as if that would make it okay, but we know that is not true. right-wingers have proven time and time again they view trans women as nothing more than "female impersonators". they treat transgender bodies as nothing but a fetish, or a prurient interest. they argue against gender-affirming medical care on the same phone they use to watch transgender porn. they believe transgender identity and queerness is a costume. it is something we can take on and off. something they can ban and eradicate from their country. but it's not a fucking costume. it's who we are.

which leads me to the encore. this was the only show during their tour with a planned one-song encore (excluding festivals), and that song was their most famous of all time, welcome to the black parade. the band walks back on stage and the only thing gerard says is

"Be who the fuck you are." video

an incredibly important statement that has always been a core part of my chemical romance's message. but with everything that's been going on, with frank saying one of his favourite thing about these tours is "g being able to just be himself", with gerard's gnc outfits making headlines, i feel like that was the perfect sentence to close the show

#this is very scary for me to post okay so be nice and hold my hand #mcr #gerard way #mcr auckland #mcrauckland #my chemical romance #op #z0mbie thoughts

[helluva-daughter]

So let's talk about Vivziepop's designing skills!

The amount of sadness I feel when I see Vivziepop's designs of the demons in Helluva Boss is impossibly high

Simply comparing them from where she is pulling from feels like looking at a newborn compared to a grandma. Now let's go through them!

Lucifer

Viv's Lucifer, a popular depiction of Lucifer ("The Fallen Angel" by Alexandre Cabanel), and one with Jesus ("The Temptation of Christ" by Ary Scheffer)

You can see a big difference in a lot, as you can see Lucy (which will be Viv's version) has well. Clothing but we can give her a pass for that as I don't think Youtube would be fine with an animated dick on screen. Another thing is his lack of wings, bat-like or feathered along with blonde instead of red curled hair and yellow eyes instead of the blue Lucifer has in The Fallen Angel.

But what I see as the biggest thing is Lucy's lack of muscles! In both of these depictions I have chosen Lucifer appears muscular whilst Lucy has Viv's favorite smile and body shape.

Asmodeus

Here we have Viv's Asmodeus (Ozzie) and Asmodeus from Collin de Plancy's "Dictionnaire Infernal"

I will give Viv major props, I LOVE Ozzie's design. If we removed the feathers, made his head bigger, and some small things it would be AMAZING! But comparing it to Asmodeus it's... wooo.... very different.

First you can see is Asmodeus does not look conventionally attractive with his strange old man face, elf ears, bull head, ram head, serpent tail, and literal chicken legs. Ozzie does have the 2 heads on his shoulders (just very small) and a tail (not a serpent one) but other than that the similarities end. Though I do think taking Asmodeus the direction to being physically attractive to most people was a good way to go.

A personal nit pick is the clear lack of a BADASS DRAGON. Yes, Asmodeus has a BADASS DRAGON. On his little Dictionnaire Infernal image he's sitting on a BADASS DRAGON which he holds a banner as he rides. Viv you could have made Fizz a cool dragon demon! Make him look LESS like Blitz's twin brother and more like something that related to the Ars Goetia canon.

Beelzebub

Now this is Viv's Beelzebub and a fly-like Beelzebub (Beelzebul) (I've left out the more manly versions of Beelzebub to keep it fair as Beelzebub is a woman)

So a big thing we can see is Beelzebub is a furry whilst Beelzebul is a straight up fly, taking the term "Lord of the Flies" much more seriously. Now comparing these two is basically impossible minus their wings and extra arms. Now with them looking nothing alike I'll put some of my own personal critique's in.

One, Beelzebub's hair and tail makes me want to vomit. It's constantly moving thus every frame it must be moved which is HORRIBLE on an animation stand point. Two, Her clothes. A direct quote from the Helluva Boss wiki says "Beelzebub represents the animal tamer/animal shows" when her clothing looks like that it's hard to believe. If it was casual clothes? Okay I'd believe that but it being her debut episode wouldn't you want her in her normal clothes? And that's ignoring her magical disappearing bra... is that just an arm strap? Three, the ear thing. God the ear thing! Viv said they were supposed to appear like beehives... girl what beehives have you been seeing? Maybe she meant honeycomb? Still I see zero resemblance.

Mammon

Here we have Viv's Mammon, Mammon (Mam) from the painting "The Worship of Mammon" by Evelyn De Morgan, and Mammon (Mon) from Collin de Plancy's "Dictionnaire Infernal"

As we can see Mammon looks like the Teen Titans Go Robin mixed with a Christmas tree, the Christmas theming is quite clever I'll give Viv that. Christmas is a time of greedily taking all that is given to you through gifts. Now I could complain about how Mammon is poor rep for a fat character and simply is a widened version of her normal body type but I already made a post about that

But comparing him to Mam and Mon? Nothing similar. Mam we can see appears like a very large naked buff dark skinned man whilst Mon is a freakish old man with wide eyes and tattered clothes. Mammon shares zero similarities to either of them.

Another thing is Mammon's monster form... I believe everybody has seen it and hochie momma it is HORRIBLE! From the screenshots I've seen we don't see all of it but he's clearly intended to be a spider of sorts which is great! Spiders can often be seen with 6 flies trapped on their web being hoarded for later but Viv seems to have taken the lazy route of extra legs and 2 extra set of eyes. Anthro spiders can be so so SO cool but I feel scammed. Stolen from. My life savings have been taken by this shitty design.

Paimon

Here we have Vivziepop's Paimon and Paimon (Paimonia) from Collin de Plancy's "Dictionnaire Infernal"

As we can see they appear nothing alike minus the crown and odd chicken legs though Paimon lacks the camel that Paimonia has. Paimonia also has a feminine face and a humanoid body, nothing like Paimon. Though I personally think Paimon's design is stunning what made Viv connect the two, is it because the Goetia family is intended to all be ripped from the Ars Goetia? I feel though that Paimon's design takes as much as it can from Paimonia while making him look related to Stolas but why does he need to be named Paimon?

Stolas

Here we have Vivzie's Stolas and Stolas (Stolos) from Collin de Plancy's "Dictionnaire Infernal"

So, I have a lot of issues with Stolas's design, it's ugly first of all but compared to Stolos's cute yet shocked wide eyes and charming little beak it's even more obvious how ugly it is.

First, Stolos is shown as an owl (but also is described as a Raven). which Viv got right along with keeping his crown and odd horn-like feathers. However, I believe making Stolas that skinny doesn't follow the model of most owls as they can be pretty fluffy and plump. Even Stolos has a round fluffy chest that trails into his comically long legs.

Second, that cape is very horrifying but not in a good way. Nobody wants to animate a cape with that many rips! Even if they don't have to be precise. Also, why do his buttons have no lineart when everything else around it has lineart? I have the same issue with Blitz's design and his random chest orbs.

Feel free to put in your own reblogs and replies with your opinions! You can also send in asks with designs from HH or HB that aren't linked to previously existing designs unlike these fellows and I'll throw in my personal thoughts.

-Mod Paimon

#mod paimon #helluva critical #anti helluva boss #helluva boss critical #helluva boss criticism #helluva boss critique #vivziepop critical #anti vivziepop #hazbin critique #hazbin hotel critical #hazbin hotel criticism #hazbin hotel critique

[monstermoviedean]

i saw a post today where someone stated that they often can't tell real information from misinformation online. i am not here to make fun of that person. that being said, the ability to figure out if information is real or not is a critical skill for everyone who uses the internet. you need to be able to do that on your own. it's great if you can get help or if people will tell you what's real and what's not, but you also need to be able to do it by yourself. simple, easy tips under the cut.

the most common style of misinformation i see on tumblr is the fake news headline. it's an image or multiple images of a headline and sometimes an attached story. easy tips to discovering whether this is real or not:

is there a link in the post? click it and see where it goes. no link? possibly fake, possibly the poster just didn't include it.

google the full headline, not just key words. even better, google the headline with the full headline in quotes so you get exact matches. can't find a match? probably fake.

is there a clear url/website attached to the headline? if so, go to the website and search for the headline. can't find a match? probably fake.

is there an author? google them. see if they're real. see if the subject of the article matches the stuff they usually write about. see if they have social media where they may have posted the headline. can't find an author, or they seem way off-track? probably fake.

if it's an image of a tweet, look up the person's twitter handle. can't find the tweet? possibly fake. it could also be a real tweet with the text or date edited.

is there a date? a story written in 2002 may have very different ramifications than a story written in 2022. it depends on the subject, but some subjects change rapidly and even a 5-year-old story may be out of date. see if you can find anything recent. if not, it may be fake or out of context.

go to google news and do a quick scan. this is going to work better for headlines that are about world news, but it's still worth a try. google news also allows you to search stories and limit by date. see if you can find a matching headline. if you can't, it may be fake or old news.

general tips:

don't trust social media. just don't. please. people can and will say literally anything they want. anything you read on social media that has real-world implications, you should fact-check.

you may think it's overkill, but google everything. even things you're mostly sure of. reading more headlines and more news can help you get better at discerning between real and fake headlines.

every source of information is biased in some way. try to seek out less biased sources. look up the bias media chart (here's a link) and use it to find sources that do less biased and more original reporting.

think about bias as you're reading. who is the author writing for? why are they writing? what do they want the audience to feel? what facts are they choosing to include or omit? how might the presentation of the facts change if someone with a different perspective was writing?

there are also websites dedicated to fact-checking. this works best for major world news, but try snopes or factcheck. the rand corporation has a huge list of tools for rooting out disinformation as well.

there's nothing wrong with asking for help, but if you genuinely cannot figure out if something is real or not on your own, and you give up trying to figure it out without help, you run the risk of believing and even spreading misinformation. some misinformation is essentially harmless (a celebrity's favorite color, for example). some misinformation is incredibly dangerous. please please PLEASE check your facts. it is quick and easy and worth it.

if you need more help, let me know.

#this is not a vague at anyone and personally i think some misinformation is funny. #*** **** ********** was hysterical i laughed my ass off at that #mutuals this is very much NOT about you <3 #however. i was really concerned that someone essentially said the only way they could tell if something was fake is if it was tagged #again not making fun of that person #not opposed to tagging or asking for help but i am concerned that not everyone here can figure out what's real and what's not #everyone needs to be able to do that #period. #happy to provide help or answer questions but this is a skill everyone - myself included - can and should work on #also i know 10 pm on mcr night is a bad time to post this but it was bothering me

[spockandawe]

Double edit: actually, that's enough of that.

Edit: I was expecting maybe thirty notes tops. This is a surprise, and one that doesn't delight me. If I hear about any harassment stemming from this post, I'll be more pissed at the harasser than the person this is about.

God. Dammit.

I hate this, let's just out that out there! I'm unhappy that I'm talking about any of this, I'm unhappy there's an issue that's come up at the intersection of media preservation, respecting authors, and one of my favorite book series. And I'm unhappy that I've censored the names in the screenshots I'm about ti post! I'm not happy that I'm helping to slide consequences away from someone who thought this was an acceptable thing to do to a modern working author. But I'm even less happy this is something that happened in the first place, and I'm VERY unhappy the original post has been deleted without a whisper of accountability or apology.

And here's a partial screenshot of the IA page, which has since been removed. I get the excitement to share something you love with a new audience. This isn't the right way to go about it.

First, if Martha Wells' patreon is still in place, I encourage everyone in the strongest possible terms to go sign up for it. It'll charge you one dollar. I've been a member since probably 2018, and I mistakenly believed it was locked to new members (it's labeled 'Currently Closed To New Patrons') until I had reason to look it up last night, when I tripped across this reddit post from earlier this year.

Now. I was looking it up because of this sudden patreon message:

Even if the patreon goes away, I still recommend that people sign up. Explore the stories! They're very fun! Even though the patreon has been dormant for years, I've loved having that repository in place.

In fact, in the interest of full disclosure, what kept me from immediately reblogging last night is that I've felt the same archival urges! I bound a hard copy of these stories earlier this year, and let me quote my own words from that post:

I live in a state of perpetual low key stress over the impermanence of digital media and that goes extra for sites that aren’t designed to work well as archives. I hope, desperately, that someday Martha Wells publishes more raksura, maybe even including these stories! I will buy it immediately. No thoughts, wallet empty. I own all her other raksura books in literally three formats, fingers crossed that by printing this, I can actualize a formal official printing of these stories by the author 😂

So. Archiving, yes. But especially with a living, working author, I would never DREAM of posting a public free-for-all with IA and mediafire links. My most charitable interpretation is that OP thought it was fine since the stories were "free," even though the writeups acknowledge that access costs a dollar. Ao3 is also free. Reposting someone else's fic is still understood to be a dick move.

Last night i was left kind of stunned, and I was hoping to see some kind of response from op this morning taking responsibility, and was... disappointed to see that the post was just deleted. The IA listing was deleted too, and I hadn't actually looked up the mediafire post yet but I'm guessing it's also been nuked. Out of curiosity, I wanted to see if there was anything more in the comments, so I found a surviving reblog. And there was!

So I'm writing this post because I'm... frustrated. Taking down the files is a good step. Posting them publicly was a worse step, but hey. I still more than understand if Martha Wells still deletes her patreon. I don't understand what sending her files of her own stories is meant to accomplish, but whatever. Ascribing a profit-driven motive is driving me up a wall, though. She's financially stable. I read her email, and what i see is frustration that even though it only cost a dollar to access 62k of her work through her own chosen location, control of her writing is being forcibly removed from her. I'm sure that seeing copies sold by third parties wouldn't help, but I don't think that's the root issue.

This is a fandom-heavy website, I'm sure most of us have seen posts about not reposting art when you can share directly from the artist's blog. I've seen posts about stop copying your ao3 faves over to wattpad just because you like reading there better. At a fundamental level, I read the message from Martha Wells as a deep frustration at having no way to share her creative work without someone removing control of it from her hands. And I don't know if there's any way to really take back that damage.

#long post #the books of the raksura #archiving

[stardustpr1ncess]

Bonzle is 100% without a shadow of a doubt a trans allegory. People have been trying their best to say Sora isn't transcoded, but Bonzle is 2 scenes away from looking at the camera and saying "Hello. I'm a trans allegory." I shall now go into detail on every piece of evidence for this claim because fuck you.

EPISODE 5: Bonzle is afraid of how her found family will react to learning she's a spell (trans) and worries she will be rejected because of it. Easy parallel to trans people being afraid of revealing they're trans post transition. There's also her conversation with Bitch Boy Master Wu, with her saying she feels great loneliness, and only after gaining a physical form (transitioning) she feels happy and her true self. Very common trans experience. Gonna also put all of the quotes for my evidence as well since I know there's transphobes (filth) that like Ninjago and will be scrambling to deny it when people start coming to this conclusion too.

"Bonzle: I-- I was afraid of what you'd think if you knew about my past... Wu: It's called loneliness... Bonzle: I feel like, for the first time ever, I've become who I was destined to be... Bonzle: I was afraid if you found out I wasn't a real person, you wouldn't want me to be in our family anymore."

EPISODE 6: Bonzle is apprehensive about meeting with Gandalaria, seeing as how she's only known Bonzle as a spell, aka pre transition. She worries if she will respect her identity, much like how actual trans people fear how their family, more specifically a parental figure, would react. Bit of a light episode but an important aspect, here's the quotes;

"Bonzle: The Sorceress. She only knows me as a spell. What if she doesn't believe in me as a real person?"

EPISODE 7: This episode is the sauce. Bonzle is reunited with Gandalaria and their conversation is nothing short of magical. Gandalaria immediately recognizes Bonzle, saying she was her greatest creation and had always hoped she'd come home, shattering Bonzle's fears. It's a fantastic contrast, showing how this interaction can go well for some people, while others get an interaction much more akin to Sora's parents. When she's informed of Bonzle's chosen name, Gandalaria immediately starts using it, saying it's a great name. However, for that juicy authenticity, Gandalaria accidentally says spell before quickly correcting herself saying Bonzle. IT'S LITERALLY SO FUCKING OBVIOUS BONZLE'S BONES MIGHT AS WELL BE BLUE PINK AND WHITE. Oh yeah, here's the paragraph of quotes;

"Gandalaria: It's you! My dearest! You've come home! Bonzle: You... You recognize me? Even in my boney physical form? Gandalaria: Oh, I would know your true essence anywhere. Bonzle: I was so afraid you wouldn't accept me for who I am now. Gandalaria Are you kidding? I put my heart, my soul into every spell I weave... The most complex spell I've ever woven, and the first of my creations to ever come back to me!.. Bonzle: I'm Bonzle. That's the name I chose when I became a person. Gandalaria: Well, that's a splendid name... If this Ras times it right, he could reverse the power spell-- uh, Bonzle here--."

EPISODE 9: This episodes importance comes from Jordana, who acts EXACTLY how transphobes do. She constantly calls her a spell (some sort of derogatory term), says she's playing person (like pretending to be a girl), and says she's helping her do what she was made for, like transphobes very creepy beliefs in reproduction. Literally you half expect Jordana to ask which bathroom Bonzle uses since she was a spell. THE QUOTES;

"Jordana: Settle down, spell. I don't know what you think you've been doing, playing person with your fake family, but I know your true purpose... You should thank us. We're helping you to do what you were created to do."

In conclusion the silly lego skeleton girl is one of them spooky transgenders. Lmk if there's anything I missed. Thank you for reading.

#ninjago #lego ninjago #ninjago dragons rising #lego ninjago dragons rising #dragons rising #dragons rising season 2 #ninjago spoilers #dragons rising spoilers #ninjago bonzle #ninjago Gandalaria #ninjago sora

[powdermelonkeg]

just saw ur gale/mystra analysis post. im new to the game and dnd lore and honestly… ur take on their relationship feels like the most natural/compelling one??? esp since its all too easy to simplify topics that have many facets and nuance….

thanks for sharing i love analysis and reading people’s takes on narratives : D

My pleasure! (Bee from the future here: congrats, you spawned another meta!)

I love complicated characters, WAY more than I like a clear cut-and-dry case. Flaws, to me, are what make a character compelling and lead to interesting stories about them with choices that can get them into situations. I'm both writing a fanfic and running a campaign where I'm playing as Gale, and in the interest of portraying him properly and in-character, I've gone into SUCH a deep dive into all the decisions and facts that make him him.

It helps to, y'know, also be in love with the fictional wizard, but I digress

The thing about Baldur's Gate 3 is that no character in there is perfect. I've seen a couple analyses about the theme of continuing cycles of abuse vs breaking out of them, but in my mind, in terms of the characters themselves, it goes like this:

The origin characters have just come out of the lowest situation of their lives (Lae'zel being the exception; being tadpoled is a gith's worst nightmare. You're seeing that lowest situation in real time).

Not the lowest point, mind. Gale's lowest was probably the day after he got the Orb. Wyll's was probably the day his father cast him out. Karlach's was the day she lost her heart. But the lowest, accepted normal for them is what they've just left.

They're then thrown out of their depth and forced to rely on you to live. That's #1 priority: living. We get the extremes of these characters before we get their nuances, because they're quite literally at their breaking points.

Then once we get to know them, we see their wants, their hopes, their fears, as they open up to us. Every companion's story is at their own pace, but they all have a moment where they ping-pong between despondency and desire. Sometimes that desire is what we know isn't good for them, like Shadowheart wanting to be a Dark Justiciar. Sometimes that despondency is only for a flicker, like Astarion's realization that he's condemned 7000 people to a half-life of tortured spawnhood for as long as he's been a vampire.

Romance lets us crack all that open more, because if you pursue a romantic partner, they see you as their closest confidant. They WANT to trust you, so they're more willing to explain how they see the world and what decisions they want to chase.

And then their endings. Those often get simplified as good/bad, continuing the cycle vs breaking away from it. But how is Duke Wyll on the same platform as Ascended Astarion? He's not evil, he's not even entirely unhappy. He might even have broken out of his abusive cycle with Mizora, if you played your cards right. And Ascended Astarion is overjoyed, even if he is remarkably more cold.

I think that the endings are less a dichotomy of "this is good for them" vs "this is bad for them," and more one of "bringing out their best traits" vs "bringing out their worst."

Wyll's worst trait is being willing to sacrifice his own wants for whatever people desire of him. His best is standing for what he believes in and ensuring people are safe. Duke Wyll leans into that necessity to turn the other cheek in the name of people who count on him, while the Blade of Avernus has seized that moral compass of his and forged it out of mithral.

Shadowheart's worst trait is blind obedience at the cost of her individuality, while her best is her desire to be kind to things that don't deserve to be hurt. Mother Superior Shadowheart's whole life is defined by Shar. Selûnite Shadowheart's life is defined by her hospitality, especially towards animals.

Karlach's worst trait is how willing she is to accept that things are (to quote her) fucked, letting despair override hope. Her best is her durability in the face of horror. Exploded Karlach would rather die than try to work out a solution in the Hells, because she's terrified of facing Zariel alone. Mindflayer Karlach has accepted her fate and decides to give up her heart and soul to go out a hero, losing who she is. Fury of Avernus Karlach is willing to keep fighting for a solution, and by the time the epilogue happens, she's got her sights set on one.

Astarion's worst trait is his desire for power over people. His best trait is using the tools he has to his advantage. Ascended Astarion has let his powerhungry nature and paranoia lead all of his decisions, with his sights set on dominating mankind. Spawn Astarion has embraced what he is, and carved out a life for himself where he can do as he pleases.

Lae'zel's worst trait is her blind fanaticism, while her best trait is her individual dedication, making her loyalty a marriage of the two. Ascended Lae'zel is a meal for the lich queen, turning a blind eye to all Vlaakith's tried to do to her and literally being consumed by her fervor. Champion of Orpheus Lae'zel has turned her loyalty into something productive for diplomacy. Faerûnian Lae'zel has seized her individuality by the throat and decided her own future.

And then Gale. Gale's worst traits are his hubris and, paradoxically, his low self worth. His best traits are his creativity and wonder for the world. God Gale is the embodiment of ambition, having burned away all but that in pursuit of perfection. Exploded Gale has let his remorse blot out all hope for a redemption in which he does not die, because he thinks he's earned it. Professor Gale leads his life by embracing the school of Illusion and letting his creativity thrive, teaching others to do the same. House Husband Gale has multiple creative projects he's working on, and Adventurer Gale is always finding new sights to see and wanting to share them with you.

There are arguments to be made on which ending the origins are happiest in, certainly, or which one benefits them the most, but each ending represents the extreme of a facet they possess.

So with all that, there's a sort of malleable method to figuring out the ins and outs of a character.

You take their endings—all of them, all variables they can have—and reverse-engineer the flaws and details they carry. Then you start to notice how those work into their approvals for minor things: Astarion approving of your taking of the Blood of Lathander, or Shadowheart approving of standing up for Arabella. Getting a list of approvals and disapprovals is helpful, but having those endings on hand tells you why they react like that to a majority of their decisions.

You take their romance-route explanations of how they act, and apply those to earlier decisions. Astarion's confession to manipulating you and Araj-prompted admittance to using himself as a tool brings to light how he reacts to your decisions, regardless of his actual opinions on them. Wyll's fairytale romance and love of poetic adages speaks to his idealistic nature, and why he takes a sometimes-blinded approach to decisions in which the "right" answer isn't always the smart one.

You take their beginning reactions to stress and use that to measure how future decisions impact them. Lae'zel locks down and gets snappy when she's scared, while Gale immediately turns to diplomacy. Shadowheart has gallows humor, while Wyll turns to quiet acceptance. If they break from these and seem even worse, you know the situation is more dire in their minds than having seven days to live.

And then you factor in all their fun facts and dialogue choices and backstories.

A wizard falls in love with a goddess and her magic, attempts to retrieve a piece of her power for her, is scorned for his attempt and is cursed to die.

Give that backstory to a Tav. Look at how it changes.

A chaotic good wizard fell in love with a goddess, thought retrieving a piece of power for her would be a showy bouquet of love, and was punished for not thinking things through.

A lawful evil wizard fell in love with a goddess's power, snatched the most precious thing she owned, tried to use it to barter his way through to the secrets she kept, and was given a swift retribution.

Same backstory. Same class, same act, same goddess. Wildly different connotations. Wildly different conclusions as to who is in the wrong.

If you take all there is to Gale, all that the game shows us makes up his character, and apply it to this backstory, you get what really happened:

A wizard, enamored with magic, fell in love with a goddess. His desires led him to want more than she was willing to give. In his well-buried fear of inadequacy, he concluded that the reason she wouldn't indulge his ambitions was because he just hadn't proven himself worthy enough. So he tried to prove himself, but he lacked the context for what he was proving himself with. And the goddess, seeing a weapon that had killed her predecessor, saw this ambitious wizard as losing his way and coming for her just like the weapon's creator had. She was angry, she withdrew his link to her, and he didn't know why. So he drew the conclusion that she took his powers to punish him, and let that encompass his fall from grace.

Was he wrong to reach for what was out there?

If you knew that the answers to everything you cared about were not only known, but kept by someone you loved—someone who adored you—what would you do to ask to see them? What if your curiosities were if there were other planets with life out there, or how dark matter worked, or whether or not we could one day travel in the stars? What if it was the potential cure to an illness that's little-understood, or the way to make a program you dreamt up, or the scope of the true limits of your artistic talents? Would your answer change?

Was she wrong to cut him off?

If you were once hurt, and the person you loved—the person who adored you—brought the thing that caused it to your door, believing you'd want it, how would you react to seeing it? What if that thing was someone you thought you'd broken contact with, like a friend or family member you'd been trying to avoid? Would your answer change?

That's the sort of scope that needs to be applied to this, on both sides. You have to take the perspectives of each party, and apply two analogies instead of one.

Gale saw the vastness of the universe, untold wonders, the solution to every question he could ever dream up, and saw Mystra as withholding this from him because she thought he just wasn't worthy enough. To claim Mystra knew his perspective does her a disservice.

Mystra saw a cruel weapon she thought long gone, in the hands of someone who could use it, brought right to her, and thought Gale was willingly following the path of Karsus. To claim Gale knew her perspective does him a disservice.

Should Gale have researched his prize more, so he knew just what he was obtaining? Should he have kept his hands off a cursed book that would devour him? Of course he should have.

Should he have given up on chasing his dreams?

Should Mystra have understood that Gale's pursuit of power was nothing like Karsus'? Should she have communicated when she was angry instead of giving the cold shoulder? Of course she should have.

Should she have given him the benefit of the doubt?

That's the root of their falling out. That's what leads to hurt being inflicted. Understandable, human reactions to the situations they perceive. Unhealthy, unwise choices made afterwards.

You work backwards from this to figure out their dynamic as Chosen and goddess. You work forward from this to understand more of where Gale and Mystra are during the events of Baldur's Gate 3. Gale reached too high, and understands this. His goddess hates him, and he regrets this. Mystra isolated Gale, and understands this. Her Chosen wants redemption, and she wants to make it happen.

Just like we took Gale's character into account, we also have to take Mystra's.

A goddess is faced with a problem. She uses someone who's desperate for approval to solve it, by telling him to kill himself.

An evil goddess is faced with a threat to her reign. She sees someone who's unfailingly loyal and hates himself, and elects to have him tear himself apart rather than do anything about it.

A good goddess is terrified of the future. She sees someone who tried to hurt her, who's going to die anyways, and tells him to use it to save the world.

Same story. Same act, same power, same pawn. Different character. Different perspective. Different outlook on whether or not this is the right thing to do.

Mystra has died, multiple times, to people trying to stake claim to her domain. Someone appears with the very thing that could do it again, right as she's regained her stability.

She does not see mortals the way mortals do. She is timeless. She is eternal. She has a duty to protect billions of people, and one person lost to protect that number is more than worth the sacrifice.

People like to bring up the Seven Sisters as proof of Mystra's cruelty. For those unaware, Mystra asked permission to, then possessed, a woman, used her to court a man (with dubious consent from the woman), and bore seven children, all of whom were capable of bearing Mystra's power as Chosen without dying. The woman she possessed was killed in the process (reduced to no more than a husk, then slain by her now-husband, hoping to end her suffering), and the husband was horrified by the whole story.

Mystra needed Chosen in order to restore herself in the event that she was killed again, to prevent magic as a whole from collapsing and wreaking havoc on the mortal realm, like it had in the few seconds Mystryl had been dead. Elminster, Khelben Blackstaff, and the Seven Sisters contributed to this. The more Chosen she has, the better; what happens if Elminster dies? She can't afford to have all her eggs in one basket.

Mystra has Volo (yeah, that Volo) as a Weave Anchor, imparted with a portion of her power to prevent the Weave from shredding itself to pieces in her absence. All Chosen of Mystra are Weave Anchors by nature. The creation of Weave Anchors was mandated by Ao, the Overgod, and Chosen are the best way to make sure those anchors aren't drained by ambitious people hoping for godlike power. Chosen can, and will, defend themselves, unlike static locations (which Mystra also has). The anchors are why the Weave wasn't completely obliterated during Mystra's last death, when the Spellplague rose up, because they stabilized the Weave around them.

Everything Mystra does is in the name of the big picture, to prevent a catastrophe like the fall of Netheril from happening again. Her restriction of magic, her numerous Chosen, her creation of Weave Anchors, her destruction of those who would claim her power, it's all in the name of the stability she's been charged with. Dornal Silverhand's grief and Elué Silverhand's death, while regrettable, were worth it to bring seven more anchors into existence to save all of the Material.

So someone appears with the Crown of Karsus, potentially powerful enough to try to kill the other gods in the name of the Dead Three. She can't risk being a target of them. She can't risk the destruction of magic again.

Gale is going to die. He lives in fear. He begs for forgiveness.

In Mystra's eyes, she's offering him the best outcome. She'll let him die in service to her, to save Faerûn, and she'll forgive him. He's going to die anyways, and if he does this, she'll give him everything (she thinks) he could ever want in her realm. She's asking him to do what (she thinks) is the right thing.

"She would consider what she considers to be forgiveness."

Notably, she leaves the decision in his hands. She doesn't have Elminster lead him to the Nether Brain. She doesn't activate him as soon as he's there. When he lives yet, she doesn't revoke the charm that keeps him stable. And when he declines, when he lets it go and starts pursuing Karsus' path, she doesn't smite him on the spot.

She is (she thinks) being incredibly patient. If Gale is going to try to be Karsus II, she's ready for him. If he decides to walk off and keep the Orb, he's dug his own grave in the Fugue Plane (those who don't have a god to claim them roam endlessly as husks and form a wall of bodies around the City of Judgement).

From her perspective, she's not being unreasonable. But from the perspective of a mortal, she absolutely is.

"Now, I have a question for thee: what is the worth of a single mortal's life?"

This is a question she cannot answer properly.

I think a lot of characterization is lost whenever someone paints one of them as being totally in the right. But I also think you have to be invested in them as characters to want to see that characterization. If you want to write about Mystra, you have to try to get into her head, analyze the decisions she made, figure out why she thinks she was right, and follow the pattern.

Gale's sacrifice is a very predictable thing for her to ask for.

#bg3 #gale dekarios #gale of waterdeep #mystra #long post #like really long post holy hells #did not expect this to go on for this long #swearing tw #< for karlach #oh yeah #astarion #karlach #wyll ravengard #shadowheart #lae'zel #ask bee