The idea that Black people are predisposed to hating queer people is Anti-Black rascism. The people most hurt by these assertions are not only Black people but queer Black people as well. You are not saving queer people by throwing Black people under the bus, and you'll never save queers by doing that, so just stop.
still stuck on mhok's trauma, unsurprisingly. i keep thinking about the opening scenes of this show, showing us day losing his sight, and mhok losing rung. i really thought that the show would spend equal time and care on both
my first post about this show was pointing out that the first shot of day is a close up of his eyes, and the first time we see mhok, he's holding something in his mouth. and i thought it was so interesting that we see mhok gagged, because society generally doesn't care what people who've been incarcerated have to say. or poor people. and by and large, it doesn't care about the voices of traumatized people, either
and i was so curious to see what the show was going to do with that. i can't believe the show itself was never really interested in what mhok has to say
and i'm stuck on mhok's time in hawaii. the show highlighted over and over again how poor he is, and we know that he didn't like studying. what are his english skills like? we saw singha there, and i think one other thai person. was that the extent of his social circle? he seemed pretty happy to leave hawaii behind, so did he make no new friends? did he spend his days off just sitting in his room by himself, the way day did when he went to songkla with mhok?
i assume he and porjai were still in touch, but he moved abroad at a time when his ptsd was getting worse, and in the wake of a terrible breakup, and he just walked all of that off? alone???
feeling overly protective and over-responsible is absolutely an understandable trauma response for mhok, but you know what else is? losing a relationship, and feeling like you HAVE to go back and fix it, and that if you can just get a do-over, you'll be able to do everything perfectly this time, and you'll get everything right, and everything will be okay! this makes more sense to me in the final episode than the idea of mhok and day having a happily ever after does
plain and simple i am not going to be able to remain in this fandom long-term if i have to keep putting disclaimers on every single one of my posts that say i don't condone dennis' bad, bad actions and that i am in fact aware he's got a history of sexual assault and dubious/nonconsent. the entire gang has done heinous shit. why is dennis the only one who needs to be treated like this? if some rando wants to post about how dennis is pookie pie that doesn't automatically mean they're blind to his crimes. every single member of the gang is a piece of shit. that's kind of the point.
Unnecessary discussion about Chat Noir and the Drums
There’s something I love so much about Chat playing the drums in Horrificator. This is something that’s been on my mind since I was 13, so hold on here.
First, obviously, Adrien also plays the piano - which obviously still has a lot of meaning!! - I’m not here to diss on the piano, there’s a lot of freedom of expression in every instrument type and music expression in general, but there’s a reason why some people are more inclined to different instruments, and I think there’s a lot more to it than just sound, but feeling as well. The role you play. How it feels to play it alone vs. playing it with others, if it’s typically something that you can play alone vs. in a group.
So first, the piano, and how I think it relates to Adrien’s character, plus how it relates to those points.
The piano, let’s be real, is something that a lot of us were forced to take lessons for at some point. It’s something that has ties to high society (there’s a HUGE discussion and so much more to say about that, but let’s not go there) and honestly?? I think it works pretty well with symbolizing the obsession with perfection that Gabriel shoves onto him. I’ve known many piano players, and while some genuinely loved playing it, it was always easier to somehow stumble onto someone with a deep hatred for it after being forced into lessons. Whenever I asked them why they hated it, I got almost the same answer every time: “I need to be perfect.” (Along with people saying that they were forced to lol)
Then there’s the role you play. You can play with people in a band, an orchestra, as an accompanist, a duet, at a bar with a bunch of people singing - whatever - music has many forms, and many different connections. But the piano is something you can play solo, no need for anyone else. It isn’t what you can do with other people that I’m focusing on for this, it’s the fact that you don’t need anyone. You can play alone, and it’ll still be fine. You can be alone, and you’re still fine - perfect even - which is something that Gabriel shoves down his throat, resistant to him playing with his friends by touching on this ideology.
Which is a glimpse into how he sees Adrien, and how Adrien experiences life. He can be alone, in fact he’s more perfect when he’s alone. And when other people are added, the attention to his perfection is taken away bit by bit, until he’s not good enough. He has to play solo in concert halls, on stage for everyone to watch, not in the back of a bar, playing with his friends.
Alright, so now we move to Chat Noir and the drums. The main play of this fake essay.
It would be so easy to just ignore everything and just go “haha, he’s the energetic one, so ofc Ladybug gave him the drums! And they’re an easy instrument to play, etc.” but that’s far from the truth.
Ok, so I’m not a drum player or percussionist in any way, but I am a bass player, and genuinely love the drums so much because they’re incredibly important, and here’s my cheesy analogy: the drums are the heart of the band, keeping everyone on beat, it’s what you feel at the centre of it all. The band is nothing without the drums, without the percussion (The bass is what connects the band to the beat of the drums, kinda like the blood vessels, but sadly this ain’t about bass). Like do you know how easy it is for a band to fall apart if they don’t have a drummer??? You need a drummer. You literally can’t survive without a drummer, because even if you manage to work together, use the bass as a backing, whatever you try, there’s still not much of a heart left.
But besides that, do you know how hard it is to play the drums??? You can’t just throw someone crazy, or energetic there just because “crazy drummers lol” you need someone who listens. Who can set the beat. Someone you can rely on, because they are the person in control, even if they aren’t as flashy as the guitar player. Reliable is the word that comes to mind. The drums can make or break a band.
And wanna know who that reminds me of?
Yeah. I highly doubt that the writers put this much thought into a random five second scene in an episode of season one, but it fits with Chat Noir SO well.
Unlike the piano, the drums are almost solely played in a group setting - you need other people, and other people need you - he needs other people in his life, his friends are needed, but they also need him. Ladybug needs him, along with all the other heroes in Paris, whether he sees it or not. He seems to get in a state of thinking he’s not needed, but i do really think he’s the emotional glue that keeps the team connected, the heart that keeps them beating. If he’s isolated, he can’t quite reach his full potential that he can when he’s allowed to be around others, just like they can’t reach their own without him.
But on top of that, I think the stereotypes of the drums actually works in his favour for the next part.
Breaking free from his dad, and being his own person, letting that fame go and embracing what he wants... well, to some that would look stupid.
Relating it to music, the piano is flashy, you can play it solo, it sounds impressive, looks impressive, and people won’t think you’re just hitting pots and pans in the garage when you say you play it. But the drums are underestimated, a lot of people think you don’t need much practice, that they’re just the guys who sit at the back of the stage, not doing much, but that couldn’t be further from the truth.
Just like Adrien finally being who he wants wouldn’t be stupid, it could never be stupid, but there’s a stigma. But letting go of his flashy, solo life, and being the heart of his friend group is something that I think makes him truly happy as Chat Noir, and hopefully he gets to be like that as Adrien too.
Like Plagg said, Chat Noir and Adrien are both the real him, and I think the drums capture that perfectly. The heart and freedom, the meticulousness (rather than perfection) and steadiness, those are good qualities of a drummer.
I dunno, I just think it fits.
(sdfghjklkjhgf again I should state that acoustic versions of songs exist, and you can play songs without a drum and it sounds fantastic, but I’m not going into that today. Just talking generalization, and playing in a group setting).
fun fact, during my first fully blind playthrought of bg3 I honestly thought gale was the writers' favourite if nothing else because of how much varied dialogue he had. like I never reallly had a conversation with astarion that wasn't about his trauma, his vampirism or how boring I am for not wanting to take over a cult but I knew all of gale's hobbies, two or three childhood's anecdotes and the whole history of tara, who he was making plans to introduce to me later.
Halsin's mom called him "arivae" (sunlight - also very close to "aravae" which is like great joy), because he was a generally happy elfling and was already smiling soon after he was born - a ray of sunshine, if you will.
His father - strange of him, being the more serious of the two - would reach back on particularly infantile terms like "nìnì" (little one), or shorten his name to "tō" (baby or little) when in an affectionate mood. The irony is not lost on him - especially when he starts hitting his growth spurt around 15, and it's partially a tongue in cheek term of endearment in that way. But it's more because...he was his youngest son - his little guy, you know? He will always be that, no matter how big he gets.
(And it does mean more when you think that, as Halsin started growing, even being the same age as his peers and the same learning and maturity level, you would occasionally have the mistaken assumption that he was older - more grown up; that there was an expectation for him to be. But his father used to motion to his chest and temple and casually remark that he was still little where it mattered.)
hi i just found your blog and i’m in love with ur writing<3 imma stalk it, if that’s ok!! also, saw ppl can send writing ideas (u don’t have to do this it’s just something i like reading lol) and i see lots of angsty fics where steve is the one that fucks up and has to apologize but I also think eddie could fuck up too - so if you could right something angsty (with a happy ending obv lol i’m not made of stone) where eddie fucks up and has to figure out how to apologize to steve :) but like i said no pressure if it’s not something you want to do <333
keep up with your writing, it’s beautiful <33
Ohmygod this is such a lovely message, thank you so much <333 Seriously this really means sooo much! I hope you're having a good day, lots of love!
And YESSS i love this prompt! I started writing something and it completely got away from me so now it's getting waaayyy longer than i planned it to be, whoops. I'll give you the first part already and I hope to have the second (longer) part ready soon.
(also, i wrote this post a while ago which also has angst and eddie being kind of a dick so you might like that one, too)
XXXXX
'Do you know what day it is tomorrow?'
They're on Eddie's bed together, the two of them, not doing much – or rather, Steve's not doing much. Eddie, however, is tirelessly scribbling down ideas in his notepad to prepare for the next Hellfire meeting.
He looks up from his notes to look at Steve in disbelief, wondering if he's for real with that question.
'Friday,' he answers in the most scathing tone he can muster.
'C'mon Eddie, don't be a dick,' says Steve, but a small smile is playing around his lips. 'Can I take you out tomorrow night?'
'I have band practice on Fridays. You know that.'
'Yeah, but I talked to the guys. They're okay with skipping it one time.'
'Dude, I'm not gonna miss my band practice for fucking Valentine's Day.'
Steve frowns. 'You don't have to say it like it's a gross word, you know.'
'But it is a gross word, Stevie!' Eddie exclaims dramatically. 'Come on, you know just as well as I do that it's not for people like us.'
'Seriously?'
Eddie doesn't understand why Steve is acting so surprised. Honestly, what did he expect from dating a non-conformist queer metalhead, exactly?
'It's not even about romance, man! It's a conspiracy of the big corporations so they can capitalize off their ridiculous made-up heterosexual ideas of what relationships should be like. Nothing romantic about it, it's all bullshit.'
Something shifts in Steve's gaze. 'It's all bullshit?' he repeats, eyebrows arched into a frown.
There's something in his tone and in his pose, his arms crossed in front of his chest, like he's challenging Eddie, that makes Eddie feel like he can only double down on this now.
'Yeah. Complete bullshit.'
'Okay.' Steve nods, opens his mouth, then closes it again – seems to swallow his own words, before he continues: 'Okay, good to know. I won't keep you away from your band practice, then. Um, you know what, I should be heading home now.'
'I thought you were staying here for the night?'
'No, I changed my mind.' Steve doesn't look him quite in his eyes. 'I think I just wanna be alone. Get a good night's sleep.'
Eddie squints at Steve as he gets up from his lazy position on the bed to grab his shoes.
'Are you angry?'
'No, I'm just – you're probably right, I don't know why I even thought – never mind.'
But Eddie can't see Steve's face as he's ducked down to tie his shoelaces, and his voice sounds oddly strained. Steve leaves Eddie's room without so much as a kiss on Eddie's cheek and only stops in the living room to say goodbye to Wayne before he heads out into the cold evening.
'You and Steve okay?' Wayne asks after the sound of Steve's car has faded away. Eddie is still standing in the middle of the living room, trying to figure out what the hell just happened.
'I... don't know,' he answers his uncle's question. 'He was being all weird about fucking Valentine's Day, can you believe that?' He lets himself fall onto the couch. 'What about this –' he makes a vague gesture at both himself and the room around them – 'could have ever given him the idea that I'd care about Valentine's Day?' It's impossible for him to keep the disgust out of his voice.
Wayne sighs. 'And did it ever occur to you that maybe he cares 'bout Valentine's Day?'
Eddie scoffs. 'Of course he doesn't care about Valentine's Day, he's –' Shit. The horrifying realization dawns over him and it makes so much sense that he wonders how he didn't see it right away. How could he have been so stupid? Of course Steve Harrington cares about Valentine's Day. And he probably planned some big romantic surprise date for Eddie and all Eddie said was that it was bullshit.
He groans and lets himself fall further into the worn-out couch cushions.
'That's what I thought,' Wayne comments dryly.
'Shit! Shit, shit, shit, I fucked up so bad, Wayne! How could I have known?! He's a fucking badass, I didn't think – Ah, damnit, I'm such an idiot!'
'Badass or not, if you didn't wanna be with some hopeless romantic, you been lookin' in the wrong place, boy,' Wayne says.
Eddie lifts his head up to take a look at the clock hanging on the kitchen wall. It's almost eleven thirty. That leaves him with about eight hours until Steve wakes up on his own in that big empty house, on Valentine's Day, ready to start his day feeling completely miserable. It's time to switch into all-nighter mode.
i think mikes awareness of his feelings for will is like when you're looking for something in the fridge and can't find it anywhere but then someone else comes along and is like dude... it's literally right there, front and center in your line of vision. like how did you not see that. it's directly in front of you. couldn't be more visible. and once he realizes it'll be like oh, duh...
Heyyy, have you ever written your Hec and Karlach with the "blows up at the pier" ending? I am just not sure where to look for it lol but I always love imagining the "alt routes" but I understand if others are too sad to dip toes in
Oh man, anon coming in with the Big Feels out of nowhere. :D I love it. As per usual this got way longer than intended and very out of hand. XD
I have not written that before and it is indeed VERY sad to think about. But I am up for giving it a try! [rolls up sleeves, braces self]
(If you're interested, I also answered a similar version of this question a while back regarding Hector's life in a worldstate where Karlach got mind-flayered, which was ALSO sad. 😭 )
So anyway. Scenario, then: the brain fight didn't go super smoothly and Wyll is unconscious, so Hector is left with no other voice to save Karlach from her self-sacrifice.
-----
No one moves. The pier is suddenly deathly silent as the roaring of Karlach's engine falls to stillness. Hector sways unsteadily on his feet, clinging to the afterimages of the flame still burned into his eyes.
Don't breathe. Don't think. When you think, it will become real...
But there is no stopping it. Thinking is what he does best, after all. She taught him to live, for a while, to see the glory and goodness of the wide world outside the monastery, the bright intensity of its colors.
But she is gone, and he can see the grayscale already fading in again at the corners of his vision.
"No..." he whispers. His voice sounds choked in his throat. "No." Somehow he always believed, deep down, that something would come to save her, that they would find some way to make everything all right. "NO!" He falls to his knees, burying his fingers in the ashes; his palms blister in the lingering heat.
"NO. NO. NO, NO, NO, NO, NO NO NO NONONONONONO!"
He's screaming, he realizes distantly. Sobbing too. Everything has snapped; every ounce of the control that he wears like armor has vanished. He feels detached from his body, unreal, numb with grief. The tears pour down his face, blinding him.
It isn't fair. After everything they have been through, everything Karlach suffered, it isn't fair that this is how she ended, without even a body to bury in the city she loved. It isn't fair that he will never hold her again, never feel her arms around him, never protect her and be protected by her, never see the world at her side, never... never... never...
The world is so cold without her warmth.
"Gods, please... please come back to me!" he howls into the uncaring ocean view. "I can't... I can't..."
The first paroxysm of anguish starts to fade. He collapses forward on his elbows and knees, his face pressed into his fists, and sobs.
In the monastery, they taught him there was no pain that discipline and prayer could not soothe. They were wrong. He knows now just how wrong they were.
"The Moonmaiden sees me… no grief nor pain nor fury shall wrest me from her path…" He whispers the mantra brokenly, instinctively, desperate for the comfort it has brought him in other moments. But there is no comfort to be found even in Selune's light, not for this.
He is alone.
But no... not completely alone. A hand touches his shoulder softly; a form crouches gently at his side. Shadowheart. He can see the sympathy in her eyes, the compassion and shared pain.
"Come here," she says softly, and opens her arms to him, as he did to her after the House of Grief. And as she did then, he falls sideways into her embrace, presses his face into her shoulder and cries bitterly. Her armor feels cold after the furnace heat of Karlach's destruction, but the hug is tight and fierce and she rocks gently side to side, holding him.
"I'm so sorry," she whispers.
His voice is hoarse, almost inaudible. "It hurts..."
"I know... I know..." She looks up. The others are watching at a distance - those who remain, anyway. Astarion is gone into the shadows, Lae'zel to the Astral. Gale is crouched by Wyll's unconscious body, but his eyes are fixed on the back of Hector's head, unblinking. Minsc, his face drawn tight with regret, is standing a little closer, Boo balanced on one fist.
And Jaheira closes with them, moving to sit on Hector's other side. The druid rests a hand on Hector's back just above where Shadowheart's arms hold him. "Silvanus guide the light to the source," she murmurs. "Take her to what she justly deserves. By nature's will, what was given is returned. What was turmoil is now peace..."
Hector draws a long, slow, shuddering breath.
"May the Moonmaiden's light follow her into the dark," Shadowheart says softly. Her voice is still a little unsteady on the Selunite prayer, but she knows Hector needs to hear it. "The silver light always at her back..."
He swallows, sits up slightly, not pulling away from either woman's touch. They are grounding him, drawing him back to himself, and his heart rate begins to calm, the sobs slowing to unsteady, hiccuping breaths. "Perhaps," he whispers hoarsely, "perhaps had I served Shar, it would be easier... I would be prepared for such loss..."
He can feel Shadowheart give a single, sharp shake of the head.
"Do not think it," Jaheira says, her voice low. "You would be empty. It is no better. The grief carries all the meaning of what was; it is the love with nowhere left to go. In time it will be bearable, cub."
He does not want it to be bearable. He wants it gone. He wants her back. He wants the hole in his heart filled back in.
"My Lady..." he whispers, squeezing his eyes shut. "See her soul as it travels outward. Take it where mine would go, I beg you."
Karlach once said that she liked the thought of her soul spreading out through the world, becoming part of it. He liked the thought too, for she was always full of life and loved the world so deeply, with such fierce devotion...
But he knows the truth, as it was taught to him. She will go to the Fugue Plane to be judged. And if no god fights for her soul, she will exist in limbo forever, trapped in another unending wasteland.
"Take her to you, My Lady... please. In my place, if you must, but do not leave her forgotten..."
----
Some months later, he and Jaheira travel at Withers' behest to a gathering outside the city.
It has been a good half-year, all things considered. The city is starting to rebuild, to regain some semblance of its former life. Hector has been hard at work among the Harpers, lending his strong back to building projects and his counsel to those in need of it.
He's filled out with new muscle and a sense of pride in the Gate. Jaheira has noted it more than once - with surprise, given that he once lived in such isolation from the city's life. But they both know, truly, where that pride stems from. Karlach could not live to see her city flourish again - so Hector must see it for her.
In his pocket always he carries the three copper coins Jaheira delivered to him a few days after the brain fell. Sometimes he listens to the message recorded on them. More often, he simply places a hand against them when the loneliness threatens to overwhelm him, feeling the soft warm buzz of the enchantment on them and imagining he can almost feel Karlach's touch.
Withers finds him wandering away from the party, late in the evening, and addresses him without preamble, grave as ever.
"Thou feelst it still," the skeleton says, with something oddly like kindness. "She is not here. She who means the most. Hast thy thoughts been with brave Karlach often?"
Yes. Of course they have. He doesn't speak of it much to Jaheira and the others, and he has tried to move on - and some days he can almost manage it. But her loss always sits in the back of his mind, inescapable. Every moment of victory bears its quiet reminder that she is not here to share it with him. Every failure brings the ache for her comfort and her warmth.
"I loved her so much," he says quietly. "It isn't fair."
"No," Withers says placidly. "It is not."
He feels a sudden tightness in the back of his throat. He has not spoken of her aloud for so many weeks, but Withers of all people coming to him with kindness brings the feelings rushing back, stinging into his eyes. "I don't know how I can go on without her," he mutters.
Withers's dessicated lips curl in a slight smile. "She battled in Avernus, fueled on naught but hope," he says. "And that hope came to become truth. In but a dozen tendays, an entire life was lived. More than mortal years-- mortal centuries were hers." He gives a slow nod in acknowledgment of Hector's grief. "Thou might endure a great eon of mourning. But thou must hope, as once she did. Her life... her happiness... was you."
Great, now he really is going to cry. That strain in his throat is rapidly forming into a lump that makes it difficult to speak. "And she was mine..." he whispers.
"Thy life was hers for a while," Withers says gently. "It is now thine again. Live it well." He reaches out a hand and rests it on Hector's shoulder. It is light and skeletal and bears no warmth, but it goes with the intensity Withers suddenly has in his expression.
"In the Fugue Plane," he says, "her soul burns so bright, it pains the gods to look upon. Recall that in time, all changeth and all is rejoined. Thou shalt be with her again."
Hector feels something tight come loose in his chest, and he nods unsteadily. These are not empty words; this is Jergal speaking, not Withers. This is, perhaps, the only voice available to him that could tell him truly what he needs to know - that Karlach is not lost to him, nor beaten into dim submission by the wasteland of the Fugue.
She is still bright. And she is waiting for him. And one day, when he has brought her city back to life, he will go to find her.
What an ending. DFF was an excellent character study rather than a romance, whodunit, or even murder revenge. It's unnecessary to take sides or impart some sort of morality on each of the characters. I think this series showed that people are grey, neither all good nor all bad. (Except maybe Top, it seemed like he really was just a shithead.) Each have their own motivations, fears, and pressures. People are selfish and will do shitty things to survive. That doesn't necessarily make them evil, just human. They are allowed to feel guilt, regret or try to make up for what they did. That doesn't mean they're "good" or redeemed either.
That being said, Non, White, and Uncle Dang didn't deserve their fates.
it's so fascinating to me how little there is to work with if you want to go with the (most likely) intended reading of yashiro as a cis man. if you ignore what other characters are saying, all the instances of "bitch" being thrown at him, men comparing him to a woman as an insult, and just focus on his own feelings regarding his gender and masculinity, there's… nothing really? the few times when he explicitly says that he's not a woman go hand in hand with "therefore it's okay to hurt and abuse me, to be rough with me, to want to leave me, etc etc". the way he talks about men usually reads as "men and me" with a level of separation there. all the "what type of women do you like? is this how it is with women? are you gentle with women? women women women?" there's no attachment to being a man, not that i can see at least, so reading saezuru through the lenses of sexuality and gender rather than just sexuality is this weird experience of "i know what you want me to think, but thank you for leaving so much room for the other interpretation"