#this must be so hard to understand without the context

[max1461]

This has mostly disappeared from my corner of the internet over the last few years, but it used to be the case that every once in a while some story would go around about a corporation or a government doing some fucked up shit in pursuit of their self-interest, and people in the comments and reblogs would act utterly aghast that said government or corporation would do such a thing.

This was always baffling to me, and I have only ever been able to interpret it as a sign of profound naivety. Of course, I too think it is awful, sad, and unjust when people are exploited, killed, abused or so on by the institutions of our society. But "aghastness" is not synonymous with these things, to be aghast is to be (or present yourself as) in some sense surprised. And surprise is wholly unwarranted here.

I suppose this is part of my worldview that feels very fundamental, it feels deeply obvious, and I struggle to figure out how to talk productively with people who did not get the memo: exploitation and abuse of others in pursuit of self-interest is in some sense the natural behavior of agents in any kind of competitive context. It requires a lot of effort and coordination to mitigate this behavior. We do not feel "aghast" when someone is bitten by a dog. Dogs bite people, idiot! And corporations exploit their workers, lie, cheat, and steal, unless you work very hard to prevent them from doing so. And governments exploit and neglect their citizens, and go to war and kill and maim, unless you work very hard to prevent them from doing so. Individual humans, as members of a social species for which cooperation is paramount to survival, have quite a lot of specific programming whose purpose seems to be to discourage us from doing these things (empathy, loyalty, etc. etc.), and yet very often we still do them!

I have relatives who have a hard time believing in US atrocities abroad, on the grounds that "Americans are the good guys, and the US just wouldn't do that". This is very stupid! Do you think the US got where it is today without cracking some eggs? Bullshit. There's never been a government or a military in the history of humanity that "just wouldn't do that". I sometimes see posts on here from tankies, defending Chinese or Soviet atrocities on the grounds that these things must be Western propaganda, a socialist government just wouldn't do that. Again, I find this so obviously false as to be essentially beneath engaging with. We don't live in a just world! Often, a very effective strategy for achieving whatever it is you're trying to achieve will involve treating people like shit. It is what it is.

I'm not trying to play defense for injustice here. Obviously I think we should do as much as we can to prevent these abuses. But I think that doing so must start with basic recognition of the following: it is the nature of institutions—being as competition between them is essentially unavoidable, and being as their decision processes are unavoidably removed from the face-to-face social context which is so load-bearing in motivating respectful treatment between individual humans—to abuse people in pursuit of their (perceived) self-interest. This behavior is mundane and expected. It can be mitigated in various ways, ideological and structural, but it will probably always be with us to some degree. To look at it and express shock in any capacity suggests a completely misguided understanding of how the world works.

This is the first and most important thing I ever learned about politics or society.

#society

[too-antigonish]

Morse and drinking in the 70s...

Long....because I can't write short. And obviously, a lot of you will already know this stuff...

Just want to take a moment to talk about alcohol and alcoholism in the context of the early 1970s and remind folks of how totally and completely different it is from how we see it today.

Drunk driving had not been outlawed in most countries. Not only that, it was widely regarding as funny—funny enough to be used as a regular “gag” in movies. Problem drinking was also seen as funny. There were regular cartoon strips about it. The “drunk” was a funny stock character in all sorts of plays and movies.

Alcohol was ubiquitous. We’re not just talking liquid lunches. We’re talking drinking at work, while you work—just as you see in Endeavour. Think about that for a second.

And politely saying no wasn’t something you did without social consequences. It wasn’t just seen as a personal preference. Unless you had a specific, acceptable reason, turning down a drink was often seen as stand-offish and judgmental or as a social snub. Teetotalism was regarded as rather naive and ridiculous—not something any man or woman of the world would embrace.

In the early 1970s, there was no widespread understanding of alcoholism as a disease. It was still seen very much as the consequence of personal weakness—still a matter of “If you cared enough or tried hard enough, you wouldn’t do this so it must be a character flaw.”

Plus, most people, “normal” people don’t have problems with alcohol, so if you do then there’s something abnormal and defective about you—most likely something you brought upon yourself.

And as a “personal weakness” and a “defect,” the shame around it was profound and the secrecy matched. If someone went away for treatment, it was very much akin to an unwed mother going off to have her baby and then returning without the child. You never spoke of it. You pretended that it had never happened.

If you were a kind person, you also didn’t go out of your way to parade babies in front of her or talk constantly about children when she was with you. But refer to it directly? Never. Ask for help? Never. It was always something to be hidden. Everyone did their best to forget that it had ever happened and saw this as the "kindest" thing to do.

When Morse returns from his “cure,” it would simply be assumed that everyone would pretend that nothing unusual has happened. Why he’s  just been off on a tour of the West Country and nothing else! Hope you had a lovely time! That sort of polite fiction was exactly what he would have expected upon his return. Anything more direct—at least in a public setting—would have been shocking to him and everyone else.

Where things break down, however, is in the more personal interactions. His relationship with Thursday is such that they can at least broach the topic of drinking. When they do, my impression is that Thursday is well-aware that Morse not “cured.” However, in the context of the time, saying this would be akin to saying, "You failed," because there was no disease model of alcholism in widespread use. You went to be cured and it worked or it didn't.

However, I'd also add that Thursday is almost to the breaking point with the cumulative strain he is under. He can’t cope with the “burden” of Morse being in a precarious state and he knows it. He feels desperately guilty about that—as well as about other things like Strange and Joan or about life having moved on so much while Morse was gone—and so he just shuts down. 

Shutting down is Thursday’s go-to strategy when he’s overwhelmed. We’ve seen him do it many times before. And part of that for him, is that he pretends that the people around him are ok—even if they are anything but ok. Not surprisingly, he does it the most with the people he has the closest emotional ties with—Win, Joan, Sam, and Morse.

So the only way that Thursday can cope is by having Morse be perfectly fine. Conveniently, his preferred coping strategy fits exactly with his society's expectations about how alcoholism works. If Morse is "cured," you don’t need to worry about sparing him the constant offers of alcohol in the same way that the young unwed mother might hope to be spared babies. You certainly wouldn’t embarrass him (especially after he’s been through the humiliation of rehab) by drawing attention in any way to a possible to the idea that he still has a problem. 

And finally, a last note on time context. The scene in the pub where Morse has that first drink after finding out that Joan is marrying Jim is utterly heartbreaking for so many reasons. One of those reasons, however, is that we know it’s the first drink—and that the first drink leads to the second, and so on and so forth. Then Morse says to Thursday, “They said the, the odd beer, the odd shot, does no harm…"Everything in moderation," they said,”  and we automatically assume he’s lying.

I’m fairly sure that those scenes were meant to be interpreted through our modern viewpoint. However, it’s worth noting that again, the model of alcoholism in the 1970s was nothing like what we have today. The idea that someone with a drinking problem/addictions needs to abstain entirely was not even close to universal at that point. It’s perfectly possible that the advice Morse is quoting is the advice he received!

#itv endeavour #endeavour morse #shaun evans #fred thursday #endeavour: prelude #thursday thursday #sort of #but mostly meta about alcohol in endeavour and the 70s

[obscurevideogames]

Tumblr’s Core Prodct Stratgy

Here at Tumblr, we’ve been working hard on trying to keep our sinking ship afloat for as long as possible. This means desperately trying to copy every new fly-by-night social media app that some multi-billionaire sh*t out during their daily Peloton routine. What follows is the strategy we're using to accomplish the goal of user growth. If you find the things we say here worrisome, please understand that is our exact intention. You've outgrown our target demographic. Don't let the door hit you on the way out.

The Diagnosis

It's lookin' pretty bad y'all!

After somehow losing hundreds of thousands of users during the great pr0n purge of 2018, we started to wonder if anything could be done to get back to where we were. We even brought in a management consultant who charged us a ridiculous amount of money. It would make you sick if you knew how much, but we got a few nice meals out of it at least. Anyhow, we handed this guy the app, and HE HAD NO IDEA HOW TO USE IT! It was f*cking hilarious! But suddenly it all clicked -- our users are a bunch of stupid idiots who can't even do basic arithmetic. I mean, they spend all day looking at their phones, so what do you expect?

Tumblr’s best feature is its unique content and vibrant communities. But who cares, right? We're just as happy getting traffic from people sh*t-posting memes, vague-booking, giving out-of-context hot takes to news events, and spewing whatever random thought is in their head at the moment. Plus that stuff doesn't p*ss off Apple.

To keep this thing going we need new people. And by "people" we mean teenagers, like we used to have back in the good ol' days. Unfortunately we're all in our 40s now, so we have no idea what they want. But teenagers are so cool! Imagine if they talked to us like we're one of them? We're getting hard just thinking about it.

Our Guidng Principls

To make Tumblr cool again, we must address these huge glaring issues.

People can look at a blog without logging in. How is that fair to all the poor schlubs who had to fill out forms to get an account? Also we haven't figured out a way to force ads onto the personalized pages yet. But we swear that's not the main reason.

People can see content they are looking for or linked to. People can keep up with blogs they follow. But the problem with this is, people don't know what they want. We know what they want! We're smart. We wrote this damn site, remember?

Promote posts that incite pointless conversations. Posts that are guaranteed to bait every troll into responding. Isn't that why all your Magat relatives love Facebook so much? We can do that!

P*ss off your content creators in every way possible (see #2).

Create algorithms that throw an unending barrage of irrelevant content in your face. Have you seen Instagram lately? We could do that so easy!!!

The app is slow. The website is slow. Obviously this is because of GIFs. Facebook and Instagram don't allow them, so why should we?

Conclusion

Our mission changes on a day-to-day basis. Right now we're super jealous of all the attention that new Threads thing is getting. We're still not sure what it is, but we're gonna download it after work.

#obscurevideogames

[wyllsravengard]

there's a lot of discussion and speculation about the fact john doesn't speak of arthur in rdr1. logistically it's not hard to understand that rdr1 just came out years before rdr2 and thats why but . But.

but when you think of rdr1 with the additional context two, there is something quite... in line with john trying to forget arthur. wanting to. or burying him. not just in metaphor or in soil but in his memories and in some way failing to do it but in another succeeding

you think of john and his commitment to his son and wife and you think of his willingness to do anything for them. moral or not. righteous or not. and you think of the fact that john didn't know at the time the sort of man arthur believed him to be, but he perhaps modeled himself in the image of his older brother. near incidental. he has so little in common with arthur really. john's broody and lacking remorse and at twenty-six he's inconsiderate entirely in a way arthur never was.

but time is a thief and one day, he turns 38. he's older than arthur when he dies. and john doesn't remember well what he looks like, and all he can feel when he thinks of arthur is grief. grief that never ends. thats the thing about all of it, you'll realize - is that john knows arthur best in the retroactive.

the sort of complicated, odd man arthur was revealed to him in the creases of pages and keepsakes. in the carving of his guns that john finds after arthur is gone. in the ring of the woman arthur loved long ago. in the confessionals to his son isaac and the regret in the letters he wrote to their psuedo father. you realize john knows more of arthurs stagnant ghost that can't guide john into manhood the way he so desperately needs. and it's all he has to go by to make a man of himself.

john never finds out what kind of man arthur believed him to be and he has to infer the real good man arthur was. in grief there is love. john loved arthur enough to want to be like him. and in burying the living, breathing man arthur was he's forced to cling to his spirit. has to piece together the kindness of his older brother through memories and diary entries and secondhand stories. and that's how he models himself in rdr1 to me. where arthur is moral john becomes dutiful and where arthur is kind, john is helpful. he becomes the shadow of arthurs best qualities. he can never be arthur. no one could ever be arthur, even if arthur had given them the page by page instructions of how to do so. this is all he has. all he knows. all he can do.

john misses his brother. so he tries to embody him. but he can't really in the same way he can't grieve him. so he makes a home for arthurs ghost to return to in himself. john never mentions arthur because it dregs up painful what-ifs, but they share so many mannerisms and bastardized qualities. john has fashioned himself based on those loose memories.

one day, a stranger meets john and says. "why would you remember me, friend? you've forgotten far more important people than me" and john will remember all the ghosts he's ever loved briefly. there will be a blurry face and a forgiving voice and it will sound like a memory and it will linger in johns ribcage like a moth. and john won't remember. he won't. he can't. he buried his brother without ever doing it.

john says a lot of things. feels a lot of things. he shoots his gun to the stranger who calls his memory into question and the thing jams and the bastard roams free. john will taste blood in his mouth. he'll feel a cough in his lungs and well, he won't remember his brother still. buried men must stay buried.

of course. of course john never mentions arthur. he can't remember him, even though he's inherited so much of his manner. to speak it of him would be admitting to his existence. its admitting: i miss you. im sorry. it was my fault.

of course john never mentions arthur. he's made all this effort in forgetting him that even when his body and his gesture and his character betray the fact he's forgotten - his mind will soothe the pain and blur out his face.

and instead of remembering in life even once, he'll die the same way arthur did. alone. protective. contented. redeemed. john loves arthur like most brothers do - with muscle memory.

even if john cuts the necrosis of arthurs memory off of him, his body will twitch at the phantom feeling of his existence. john remembers even when he can't. arthur his only brother. the most important man he's ever forgotten.

#z.gen #arthur morgan #john marston #rdr1 #rdr2 #rdr1 spoilers #rdr2 spoilers #im feeling soooooo miserable about them you wouldnt believe

[anim-ttrpgs]

Help Save the World of TTRPGs and Their Creators.

Okay I’m being a little dramatic, but at the same time I’m pretty serious. This is a call to action, and the livelihoods of myself and lots of other people, many of them (like myself) disabled, are depending on it. This is a post about why, what you can do about it, and (perhaps least often answered) how.

This post is actually an accompaniment to another discussion by someone else. If you don’t want to listen to a 90-minute in-depth discussion of much of what I’m about to tell you, you can just keep reading. Otherwise, click here or here and listen to this either before or after you read this post. (They’re the same thing, just different sources.)

If you have ever made or reblogged posts urging people to switch from Google Chrome to Firefox, you should be willing to at least give a try to other TTRPGs besides D&D5e for much the same principle reasons. I’m not telling you you have to hate D&D5e, and I’m not telling you you have to quit D&D5e, I’m just asking you to try some other games. If you don’t like them, and you really want to go back to D&D5e, then go back to D&D5e. But how can you really know you won’t like other games if you have literally never tried them? This post is a post about why and how to try them. If you’re thinking right now that you don’t want to try them, I urge you to look below to see if any of your reasons for not wanting to try them are covered there. Because the monopoly that WotC’s D&D5e has on TTRPGs as a whole is bad for me as a game designer, and it’s bad for you as a game player. It’s even bad for you if you like D&D5e. A fuller discussion of the why and how this is the case can be found in the links above, but it isn’t fully necessary for understanding this post, it’ll just give you a better perspective on it.

If you’re a D&D5e player, I’m sure at some point or another, you’ve been told “play a different game”, and it must get frustrating without the context of why and how. This post is here to give you the why and how.

[The following paragraph has been edited because the original wording made it sound like we think all weird TTRPGs suck.]

Before that though, one more thing to get out of the way. I'm going to level with you. There’s a lot of weird games out there.

You are gonna see a lot of weird TTRPGs when you take the plunge. Many of them try to completely reinvent what a TTRPG even is, and some fail spectacularly, others really do even up doing something very interesting even if they don't end up being what a core TTRPG player wants. But not every indie RPG is a Bladefish, lots and lots of them are more 'traditional' and will feel very familiar to you, I promise. (And you might even find that you like the weird experimental bladefish type ones, these are usually ideal for one-session plays when your usual group can't play your usual game for any reason.)

You're also going to probably see a lot of very bad games, and man have I got some stories of very bad games, but for now I'm just saying to make sure you read the reviews, or go through curators (several of which will be listed below), before you buy.

Now that that is out of the way, I’m going to go down a list of concerns you may have for why not, and then explain the how.

“I don’t want to learn a whole new set of rules after I already spent so much time learning D&D5e.”

Learning a new set of rules is not going to be as hard as you think. Most other TTRPGs aren’t like that. D&D5e is far on the high end of the scale for TTRPGs being hard and time-consuming to learn and play. If you’ve only played D&D5e, it might trick you into thinking that learning any TTRPG is an overwhelmingly time-consuming task, but this is really mostly a D&D5e problem, not a TTRPG problem as a whole.

“D&D5e has all of these extra online tools to help you play it.”

So what? People have been playing TTRPGs without the help of computers for 50 years. To play a well-designed TTRPG you won’t need a computer. Yes, even if you're bad at math. There are some TTRPGs out there that barely even use math.

“I’m too invested in the narrative and characters of my group’s current ongoing D&D5e campaign to switch to something else.”

There are other games, with better design made by better people for less money, that are the same kind of game as D&D5e, that your current characters, lore, and plot will fit right into and do it better. And no, it's not just Pathfinder, there's others.

“I can’t afford to play another TTRPG.”

You probably can. If you’ve only played D&D5e, you might have been made to think that TTRPGs are a very expensive hobby. They aren’t. D&D5e is actually uniquely expensive, costing more than 3x more than the next most expensive TTRPG I can think of right now. Even on the more expensive end, other TTRPG books will cost you no more than $60, most will cost you less than $20, and a whole lot of them are just free. If you somehow still can’t afford another TTRPG, come to the A.N.I.M. TTRPG Book club mentioned below, nominate the game, and if it wins the vote we will straight up buy it for you.

(By the way, if you had any of the above concerns about trying other games besides D&D5e, that really makes it sound like you are in a textbook abusive relationship with D&D5e. This is how abusers control their partners, and how empires control their citizens, by teaching you to think that nothing could ever get any better, and even though they treat you bad, the Other will treat you even worse.)

“If I don’t play D&D5e, which TTRPG should I play?”

That’s a pretty limited question to be asking, because there will be no one TTRPG for everything. And no, D&D5e is not the one TTRPG for everything, Hasbro’s marketing team is just lying to you. (Pathfinder and PbtA are not the one system for everything either!) Do you only play one video game or only watch one movie or only read one book? When you finish watching an action movie like Mad Max, and then you want to watch a horror movie, do you just rewind Mad Max and watch it over again but this time you act scared the whole time? No, you watch a different movie. I’m asking you to give the artistic medium of TTRPGs the same respect you would give movies.

“I want to play something besides D&D5e, but my friends won’t play anything else!”

I have several answers to this.

Try showing them this post.

If that doesn’t work: Make them. Put your foot down. This works especially well if you are the DM. Tell them you won’t run another session of D&D5e until they agree to give what you want to do at least one try instead of always doing only what they want to do. This is, like, playing 101. We learned this in kindergarten. If your friend really wants to play something else, you should give their game a try, or you’re not really being a very good friend.

If that doesn’t work, find another group. This doesn’t even mean that you have to leave your existing group. A good place to start would be the A.N.I.M. TTRPG Book Club which will be mentioned and linked below. You can also go to the subreddit of any game you’re interested in and probably meet people there who have the same problem you do and want to put together a group to play something other than D&D5e. You might get along great with these people, you might not, but you won’t know until you try. Just make sure to have a robust “session zero” so everyone is on the same page. This is a good practice for any group but it is especially important for a group made of players you’ve just met.

“I only watch actual plays.”

Then watch actual plays of games that aren’t D&D5e. These podcasts struggle for the same reasons that indie RPGs struggle, because of the brand recognition and brand loyalty D&D5e has, despite their merit. I don’t watch actual plays, or else I would be able to list more of them. So, anyone who does watch actual plays, please help me out by commenting on this post with some non-D&D5e actual plays you like. And please do me a favor and don’t list actual plays that only play one non-D&D5e system, list ones that go through a variety of systems. The first one I can think of is Tiny Table.

“I can just homebrew away all the problems with D&D5e.”

Even though I want to, I’m not going to try and argue that you can’t actually homebrew away all the problems with D&D5e. Instead, I’m going to ask you why you’re buying two $50 rulebooks just to throw away half the pages. In most other good RPGs, you don’t need to change the rules to make them fun, they’re fun right out the box.

“But homebrewing D&D5e into any kind of game is fun! You can homebrew anything out of D&D5e!”

Firstly, I promise that this is not unique to D&D5e. Secondly, then you would probably have more fun homebrewing a system that gives you a better starting point for reaching your goal. Also, what if I told you that there are entire RPG systems out there that are made just for this? There are RPG systems that were designed for the purpose of being a toolbox and set of materials for you to work with to make exactly the game you want to make. Some examples are GURPS, Savage Worlds, Basic RolePlaying, Caltrop Core, and (as much as I loathe it) PbtA.

“I’m not supporting WotC’s monopoly because I pirate all the D&D5e books.”

Then you’re still not supporting the smaller developers that this monopoly is crushing, either.

Now, here’s the how. Because I promise you, there’s not just one, but probably a dozen other RPGs out there that will scratch your exact itch.

Here’s how to find them. This won’t be a comprehensive list because I’ve already been typing this for like 3 hours already. Those reading this, please go ahead and comment more to help fill out the list.

First, I’m gonna plug one of my own major projects, because it’s my post. The A.N.I.M. TTRPG Book Club. It’s a discord server that treats playing TTRPGs like a book club, with the goal of introducing members to a wide variety of games other than D&D5e. RPGs are nominated by members, then we hold a vote to decide what to read and play for a short campaign, then we repeat. There is no financial, time, or schedule investment required to join this book club, I promise it is very schedule-friendly, because we assign people to different groups based of schedule compatibility. You don’t have to play each campaign, or any campaign, you can just read along and participate in discussion that way. And if you can’t afford to buy the rulebook we’re going to be reading, we will make sure you get a PDF of it for free. That is how committed we are to getting non-D&D5e RPGs into people’s hands. Here is an invite link.

Next, there are quite a few tumblr blogs you can follow to get recommendations shown to you frequently.

@indierpgnewsletter

@indie-ttrpg-of-the-day

@theresattrpgforthat

@haveyouplayedthisttrpg

@indiepressrevolution

Plenty of podcasts, journalists, and youtubers out there do in-depth discussions of different systems regularly, a couple I can think of off the top of my head are:

Storyteller Conclave (I’m actually going to be interviewed live on this show on April 10th!)

Seth Skorkowsky

Questing Beast

The Gaming Table

Rascal News

Lastly, you can just go looking. Browse r/rpg, drivethrurpg.com, indie press revolution, and itch.io.

Now, if you really want to support me and my team specifically Eureka: Investigative Urban Fantasy, our debut TTRPG, is going to launch on Kickstarter on April 10th and we need all the help we can get. Set a reminder from the Kickstarter page through this link.

If you’re interested in a more updated and improved version of Eureka: Investigative Urban Fantasy than the free demo you got from our website, there’s plenty of ways to get one!

Subscribe to our Patreon where we frequently roll our new updates for the prerelease version!

Donate to our ko-fi and send us an email with proof that you did, and we’ll email you back with the full Eureka prerelease package with the most updated version at the time of responding! (The email address can be found if you scroll down to the bottom of our website.)

We also have merchanise.

#dnd #dnd5e #dnd 5e homebrew #dungeons and dragons #d&d #d&d 5e #dungeons and dragons 5e #dnd 5e #5e #homebrew #dungeons & dragons #critical role #crit role #dimension 20 #actual play #matt mercer #wizards of the coast #wotc #hasbro #ttrpgs #ttrpg #ttrpg community #ttrpg tumblr #tabletop #roleplay #roleplaying #roleplaying games #tabletop roleplaying #tabletop role playing game #fantasy rpg

[queerfables]

Alright GO fans, let's talk Sodom and Gomorrah. This biblical story comes up a few times in Good Omens canon, a kind of offhand mention each time, and the most interesting part to me is the implication that Aziraphale was there.

If you only know the cliff-notes version, you've probably heard it as the story of God condemning homosexuality to the point of wiping out several cities over it. Maybe you've heard this too, but - that's not exactly what happened. Look, I'm an atheist, I have no dog in this race. If I thought it was about smiting people for homosexuality, I'd be happy to call God a wanker and move on. But I've read the story of Sodom and Gomorrah (You can too! It's very short!) and I've read other parts of the Bible that reference it, and I think a much more straightforward interpretation is that it's about offering hospitality and protection to strangers. It's also about the consequences of wanton cruelty, and God laying waste to those deemed beyond salvation.

In Good Omens, the book, Aziraphale and Crowley discuss Sodom and Gomorrah this way:

"Come off it. Your lot get ineffable mercy," said Crowley sourly.

"Yes? Did you ever visit Gomorrah?"

"Sure," said the demon. "There was this great little tavern where you could get these terrific fermented date-palm cocktails with nutmeg and crushed lemongrass-"

"I meant afterwards."

"Oh."

According to the book, then, Aziraphale at least saw the city after it was destroyed. Maybe Crowley saw the aftermath too or maybe he just heard about it. They both understand it as horrific.

The show is more direct, and suggests that Aziraphale was there during the actual destruction. Gabriel asks if Aziraphale remembers Sandalphon. Aziraphale does.

"Sodom and Gomorrah. You were doing a lot of smiting and turning people into salt. Hard to forget."

Aziraphale regards Sandalphon warily during the conversation. I believe we're supposed to interpret this scene based on the popular understanding of Sodom and Gomorrah as cities that God wiped out because of the inhabitants' sins. The obvious implication, then, is that Sandalphon is the heavy, the one called in to deal with disobedience. He's trigger-happy, relishes violence, and Aziraphale has seen what he's capable of. From the careful way Aziraphale discusses their prior acquaintance, I think he feels the destruction of Sodom and Gomorrah was a tragedy and believes Heaven's actions were disproportionate and unjust.

I'm confident this is how we're supposed to read the scene. In the context of the story, we're supposed to understand that Aziraphale doesn't approve of the smiting, and that he feels threatened by Gabriel and Sandalphon coming into his bookshop and pressing him about Armageddon. But I'm fascinated by what it would mean if Aziraphale and Sandalphon's history really tracks onto the story of Sodom and Gomorrah. Because if Good Omens' version of Sodom and Gomorrah is at all biblically accurate, and if Aziraphale was there... it's kind of mind-blowing, actually, that he still feels so much compassion for the people who died and still thinks Sandalphon was wrong.

I'm going to explain why, but fair warning, it gets ugly. I promise nobody is actually raped, and I think that promise in itself says plenty.

According to the Bible, Sodom and its surrounding cities are accused of being overrun with sin. God sends two angels to Sodom to verify this, intending to destroy everything if they find it to be true. In the world of Good Omens, I think one of these angels must be Aziraphale. The other one is likely Sandalphon, but in the Bible it's God rather than either of the angels who rains down burning sulfur on the cities so it's possible it's someone else, and Sandalphon is only on smiting duty. Without anything else to go on, though, let's assume it's Sandalphon.

So our two angels arrive at Sodom in the evening, and at the gate to the city, they meet Lot. Lot is an immigrant who has made his home in Sodom, and I think the implication is that this is why he's not completely steeped in sin like everyone else. In any case, he immediately offers to put the angels up for the night, and although they'd planned to stay in the square, Lot is really insistent. He is a good host! Also, he knows the city is dangerous. So the angels go to his house and he makes dinner for them, and then before they can go to bed, a mob shows up at the door.

See, the men of Sodom have heard about the strangers staying with Lot. They surround his house and demand he hand them over. The New King James Version puts it this way: And they called to Lot and said to him, "Where are the men who came to you tonight? Bring them out to us that we may know them carnally." Several other translations say that the men wanted to "have sex with them". But I mean. It's a fucking mob. They've surrounded the house. We all get what this is, right?

So Lot goes out to meet the men, and he says "Don't do this terrible thing." Off to a good start! Then he says, "Tell you what, I have two virgin daughters. Do what you like to them and we'll say no more about it." Oh boy. Dad of the year award, right there. But still, he insists, "The angels are under my roof and my protection."

The men outside Lot's house are pissed. They say, "You're an outsider, who are you to judge us?" They threaten to do worse to him than to the angels. They swarm him and almost break the door down, but the angels pull him back inside.

The angels then strike the mob with blindness to stop them getting into the house. They say to Lot, "Look, you gotta take your family and get out of here. God sent us to see how bad things were and, uh, long story short, we're burning it all to the ground. You get it, right?"

Maybe you know the rest. Lot's son-in-laws don't believe him and won't leave the city. Lot's wife looks back and turns into a pillar of salt. Lot and his daughters take shelter in a small town called Zoar, and from there flee to the mountains. Everything else is destroyed.

It is a tragedy. The plains are leveled down to ash, until there's nothing left that can even grow. Was there really no one innocent in those cities? No children or animals? (You can't kill kids). Still, I think about that awful night under Lot's roof and I don't think I could blame anyone for giving up on all of it.

So what if that's the story? There were two angels in Sodom before it fell. What if it really was Aziraphale and Sandalphon, trapped through the night in a stranger's house, surrounded by men who want to rape them. Whatever their power as angels, that has to be terrifying.

If it was Sandalphon there with Aziraphale that night in Sodom, I have to wonder what he was like. There isn't any kinship or understanding from Aziraphale. Despite knowing the circumstances better than anyone, he still sees Sandalphon as a threat. Given that, I think Sandalphon must have taken a truly disturbing kind of joy in raining down vengeful fire and brimstone, beyond what you might expect from someone who was afraid or angry. Maybe he was never afraid; maybe instead he revelled in the violence building through the night as the reason he needed to tear everything down. Maybe he was afraid in the terrible way that exposes the depths someone will sink to to protect themselves (maybe offering his daughters was never Lot's idea). Or maybe Aziraphale just tried to reach out to him afterwards, to offer understanding and ask for some in return, and Sandalphon shot him down so coldly and viciously that Aziraphale knew immediately this wasn't something he was allowed to have feelings about. Whatever happened that night, it left Aziraphale feeling more of an outsider from Heaven than ever.

But if it happened that way, it happened this way too: Aziraphale survives a night like that, and when he looks out into the breaking dawn, he thinks, these cities don't deserve to burn. He sees the good in a place that's just shown him its absolute worst. I think that says everything about him as a character, actually. Of course he won't give up on Heaven. Of course he'll fight tooth and nail for his home on Earth. Whatever the worst is, there are still things worth saving. There are still, always, people worth protecting.

On that note, before I wrap this up, I want to go back to Lot's words to the men of Sodom, and draw a parallel that makes me feel some kind of way. Because when Lot declares the angels under his protection, what he says is essentially, "Do not do anything to these men, for they have come under the shadow of my roof for protection." And all I can think about, reading these lines, is Aziraphale standing in his bookshop as it's surrounded by hostile demons, and telling the angel under the shadow of his roof, "You came to me. I said I would protect you. And I will."

#good omens #good omens meta #fable talks good omens

[vesora]

the spoon does not exist. - movie scene linked

the straight spoon does not exist without your awareness of it.

you do not bend the spoon, you bend yourself. you bend your awareness. the spoon is illusory. perception is subjective.

"What he sees before him is not a spoon, but rather an idea his brain has created of a spoon—his own perception. He can change reality by changing his perception."

"Neo remembers this exchange as he becomes more confident in his ability to break the rules of the Matrix. All he has to do is remember that the rules he breaks aren’t actual rules. Just as there is no spoon, there is no gravity, there is no time—all these things are lies the machines tell his brain. Neo can fly, for example, because he can see gravity is a false construct. Once Neo understands that “there is no spoon,” he gains more power in the Matrix."

using a movie to explain that reality is false may be unorthodox but hear me out. the matrix is simply a sense-based prison. a self-made prison made up of limitations and false constructs. there is no logic, there are no facts, everything is illusory and can be changed but in order for you to gain awareness of a different version of reality you must realise that the spoon is fake.

"Anything is possible in the Matrix, yet Neo’s lifetime of conditioning within this system has kept his belief in his own ‘Oneness’ from truly taking root. Logic implies that all things are known and must follow certain parameters and patterns, yet nature is anything but logical. In this context, "there is no spoon" is meant as a means for Neo to let go of his logical presumptions of what constitutes reality. As the boy says, “...you’ll see that it is not the spoon that bends, it is only yourself.” The limitations of Neo’s reality are self-imposed by the lense through which he’s been taught to see the world. By letting go of what he’s so sure ‘he knows’, he finally opens up to what’s possible."

Morpheus tells him “You have to let it all go Neo; fear, doubt, and disbelief.” 

the movie itself does give way to things external to the person - agent smith - but you do not need to take it literally. there is no external. the only agent smith that exists is your own self imposed destruction. 'breaking out of the matrix' is just breaking out of a falsely identified with reality and realising that you are above any human law, above everything for you are reality itself. be nonchalant to agent smith, he is POWERLESS for you have realised the truth. the truth that you can manipulate the so-called matrix. the truth that your realisation of your power is all that is needed.

it is hard to realise that everything you believed was real is illusory, it can be overwhelming to 'take the red pill' and realise the greatest truth that you ARE the creator and no human law applies to your divine nature. realising the truth does not take away from special moments or imagined memories, it liberates you from believing that this body is all that you are. it opens a new door of actual UNLIMITED possibilities to experience anything you want to experience, knowing that you are not victim to circumstance and you can easily experience something different. you are in control. there is NOTHING holding you back. you can fly right now if you want to. you can teleport to japan right now if you want to. there is no such thing as impossible, the only impossibility exists in mind which we know is illusory.

realise the spoon is fake and bend your awareness to live life out of misery, pain and destruction and direct your awareness to love, peace and fun.

#law of assumption #loa #manifestation #manifest #affirmations #matrix

[your-name-is-jim]

TOS fans, you may want to read this comic series!

Sooo I recently read this series of comics called Star Trek: Year Five, published in 2019-2021 by IDW Publishing; I heard it was good, but I didn't expect it to be that good!

If you haven't read it, I suggest to check it out! (it's also not hard to find it if you get what I mean)

The art overall is great and, more importantly, the characters act like themselves and there are several references to their canon backgrounds, past and future experiences! What I absolutely loved was also seeing a lot of "old faces" from TOS show, as well as mentions of events from the series and the movies.

As the title suggests, the story takes place during the last year of Kirk's five-year mission on the Enterprise. I'd like to tell you more, but I enjoyed the surprise of a lot of things I didn't expect, so first of all I'll post a few pics without major spoilers from the first 11 issues (there are 25, so you still have a lot to discover!):

I especially love how Bones and Sulu are drawn, they really look like them! Scotty and Uhura too, but that depends on the artist. Speaking of them, if you like a little Scotty/Uhura, this series has something good about it!

The joke about Kirk thinking there's something strange with the way the Klingons look now cracked me up. LOL

Also, I'm not sure Chapel would call McCoy "Bones", but she is very right in that panel. :)

The last panel is classical James T. Kirk's ass appreciation lol

Sulu has a love story with an alien who doesn't understand human genders and uses they/them pronouns. As someone who headcanons TOS Sulu as attracted to any gender, that was great to see :D

I'm also posting this "end-of-the-episode" panel because it's just perfection. TOS in a nutshell. Aww, look at Kirk and Spock just looking at each other! <3

I must say, you may be a little disappointed if you expect to see many moments with Kirk and Spock together, BUT the scenes they have together are really good! I won't say anything more, just read until the end and you'll see! :D

By the way, this series has a Valentine's Day extra, which is the only part where Kirk has a love interest (a female original character). Yeah, you heard me: in the main story, Kirk doesn't have new romances with anyone; Sulu is the one who gets all the action! ;)

The Valentine's Day issue is not linked to anything else and I don't think Kirk's female love interest is mentioned outside that story, so you can easily skip it if it's not for you. However, even if I can't say I'm especially happy with that story, I personally found something interesting there, for example this:

I think I saw this out of context once, but I didn't know where it was from, so sorry I'm just going to lose my mind thinking about ladies or GENTLEMEN in Kirk's life and Kirk not correcting her about his sexual preferences. Anyway, I might make a separate post someday about this special from a Kirk/Spock shipper's perspective, because I do have a lot of thoughts about it :)

So, if you haven't read Star Trek: Year Five, I hope I convinced you to check it out! I hadn't been lucky with other Star Trek comics before, so I had almost lost hope to find something good… and then here it was! Something that made me feel like it was really written with a lot of love for The Original Series! I really needed it!

If you decide to give it a try, I'd love to see your thoughts and see your favorite parts! I hope you enjoyed this little review. :)

#star trek comics #star trek the original series #star trek tos #star trek: year five #idw publishing #james t. kirk #spock #leonard mccoy #montgomery scott #nyota uhura #hikaru sulu #pavel chekov

[transdimensional-void]

jon, sansa, and “my half brother”

i’ve noticed that this particular jon quote is something of a rorschach test wherein your reading of the line is colored by your view of sansa:

He missed the girls too, even Sansa, who never called him anything but “my half brother” since she was old enough to understand what bastard meant. – AGOT, Jon III 

those who assume the worst of sansa read this as “once sansa learned i was a bastard, she changed how she referred to me in order to constantly remind me of my inferior status.” a slightly more charitable reading would be something more like, “once sansa learned i was a bastard, she stopped seeing me as equal to her other brothers.” both assume that sansa originally called jon “brother” and changed to “half brother” once she learned he was a bastard. 

those who are more inclined to a favorable view of sansa, though, might instead read it as “once sansa learned what the word bastard meant, she chose to call me something else.” this reading assumes that a younger, more ignorant sansa called jon a bastard without understanding what she was saying--but changed what she called jon to “half brother” once she did understand.

i tend to believe the second reading is the correct one because it better fits both the context of the quote and the evidence presented by sansa’s own words and actions throughout the series. in terms of evidence, we never witness her calling jon a bastard to his face, whether in her memories, his or anyone else’s--and we do witness her conscious care for courtesy and kindness toward those she interacts with no matter what she thinks of them inwardly. as for the context of the quote, jon thinks this about sansa in the midst of a chapter where people at the wall are repeatedly calling him bastard derisively, as well as the mocking “lord snow.” but the section where the line about sansa appears is a section where he is thinking nostalgically about his siblings back at winterfell. it makes sense that he is missing sansa’s courtesy of not calling him bastard to his face right at that moment.

but i noticed that the pre-released alayne chapter from twow actually subtly gives us sansa’s perspective on the above agot jon quote.

in the chapter, she meets harry hardyng for the first time, and the very first thing he does is call her “littlefinger’s bastard”:

“If it please you, I will show you to your chambers myself.” This time her eyes met Harry’s. She smiled just for him, and said a silent prayer to the Maiden. Please, he doesn’t need to love me, just make him like me, just a little, that would be enough for now.

Ser Harrold looked down at her coldly. “Why should it please me to be escorted anywhere by Littlefinger’s bastard?”

All three Waynwoods looked at him askance. “You are a guest here, Harry,” Lady Anya reminded him, in a frosty voice. “See that you remember that.”

sansa blushes in embarrassment and has to work hard to hold back her tears. she finds his treatment of her hurtful. but why? because a boy she wanted to like her was mean to her? 

well, fortunately for us, sansa herself tells us what is most upsetting her about the interaction, later when she is able to discuss it in private with littlefinger:

“And how was your first meeting with Harry the Heir?”

“He’s horrible.”

“The world is full of horrors, sweet. By now you ought to know that. You’ve seen enough of them.”

“Yes,” she said, “but why must he be so cruel? He called me your bastard. Right in the yard, in front of everyone.”

sansa isn’t upset merely because harry was mean to her. what she is fixated on the most is the cruelty of his calling her bastard to her face in public. she is shocked that someone would be so callously cruel. keep in mind that this is a post-KL arc sansa who, as littlefinger helpfully points out in the same scene, has already experienced many of the world’s horrors. and yet, harry’s behavior here still shocks her.

jon tells us that at a young age, sansa learned what people meant when they called him a bastard, and that changed how she spoke to him. thirteen-year-old sansa tells us she thinks it’s shockingly cruel for a nobleman like harry to publicly call a bastard a bastard. with these two facts in mind, what sense does it make to conclude that younger sansa was going around intentionally reminding jon of his bastard status through her choice of language?

once again, someone inclined to assume the worst of sansa might choose to read her response in the twow chapter as “she can dish it out, but she can’t take it” and see it as her finally learning how her treatment made jon feel. however, in jon’s quote above, he explicitly says that she “never called him anything but ‘my half-brother.’” 

in other words, jon himself tells us that he never heard her call him “bastard,” at least not once she had learned what the word meant. in other words, even if you are assuming the worst of sansa, based on jon’s own testimony, her treatment of him (always calling him “my half-brother”) was better than harry’s treatment of her in the twow scene (calling her a bastard to her face in public). it is also, importantly, better than the treatment jon is receiving from many of his “brothers” at the wall in the scene his quote comes from him.

if we interpret sansa’s decision to call jon “half-brother” through the lens of her twow alayne chapter, i believe it becomes abundantly clear that in the jon scene, he is reminiscing nostalgically about sansa’s kindness in choosing not to call him a bastard. sansa’s choice of “half-brother” was a reflection of her understanding that calling him bastard was shockingly cruel behavior.

#asoiaf #sansa stark #just a little literary analysis #perhaps someone else has already pointed this out and i've missed it #if so please let me know so that i can link your post!

[juju-or-anya]

It's hard not to find irony in the criticisms directed towards Eloise Bridgerton and the elevation of Penelope Featherington as a more genuine and hardworking figure in contrast with Eloise's supposed privileged circumstances and her discourse on feminism. Indeed, some voices have pointed out Eloise's feminism as something white and privileged, and while this is not without merit, it's akin to rediscovering what others have already noticed, akin to Christopher Columbus "discovering" America.

Understanding the context in which "Bridgerton" unfolds is essential. The series is set in Regency England, between 1813 and 1825. This historical period is marked by a highly stratified and conservative society, where women, especially those of the upper class, were relegated to traditional roles and lacked basic legal rights. In this context, any discussion of feminism must consider the unique limitations and challenges of the time.

It is true that Eloise Bridgerton, being part of a respected family in English nobility, embodies many of the characteristics associated with the white and privileged feminism of the time. However, this should not diminish the value of her role in advancing feminist ideas in her historical context. It is thanks to women like Eloise, who challenged social expectations and dared to question the status quo, that doors were opened for future, more inclusive feminist movements.

On the other hand, when analyzing Penelope Featherington's role in contrast with Eloise Bridgerton's, intriguing nuances worthy of a more detailed critical exploration are revealed. Although both come from upper-class families, Penelope's experiences differ significantly from Eloise's. In the society depicted in "Bridgerton," Penelope is portrayed as a more marginal figure, overshadowed by the prominence and glamour of the Bridgerton family. She is often seen in the background, struggling to find her place in a world where her social status does not put her at the center of attention.

Throughout the series, Penelope exhibits a distressing lack of empathy and solidarity towards other women. Instead of fostering unity and support among her peers, her writings are propelled by feelings of envy, resentment, and desires for revenge. Striking examples of this include her actions to publicly reveal Marina Thompson's pregnancy, intending to undermine her relationship with Colin Bridgerton, or defaming individuals such as Daphne, Edwina, and Kate Sharma, often with no apparent reason other than personal gain.

Penelope's behavior as Lady Whistledown sheds light on her complex nature and motivations. While it may represent an attempt to find her voice in a world dominated by more powerful figures, it also reveals a tendency towards manipulation and selfishness. Ultimately, her role as the mysterious chronicler is more than just a quest for identity; it is a reflection of the moral and ethical complexities underlying the society of "Bridgerton."

In summary, asserting that Penelope is more feminist and hardworking than Eloise due to her role as Lady Whistledown is, at best, simplistic and, at worst, deeply misleading. Both women, while privileged in their own right, have chosen different paths in life and have faced their own challenges. However, the narrative of Penelope as a morally superior and more genuinely hardworking figure should be questioned in light of her actions and motivations, which often reveal a lack of integrity and empathy towards her peers.

It's important to note that when Theo confronts Eloise, questioning her understanding of the real world and her privileged position, Eloise doesn't reject this criticism but uses it as a catalyst to seek greater understanding. Recognizing the validity of Theo's observation, Eloise actively seeks to broaden her horizons. She engages in conversations with Theo and John, seeking to break free from the bubble of privilege in which she has lived so far.

On the other hand, Penelope takes a different stance towards her own privileged position. Instead of acknowledging her situation and seeking to understand the realities of those less privileged, Penelope vehemently denies any suggestion that she also benefits from the system. Rather than accepting her position of privilege, she portrays herself as a victim, despite her actions suggesting otherwise. Ultimately, this divergence in attitudes between Eloise and Penelope highlights the complexity of individual perceptions of privilege and personal responsibility in an unequal world.

PS: The comment: "Penelope saved Eloise by writing that she hung out with radicals, she doesn't know what it's like to be grateful" is shit. Whose fucking fault is it that the Queen is on a crusade with torches and pitchforks, looking for blood and a rolling head? From Penelope because she doesn't know when to keep her hand still and stop writing, if it weren't for Penelope, the queen wouldn't think that Eloise is Lady Whistledown, Penelope wasn't looking to help Eloise, she was looking to save her skin.

#anti penelope featherington #penelope featherington #eloise bridgerton #the bridgertons #bridgerton #theo sharpe #I swear I'm going to cry if I read again that Penelope is an icon of feminism and women's empowerment #Eloise does not deserve all the hate they are giving her #I do want Eloise and Theo to be together forever. #Because they love each other and would be very happy together #marina thompson #madame delacroix

[mysterycitrus]

All of your Bruce takes are so real and so true. It must break your back having to carry the weight of being the most correct batman account on this website. 🙏🏻 I love your thoughts about Bruce and Dick in particular and I was wondering if you had any thoughts about Bruce and Damian? Something about them is just… oh boy.

that’s very sweet but untrue, anon 🫰

i love damian and bruce's relationship, but it's hard to talk about without mentioning two other crucial people - talia and dick. for my own sanity i only accept damian's conception as a consensual act, so in this context talia is a fundamentally well-meaning person who attempted to protect her son from a violent life, and hid his existance from bruce until she felt he could be safe. damian loves and respects his mother. this is important.

dick, on the other hand, is really the foundation for their relationship. bruce spent like two weeks with this kid before he went on his timestream roadtrip and left everything behind for dick to juggle. contrary to popular opinion, i think it's a real disservice to act like dick taught damian to "be a good person" or like basic etiquette - a more realistic interpretation would be that dick taught damian that he didn't have to prove himself to be worth something.

the robin mantle from the time it was taken from dick has always been about proving yourself to bruce, to justify your role as his partner. always unfairly, mind (think how tim is treated vs. steph, for example), but damian is the first robin's robin. dick isn't a wayne, he's a grayson. there's an interesting point of comparison being that dick is the only robin who had a clear trajectory for his life prior to his parents dying - he was a core member of the worlds greatest acrobatic troupe - but he then left that path to become something else. damian is destined for the bat, but becomes robin instead, serving beside someone who achieved greatness by his own skill and kindness. damian has been told about his father, and here he is with someone who knows bruce better than anyone but also understands what robin means, better than anyone. i cannot emphasise how important i think dick being damian's first batman is for their own development. it's so so crucial to combat damian's perspective on family and blood. it's so important that he has that foundational knowledge of what robin means.

by the time bruce returns, damian has made tangible human connections in gotham. he's not the prickly, reactive kid that bruce first met. he's allowed himself to trust that the people around him have his best interests in mind. he knows that he isn't cared for because he's bruce's son - he's cared for because he's worth loving. his siblings aren't competition for affection or honour. he no longer sees bruce as an omnipotent force, and rather as a man he could learn to love. i think seeing bruce through both talia and dick's persepectives really helps with that.

bruce i think is confronted by the fact that for the first time in his life he can't try and hide behind the "im not really xyz's father" excuse. not that his adopted kids aren't his kids, obviously, but i do think he sometimes tries to lean on that as a crutch so he doesn't get attached (way too late for that lol). he loves damian, and there's a lot of fear about damian reflecting his worst habits, his most self-destructive behaviours back at him. maybe there's some fear about damian's history of killing, and how close bruce himself always feels to that edge. maybe there's misery about missing one of his kids growing up, again, like he's always a second too late to the important moments. bruce and damian are so similar, but this is bruce's second chance to be there. he is thomas wayne, emerging from the alley alive. do u think damian looks like his grandparents?

#sorry this mostly ended up being about dick again oops #damian wayne #bruce wayne #dick grayson #batman #robin #dc comics #the ask and the answer #also i have spondylitis so my back would literally give out

[thepastisalreadywritten]

Inside William’s Next Act: Tatler’s May issue goes behind the scenes as the Prince of Wales is rising above the noise — and playing the long game

The burden of leadership is falling upon Prince William, but as former BBC Royal Correspondent, Wesley Kerr OBE, explains in Tatler’s May cover story, the future king is taking charge

By Wesley Kerr OBE

21 March 2024

When I first met Prince William in 2009, he asked me if I could tell him how he could win the National Lottery.

It was a jokey quip from someone who has since become the Prince of Wales, the holder of three dukedoms, three earldoms, two baronies and two knighthoods, and heir to the most prestigious throne on earth.

He was, of course, being relatable; I was representing the organisation that had allocated Lottery funding towards the Whitechapel Gallery and he wanted to put me at ease.

William is grand but different, royal but real.

At 6ft 3in, he has the bearing and looks great in uniform after a distinguished, gallant military career.

He will be one of the tallest of Britain’s kings since Edward Longshanks in the 14th century and should one day be crowned sitting above the Stone of Scone that Edward ‘borrowed.’

William, by contrast, has a deep affinity with Scotland and Wales, having lived in both nations and gained solace from the Scottish landscape after his mother died.

He’s popular in America and understands that the Crown’s relationship to the Commonwealth must evolve.

The Prince of Wales has long believed that ‘the Royal Family has to modernise and develop as it goes along, and it has to stay relevant’, as he once said in an interview.

He seeks his own way of being relatable, of benefitting everybody, in the context of an ancient institution undergoing significant challenge and upheaval, as the head of a nation divided by hard times, conflicts abroad, and social and political uncertainty.

We might recognise Shakespeare’s powerful line spoken by Claudius in Hamlet: ‘When sorrows come, they come not single spies, but in battalions.’

With the triple announcement in January and February of the Princess of Wales’s abdominal surgery and long convalescence, of King Charles’s prostate procedure and then of his cancer diagnosis, the burden of leadership has fallen on 76-year-old Queen Camilla and, crucially, on William.

The Prince of Wales’s time has come to step up; and so he has deftly done.

In recent months, we have seen a fully-fledged deputy head of state putting into practice his long-held ideas, speaking out on the most contentious issue of the day and taking direct action on homelessness.

Last June, he unveiled the multi-agency Homewards initiative with the huge aspiration of ending homelessness, backed with £3 million from his Foundation to spearhead action across the UK.

He is consolidating Heads Together, the long-standing campaign on mental health, and fundraises for charities like London’s Air Ambulance Charity.

He was, of course, once a pilot for the East Anglian Air Ambulance services – a profession that had its downside: seeing people in extremis or at death’s door, he found himself ‘taking home people’s trauma, people’s sadness.’

Tom Cruise was a guest at the recent London’s Air Ambulance Charity fundraiser, William’s first gala event after Kate’s operation.

And more stardust followed when William showed that, even without his wife by his side, he could outclass any movie star at the Baftas.

There’s also his immense aim of helping to ‘repair the planet’ itself with his Earthshot Prize: five annual awards of £1 million for transformative environmental projects with worldwide application.

This project has a laser focus on biodiversity, better air quality, cleaner seas, reducing waste and combating climate change. Similar aims to his father; different means to achieve the goal.

On the issue which has caused huge convulsions – the Middle East conflict – William’s 20 February statement from Kensington Palace grabbed attention.

He said he was ‘deeply concerned about the terrible human cost of the conflict since the Hamas terrorist attack on 7 October. Too many have been killed.’

There were criticisms – along the lines of ‘the late Queen would have never spoken out like this’ or ‘what right does he have to meddle in politics?’ – but it was hard to disagree with his carefully calibrated words.

His call for peace, the ‘desperate need’ for humanitarian aid, the return of the hostages.

The statement was approved by His Majesty’s Government, likely cleared with the King himself at Sandringham the previous weekend and also backed by the chief rabbi of Great Britain, Sir Ephraim Mirvis.

Indeed, William and Catherine had immediately spoken out on the horrors of 7 October.

William followed up the week after his Kensington Palace statement by visiting a synagogue and sending a ‘powerful message’, according to the chief rabbi, by meeting a Holocaust survivor and condemning anti-Semitism.

This is rooted in deep personal conviction following William’s 2018 visit to Israel and the West Bank, says Valentine Low, the distinguished author of Courtiers and The Times’s royal correspondent of 15 years, who was on that 2018 trip.

‘William was so moved by his visit to Israel and the West Bank, he found it very affecting, and he was not going to drop this issue – he was going to pay attention to it for the rest of his life,’ says Low.

‘He must feel that… not to say something on the most important issue in the world [at that moment] would be a bit odd if you feel so strongly about it.’

There was concern from some commentators about politicising the monarchy, but this rose above the particulars of party politics.

As Prince of Wales, like his father before him, there is perhaps space to speak out sparingly on carefully chosen issues.

On this occasion, his views were in line with majority public opinion.

On homelessness, news came that same week that William was planning to build 24 homes for the homeless on his Duchy of Cornwall estate.

‘William’s impact is very personal,’ says Mick Clarke, chief executive of The Passage, a charity providing emergency accommodation for London’s homeless.

‘Two weeks before Christmas, the prince came to our Resource Centre in Victoria for a Christmas lunch for 150 people.

He was scheduled to stay for an hour, to help serve, wash up, and talk to people.

He ended up staying for two and a quarter hours, during which time he went from table to table and spoke to every single person.’

Clarke continues:

‘William has an ability to listen, talk and to put people at ease. During the November 2020 lockdown, he came on three separate occasions to help.

It gave the team a boost that he took the time; it was his way of saying: “I support you; you’re doing a great job.”’

Seyi Obakin, chief executive of Centrepoint, one of the prince’s best-known causes, adds:

‘People associate his patronage with the big moments like the time he and I slept under Blackfriars Bridge.

The things that stick with me are smaller in scale and the more profound for it – in quieter moments, away from the cameras, where he has volunteered his time.’

It is a different approach from the King’s.

As Prince of Wales, he was involved in the minutiae of dozens of issues at any one time, working into the night to follow up on emails, crafting his speeches, writing or dictating notes.

Add to that much nationwide touring over 40 years (after he left active military service in 1976), fitting in multiple engagements, often being greeted formally by lord lieutenants.

This is not William’s style. He has commended his father’s model, but he does things his own way.

Although patronages are under review, William has up till now far fewer than either his father or his grandparents.

Charles is sympathetic to William’s approach and his desire to make time with his young family sacrosanct.

They are confidantes, attested by the night of Queen Elizabeth’s death.

They were both at Birkhall with Camilla, reviewing funeral arrangements while the rest of the grieving family were nearby at Balmoral, hosted by the Princess Royal.

Charles has had almost six decades in public life and is the senior statesman of our time, with even longer in the spotlight than Joe Biden.

After Eton and St Andrew’s University, where he met Catherine, William served in three branches of the military between 2006 and 2013, finishing as a seasoned and skilled helicopter rescue pilot.

His later employment as an air ambulance pilot stopped in 2017, when he became a full-time working royal.

At that time, not so long ago – with Harry unmarried, Andrew undisgraced, and Philip and Elizabeth still active – William shared the spotlight.

Now, after the King, he’s the key man.

He can look back on the success of his first big campaign initially launched with his wife and brother in 2016: Heads Together.

‘We are delighted that Prince William should have become such a positive and sympathetic advocate for mental health through his Heads Together initiative and now well-established text service, Shout, among other projects,’ says the longtime CEO and founder of Sane, the remarkable Marjorie Wallace CBE.

‘It is not always known that he follows in the footsteps of his father, the King, whose inspiration and vision were vital in the creation of our mental health charity Sane.

As founding patron, he was instrumental in establishing our 365-days-a-year helpline and was a remarkable and selfless support to me in setting up the Prince of Wales International Centre for Sane Research.’

'Indeed,' says Wallace, 'this is where Prince William echoes the work of his father, showing the same ‘understanding and compassion for people struggling through dark and difficult times of their lives and has done much to raise awareness and encourage those affected to speak out and seek help.

We owe a huge debt to His Majesty and the Prince of Wales for their involvement in this still-neglected area.’

Just as I saw all those years ago at that early solo engagement in Whitechapel, William still approaches his public duties with humour and fun.

‘He defuses the formality with jocularity,’ says Valentine Low, citing two public events in 2023 that he witnessed.

In April last year, while on a visit to Birmingham, William randomly answered the phone in an Indian restaurant he was being shown around and took a table booking from a customer – an endearing act of spontaneity.

On his arrival later that day, the unsuspecting diner was surprised to be told exactly whom he had been talking to.

In October, Low reported, William ‘unleashed his inner flirt as he hugged his way through a visit with Caribbean elders [in Cardiff] to mark Black History Month.

As he gave one woman a hug – for longer than she expected – he joked: “I draw the line at kissing.”

And while posing for a group photograph, he prompted gales of laughter when he quipped: “Who is pinching my bottom?”’

Low believes that when William eventually becomes king, he will be more ‘radical’ than his father but wonders if people will respond to ‘call me William’ when ‘the whole point of the Royal Family is mystique and being different.’

However, William has thought deeply about his current role and is prepared for whatever his future holds.

For now, there is a decision to be made on Prince George’s secondary schooling. It’s said that five public schools are being considered, all fee-paying.

Eton is single-sex and boarding but close to home. Marlborough (Catherine’s alma mater) is co-ed and full boarding. And Oundle, St Edward’s Oxford and Bradfield College (close to Kate’s parents) are co-ed with a mix of boarding and day.

As parents, William and Catherine aspire to raise their children ‘as good people with the idea of service and duty to others as very important’, William said in an interview with the BBC in 2016.

‘Within our family unit, we are a normal family.’ Which may be one reason why he is so resistant to their privacy being compromised either by the media or close family members.

The 19th-century author Walter Bagehot wrote:

‘A family on the throne is an interesting idea also. It brings down the pride of sovereignty to the level of petty life… a princely marriage is the brilliant edition of a universal fact, and, as such, it rivets mankind.’

If hereditary monarchy is to survive, it must beguile us but also demonstrate its utility, that it is a force for good.

William said in that 2016 interview, ‘I’m going to get plenty of criticism over my lifetime,’ echoing Queen Elizabeth II’s famous Guildhall speech in 1992 ‘that criticism is good for people and institutions that are part of public life. No institution – city, monarchy, whatever – should expect to be free from the scrutiny of those who give it their loyalty and support, not to mention those who don’t.’

William saw close up his mother’s ability to bring public focus and her own personal magnetism to any subject or cause she focused on.

He admires his father’s work ethic, the way he ‘really digs down,’ sometimes literally (I understand that gardening is giving the King solace during his cancer treatment).

But the biggest influence for William was Her late Majesty, as he said on her 90th birthday.

As an Eton schoolboy, William made weekend visits to the big house on the hill, being mentored by Granny rather as she had been tutored in the Second World War by the then vice-provost of Eton, Sir Henry Marten.

William said in 2016:

‘In the Queen, I have an extraordinary example of somebody who’s done an enormous amount of good and she’s probably the best role model I could have.’

That said, his aim was ‘finding your own path but with very good examples and guidance around you to support you.'

Queen Elizabeth II had a brilliant way of rising above the fray and usually being either a step ahead of public opinion or in tune with it.

If you are at the helm of affairs in a privileged hereditary position, your duty is to serve and use your pulpit for the benefit of others.

In a democracy, monarchy is accountable.

The scrutiny is intense, with an army of commentators paid for wisdom and hot air about each no-show, parsing each announcement, interpreting each image.

William takes the long view. He has ‘wide horizons,’ says Mick Clarke.

‘There are so many causes that are more palatable and easier to achieve than ending homelessness, but his commitment and drive are 100 per cent.’

The prince seeks a different way of being royal in an ancient institution that must move with the times. His task? To develop something modern in an ever-changing world.

He faces all sorts of new issues – or old issues in new guises.

Noises off from within the family don’t help – Andrew’s difficulties, or the suggestions of prejudice from Montecito a couple of years ago (now seemingly withdrawn), which prompted William’s most vehement soundbite: ‘We’re very much not a racist family.’

William is maybe a new kind of leader who can keep the monarchy relevant and resonant in the coming decades.

Queen Elizabeth II is a powerful exemplar and memory, but she was of her time. William is his own man.

He must overcome and think beyond ‘the unforgiving minute.’

Indeed, he could seek inspiration in Rudyard Kipling’s poem, If.

If you can force your heart and nerve and sinew

To serve your turn long after they are gone,

And so hold on when there is nothing in you

Except the Will which says to them: ‘Hold on!’

If you can talk with crowds and keep your virtue,

Or walk with Kings—nor lose the common touch[…]

Yours is the Earth and everything that’s in it,

And—which is more—you’ll be a Man, my son!

This article was first published in the May 2024 issue, on sale Thursday, 28 March.

#Prince William #Prince of Wales #British Royal Family #Wesley Kerr OBE #Edward Longshanks #Homewards #Heads Together #London’s Air Ambulance Charity #East Anglian Air Ambulance #Tom Cruise #BAFTAS #Earthshot Prize #Kensington Palace #King Charles III #Sir Ephraim Mirvis #Valentine Low #Duchy of Cornwall estate #The Passage #Centrepoint #Birkhall #Sane #Marjorie Wallace CBE #Shout #Balmoral #Prince George #Walter Bagehot #Sir Henry Marten #Rudyard Kipling #If

[frankcastleonlyfans]

Could you possibly do one where Aemond reacts to finding out that he might have to marry Daemon’s daughter? Would he be mad or weirdly happy in a way. We all know what daemon thinks of what his brother has in store for his daughter and he is not having it.

𝐀𝐑𝐑𝐀𝐍𝐆𝐄𝐃 𝐌𝐀𝐑𝐑𝐈𝐀𝐆𝐄

pairing: dad!daemon targaryen x mom!reader au | aemond targaryen x daemon's daughter!oc

warnings: fluff(?), aemond is his own warning, cussing because aemond has a dirty mouth.

author's note: I'm truly obsessed about this bc I never thought about Aemond's reaction to being betrothed. This is going to be in headcanon format due most of it just being from Aemond's pov. Thank you so much for your amazing idea <3 also wrote this while listening to "the red means i love you" and i'm shipping alymond 😭

read this headcanon for context of this story

reblogs, feedbacks and likes are appreciated. support your content creators 💓 enjoy your reading.

· ┈┈┈┈┈┈ · ୨♡୧ · ┈┈┈┈┈┈ ·

"I know you're lying, Aegon. Don't you have anything better to do? Maybe some young maid to fuck?"

Aegon scoffed, "Well, if you don't believe me, go talk to father about it. I'm just telling you what I heard."

Aemond believed his brother was nothing but a drunk liar, so his word didn't actually meant anything.

But he went to talk to the King anyways.

While walking through the corridors, Aemond thought about what that meant to him.

He wanted to be mad about it, but it wasn't that bad.

In fact, it wasn't bad at all.

He knew Alyssa Targaryen pretty well. He knew how feisty that pretty little thing could be. She did took his eye, after all.

And Aegon wasn't lying.

"I don't hope you to understand, but our line must spread. She's a pure valyrian, and would make to you a good wif– Why are you smiling?" King Viserys questioned, raising a curious eyebrow.

Aemond chuckled, "Have you told Daemon?"

"I did... He was furious about it." Viserys confessed.

"Well, that's great! I'll give these exciting news to my betrothed, myself. I couldn't be more happy about your choice, father." Aemond left the king's chambers without discussing if Daemon agreed or not.

Aemond knew Daemon wouldn't let Alyssa marry him.

He also couldn't care less. His father was the king.

Aemond couldn't put in words the taste of satisfaction in his mouth once he knew how angry Daemon was about his union with his uncle's daughter.

The girl literally took his eye, the least she could do is marry him without complaining.

Oh, but she would be furious too. He knows she's just like her daddy.

"I figured I'd find you here." Aemond said with a smile.

Ever since Daemon gave her her own sword, Alyssa spent quite some time in the training yard when the boys weren't there.

Curiously, Aemond always knew when she was there.

"And what do you want?" Alyssa spat, slamming her sword towards a wooden target.

"I came to give you the great news! I couldn't believe my own ears when I heard it."

"Oh? Did your mother successfully try to kill anyone? I hope it was your grandsire. Gods, I hate that man." Alyssa chuckled and beheaded the target.

Aemond frowned and squinted. He wouldn't fall for her games. He was the one to tease, not her.

"Haha. You're so funny, Alyssa. I bet it wouldn't take long for me to fall for you." Aemond coaxed.

Alyssa blinked a couple of times, processing what he just said.

"What?"

"Did I stutter?" Aemond smirked.

Alyssa took a deep breath before asking, "What the fuck are you talking about, One Eye?"

Aemond clicked his tongue, "Gods, you're just as fucking stupid as you're pretty. It means we're betrothed. I'd be treating my future husband with respect, if I were you."

"Are you crazy?" Alyssa hysterically laughed, "My father would have your head before letting me marry you." She pointed her sword towards the prince, "I would have your head before giving myself to you."

"Kinky." Aemond retorted and lowered her sword with the point of his index. "Who's your father to disrespect the king's orders?"

Alyssa swallowed hard. She had no answer for that. Even the dumbest girl knows the king's word is above everything. And she is no dumb girl.

She left him there and went looking for her father.

She thought about a million possibilities.

Maybe she could run away? They lived in Pentos for a while, she'd do well there.

No, Y/N wouldn't let her go alone.

What about Daeron? If she begged, maybe the king could call him back to King's Landing, so they could get married.

To be truthful, Alyssa didn't want to marry any of Alicent's kin, but anyone was better than Aemond.

But Daeron was the same age as her brother, Maegon. That was kinda disgusting.

"Did you know uncle Viserys wants to marry me to Aemond?" Alyssa stormed into her parents chambers.

Daemon's lips immediately left yours. You groaned in response.

"Maybe knock the next time, Alyssa?" You said in annoyance.

"Sorry mother, but I think what I have to say is way more important than you snogging with father." Alyssa answered with wit.

Daemon smirked, "It's okay, 'Lyssa. I'll talk to Viserys again. You know I'd die before letting this happen."

You rolled your eyes, "You're both being dramatic about it. Aemond is not that bad. He's a bit... violent, yes, but he would never hurt you. I promise you, daughter, violent men can be great lovers." You ran your fingers through your husband's little braids in his hair.

"Don't go giving her any ideas, Y/N." Daemon warned with a stern look, and you snorted.

"She's a grown woman, Daemon. There's a sword in her hand. I don't think you need to protect her anymore." You shrugged.

"Hello??? I'm still in the room, please stop talking about me like I'm not here!" Alyssa crossed her arms.

"Don't worry. I told Viserys you're not marrying Aemond, so you're not marrying Aemond. Is that clear?" Daemon asked, reassuring her.

"Yes, father."

read the second part to this story

#daemon targaryen x reader #daemon targaryen #daemon targaryen imagines #daemon targaryen x oc #daemon targaryen headcanons #daemon targaryen drabbles #daemon x reader #aemond targaryen x oc #house of the dragon imagines #dad!daemon targaryen x mom!reader au #dad!daemon targaryen au

[carlyraejepsans]

I really respect your dedication to these characters and the fine nuances in writing them with pinpoint accuracy but lord it must be really really hard to find any amount of fanfics by people who feel the same and don't unintentionally do something kinda ooc once that makes you stop reading a story. With short comics and art and whatever you have to go out of your way to mischaracterize characters since there's not a ton of internal substance, they're just kissing or telling a line of dialogue, but with fic it's so descriptive and so much more thought on how a character's inner workings carry on, and I feel a lot of people have fun writing fanfiction in a way that does not result in 100% accurate characterizations because that would take so much continual, constant effort and very thorough character analysis skills and applications to get right pretty much all of the time. I'm not sure what I'm trying to say beyond it must be tough for you specifically to find stories that don't annoy you- or perhaps that is not accurate! I don't read much fic so I don't know, it just seems like it'd be exhausting from an outside perspective

BAHAHAHA the eternal struggle of the Hater. I'm kind of obsessed with how you described it here. You're mostly correct! And kind of missing a crucial detail at the same time.

It's true, it is extremely difficult to find fanfiction that agrees with me--especially for a fandom like Undertale with 1) a very young audience and 2) a very heavily character-centric form of storytelling, which inevitably results in nuanced personalities that are hard to grasp without full context (which means analyzing the canon... a lot!)

There's two very important things you should note though!! Undertale is a HUGE fandom. As hard as finding really accurate fics might be, they ARE out there, and when i find them I'm so invested in their accuracy and analysis that I enjoy them 10000 times more than someone who just... doesn't think about this stuff. It's about quality over quantity.

The other thing is: being this ""picky"" and analysis focused doesn't actually stop me from reading fanfiction. Just lately I've been going through the entire fandom tag on ao3 in reverse alphabetical order and trying out anything that doesn't immediately put me off via tags/summary. Is there a lot of stuff that reads ooc or that I just plain don't like? like, a LOT of it? absolutely. But at the end of the day, that ALSO becomes an exercise in analysis. Why did this portrayal come off as ooc? Was the character voice accurate to canon? If not, what made them differ? Was it the way the character acted, rather? Is this the author's bias or exaggeration? Why do I feel like it would be at odds with the person they are in canon? Would they ever be driven to behave like this? What would push them? Was that accurately justified in this fic? and so on.

it's true that engaging with fandom on the regular can heavily skew your perception of the original, but i feel that engaging with fanon and habitually returning to the canon as a point of reference, as contrast, as fact checking, is one of the best ways to truly understand both the characters and the fan communities that they gathered around them. overall, it's good fun!! well worth the occasional cursed content, and even then it gives me something to inflict psychic damage on my friends with.

#answered asks

[ghostflowerhotpotch]

You considered what happened at the tower as her shutting him down? Even with all that, Miles isn't phased and that reassurance from Miles brings a smile to her face and she affectionately leans on him

Honestly? That's a good point, because there is merit to this part of the conversation as well.

As always, I think we need to examine the context from the bit that happened before, because the set up really speaks a lot of about the rest of the experience.

So let's start with this interaction of Miles and Gwen, because the first time I saw it hit me hard.

This situation hit me because by knowing Gwen's background, you can understand exactly where is coming, and it makes it hurt even more.

Miles is conflicted about his secret identity, specially with his parents, who are understandably pissed off (I may do an analysis on that, is not ghostflower, but I think there is some stuff worth pointing out.) And let me be clear here, I do think Rio and Jeff should know, I think while they could freak out, it can work out.

But honestly Gwen's reaction is so natural having her said anything else would be weird.

We don't know how long has been since she saw her dad, but considering she confirmed months, and how her hair as grew since the beginning scene to this moment, it has indeed been awhile. And I don't fault for refusing to come back even after all this time.

Her dad tried to point a gun at her, even after she took her mask away; after everything she has been through, after begging him to listen, there is no words to describe how much that must had hurt. How this society, with all the spiders they have, with Jessica Drew, Hobie and Miguel, still cannot fix that.

So is natural that she quickly tells no to Miles, she doesn't want to him to live that, and she may not know them, but she never thought her dad would truly be afraid of her and look at what happened. I can't blame her for it.

What caught my attention, however, was what she did next.

She decides to sit upside down.

Now, you probably had hear before that a lot of things there is a second meaning behind certain shots in movies. In animation that goes even harder considering how you need to work things from scratch, and as wonderful as it is the shot of Gwen going upside down, I think they were going for something more than beauty.

By Gwen doing something like this, is going to somewhere a regular person could never go, what a regular person couldn't attempt to do without risking their life.

I think this choice is very deliberately because at this point, being spiderwoman is all she has.

She needed to leave the life of Gwen Stacy when she left that night, her school life, her old band mates (who in the comics are her friends and we can see saying hello in the flash back of the dance), her dad, is all gone.

Yes she is learning so much, she is happy to have Jessica as her mentor, she really things she is doing something good here. But I also thing she is clinging to this all the harder because she doesn't have much else in her life.

Yes she is happy with Hobie as her friend and plays in his dimension, but you can see that isn't enough. We can see proof of this later.

This also means getting away from Miles' sight, almost like hiding, and yet not far enough he cannot come to get her.

Maybe I am getting a bit too sentimental here, but this is a good example of the rest of the scene, push and pull, she thinking they can't, but wanting so much to do so.

I am not sure how much Miles meant that, since I think he still looks conflicted earlier. Regardless, something that I like about this, is that he listens to her.

He knows Gwen is in a very painful position, and while he has good reasons to believe his parents are different, he doesn't try to fight it. And more than that, I think he actually takes into consideration her words and tries to see it in a different light. A softer one.

I had seen some people say Miles is the sunshine of the relationship while Gwen is gloom and doom, and while I still think that is oversimplifying their situation too much, this moment shows a bit of that, and also, another reason why Gwen likes talking to him.

I really like this detail, I think Miles being able to make a situation less grim is something that I think Gwen feels is like Miles place in her life, to make things that used to hurt her (being spiderwoman, since she liked it but it has made such damage to her life,) actually made her happy again.

Also, look at the space between them; I think this shows even more than Miles is conscious of the type of pain Gwen was when she decided to climb here, and he gets back to her, but gives her space just in case.

Of course Miles cannot help but boost himself, though you can see that he is trying to make it sound almost like a joke. I wonder if his uncle would be proud at his attempts of being smooth, because while not perfect hey, they are working for Gwen.

Because regardless if she thinks is a good joke or not, she did laugh.

And I think after Gwen having her cool for most of the time, seeing Miles get a bit more confident is sweet, and also some progress showing that he has indeed feeling surer of himself.

I think Gwen knows she is kind of encouraging him to continue.

I like to point out that Gwen looks back him while saying this, almost like indicating that hey, we are still talking dummy, you don't need to stay back.

Back again, Gwen wants her distance, wants to use the mantle spiderwoman and the powers that come with them to not face the rest of the world; but she also makes sure that Miles can get to her still.

Miles obviously, doesn't know Gwen's feelings, and I don't think he realized how much her time with him has meant for her; and in this scene shows.

Including how he asks again, if she really means it.

And decides to get closer to her when she repeats it.

Once more, maybe is me looking for things where there aren't any, but I think is a nice touch that Miles gives Gwen his space, and she still reminds her she is here for him, and is all he needs to close some of the distance between each other.

It's funny, at first I thought I didn't have anything to say about this particular exchange, except that now that I see it in slow-motion and after analyzing the other scenes, it does feel that it carries more meaning.

Because in this scene, Gwen attributes that part of the reason she likes to talk to him, is because there isn't a lot of people they can talk about being super heroes, and Miles agrees.

Which if you think about it, it has a point, the reason why they met, and also got along so well, was for being spiders. We can see it in the bus, of how Gwen is having fun talking with Miles and actually wanting to preserve that moment with him.

Yet, that isn't the entire story, now is isn't?

Man I wish I could get the entire clip, there is so many little things. The looks Miles gives to Gwen, how Gwen tries to not look at her but she continues smiling and briefly looking at his direction.

But it does bring an important point, that is not the entire reason they get along so well.

Gwen had the opportunity to met other spider people, including teens. Peni is in the society, Pavitr, Margo, Hobie, a lot of Peters- unlike Miles, who has been on his own for this year and few months, Gwen had the chance to met other spider people, to get other friendships with people who understood.

And yet she is still here, having this conversation, claiming how is different with him.

Even after having so many possibilities to met other people, to have other people to talk about this, she still wanted Miles.

Just like us, he caught onto that; and we know why he is asking, he knows why he is asking, and Gwen probably too.

The conversation is still pretty light in tone, Miles is throwing away a piece of debris that he picked from his suit (huh wonder if he was just taking dirt out because he nervously was picking his suit,) Gwen is still smiling. We all knows what they are truly hinting here, but no one is saying it.

Sure hun.

But seriously, I do wonder if Gwen is also thinking about that. Like I doubt she isn't aware of her feelings for Miles, she certainly is aware of his, and the way they interact is layered by their crush in every interaction.

What I am curious of, if she wonders why is Miles the person she is still thinking about, how not a band was enough, how the spider society isn't enough, that she is still here having this conversation even when knowing she should be doing a mission.

This last panel certainly makes me think in that direction, that she is still wondering, what Miles has that she can't get out of her mind.

Gwen is still thinking, trying to get the words, but Miles seems pretty sure of his choice.

And I think she likes her explanation too.

Miles says that they are the same in the important ways, and what Gwen says next almost seems to make it believe she agrees.

Because her next words are a confession, or as close as we get in this conversation full of metaphors and second meanings.

Sorry, I try to not go crazy with so many images, but I think every frame is important here.

First the subtle happiness of Miles hearing that, of knowing what it must mean if Gwen is telling this to him, here and now.

How she looks back at her, almost like he needs to confirm what he heard, and when he realizes she is still looking at the horizon, he looks down at their hands.

And he tries to get closer.

Once again, slowly, letting the chance to go away; as always, Miles tries to respect Gwen's space and let her dictate the tone.

And she doesn't miss in what he is trying to do.

AAAAAND I realized I got to the maximun number of images on a post (oops.)

Sorry anon for basically not answering your question, but I got too deep into this ramble for me to delete some of it now.

PART 2

#ghostflower #gwiles #gwen stacy #miles morales #atsv spoilers #across the spiderverse spoilers #spiderman #spiderwoman #across the spiderverse #atvs #SO SORRY #I knew it was getting long but not THIS LONG #ghostflower files