James, running late to class: Sorry, professor, I'm late. My alarm clock didn't go off.
Everyone in the classroom staring at him:
Professor Flitwick: Nice of you to join us, Mr. Potter.
James, walking to his seat next to Sirius:
Sirius, staring holes at the back of James' head:
Professor Flitwick, turning around to resume his lesson, but just before he adds: I'd advise you you don't mistake your uniform with someone else's next time you're running late.
James, clueless: What? *then, whispering to Sirius* What?
Sirius, shooting daggers at him: Prongs. Who's Slytherin tie is this?
James, blinking, and slowly looking down at the green tie he's wearing, before looking up sheepishly: Haha, you're not going to belive this—
4K notes
·
View notes
I will say this once because I'm tired of seeing stupid discourse: anti-transmasculinity is not about being treated bad because we clock as men, it's about being treated as stupid little girls because transphobes think we've been tricked into this.
It's kind of the opposite of transmisogyny- instead of fear and revulsion, it's constant condescension, the implications that we've been whisked away from femininity by scary bad guys, that we're going to cause 'irreparable damage' because we don't know what's best for ourselves, somehow. People fearmonger a lot about the "ugliness" of transfem people, but for transmasc people that 'ugliness' is used as a warning- you'll look like THIS! You'll go BALD! Your top surgery scars will leave you MUTILATED! A lot of aesthetic concerns. Worry about our 'beauty'. Because it comes from that same stupid reactionary 'we gotta SAVE the WOMEN' shit, but this time they have to save them from getting 'stolen away', as if we're being seduced or pressured into this. As if we can't make our own decisions.
For TERFS specifically, they're losing one of their own. We're 'gender traitors', willingly aligning ourselves with the half of the population they consider unilaterally dangerous and evil.
We aren't REALLY trans, we just want the benefits that men get. You don't actually want to transition, you're just trying to avoid misogyny.
You aren't actually a man, you're just a self-loathing lesbian.
Why can't you just be a butch girl? Why can't you just be a tomboy?
Why can't you just be something that I don't think is icky?
Anyway. Like all things, it boils down to misogyny. Women stupid and gentle, dont know what best for them, evil men trick into taking man juice, must save because lady stupid and dont know what best for them (having babies and being Feminine).
Theres like. Obviously more to this but I'm just a Transmasc Rando explaining this from my perspective, and I'm not the best with words. Anyone is free to hop in and add on to this
2K notes
·
View notes
Helpy Hand
When Lunch Lady went through a random portal instead of the Fenton portal (so she would not alert the halfa about her arrival) she prepared to end up somewhere near Amity, perhaps traveling to the town if she was somewhere else on earth.
She needed to make sure they didn't change her menu again or at least keep it balanced. That's why she was surprised when the portal dropped her off at a community center, where a man in a red helmet was yelling at his...chefs? about the menu.
She felt like helping as she watched the man leave the room. For some reason she wanted to stay a while, Amity still didn't need her. She followed "Hood" (his name, according to the "chefs") and overheard him complaining about not being able to cook for so many children.
Making her decision, Lunch got down to business and started cooking where she wasn't noticed. When Jason returned there were portions of food prepared on the table. That was weird, but he wouldn't complain about a gift.
It was weirder when it continued to happen in the week (and none of the dishes were poisoned, he checked), and on a random day a boy with black hair and blue eyes walked into the place, holding a container of soup in hand.
Jason wondered what such a strange tourist was doing in Gotham (on Crime Alley, he wasn't scared), and what he was looking for (he didn't know if the boy was brave or stupid) but he hoped he wasn't a new rogue at least.
1K notes
·
View notes
my body's aching like a knock-down drag-out
and my poor heart is an open wound
A Childhood Friends Au snippet that very briefly delves into Danny's life post-accident.
CW: Mild Mentions of Blood, Violence, VERY mild gore ig. Danny briefly recalls getting impaled during a fight.
------------
What they don't tell you about being dead is that it hurts. That it can hurt. That it can hurt more than when you were alive. That when you die, the emotions you die with stick with you like a leech that just won't let go. That emotions are ugly little thorns that stick their barbs into you and grow beneath your skin; or, at least, whatever’s left of it.
Danny is familiar with anger. It kept him warm in Gotham, when his parents weren't home from work and he and Jason were crowding Crime Alley with their presence. It kept him warm in Amity, when the fresh sting of moving was still needling into his heart and he wanted nothing more than to rip and tear into the closest person next to him.
He's familiar with violence. With fights. With death. He's seen people die in Crime Alley probably every day. From overdose, from gunshots, from stab wounds; anything that can kill, rest assured he's seen it. He's familiar with getting his own knuckles rough and bloody when other kids turn and bare their teeth at him and Jason; they're all just starving dogs stuck in a fighting pit, primed and ready to rip out each other's throats.
Black eyes, stomped hands, bloody noses. You name it; he’s had it. Gotham is paved with the blood of her children, and Danny likes to imagine that when he was born, the doctors handed his mother a file and told her; “Take it. He’s going to need it for his teeth.”
Danny’s mom (and dad, for that matter) was too busy trying to keep him and Jazz fed, so Danny stole the file from her drawer with Jazz’s help, and did it himself.
He’s familiar with anger, he thought he was getting better at it these days. It doesn’t come to him as easily as it did before. Of course, that was before Jason died.
Danny is less familiar with grief. Caring kills and Gotham kills the caring, so Danny cares very little about other people. Or he tries to. But grief hurts. His grief hurts. It hurts too much. It hurts like a bug trying to crawl out of his chest; like a rat chewing a hole through his heart. Some days he wants to dig his hands into his hair and split himself down the middle. Some days he just wants to scream.
He’s dead. He’s dead. He’s dead.
He wants the whole city to hear him wailing, some days. It sticks itself in the back of his throat like bile, and Danny is one wrong retch away from letting it loose. It sticks in his lungs like all the tar he’s smoked in since he was nine. It pushes and aches at his temples, in his head, like his brain is trying to swell out of his skull. His thoughts becoming so loud they threaten to commandeer his tongue.
He has no mouth, but he must scream.
Something they don’t tell you about being dead is that it hurts. That it hurts more than when you were alive. Something they don’t tell you about being dead is that it’s violent. That it’s bloody. Or as bloody as it can be when everyone has no blood.
Another thing they don’t tell you about being dead, is that it’s a lot like Gotham that way.
With no threat of death, Danny’s enemies forget death itself. Blood comes easy, like water, and teeth are encouraged. Bring your own fangs to the fight. Dying is something you can just walk off.
Danny’s been dead for three months. He can’t say he’s been walking it off easy. He’s perfected the art of turning his nails into claws since his heart was still beating, but he can’t say he’s perfected fighting other ghosts.
Scrappy is just not enough.
He feels like he’s back in Gotham again. Back in her death-shroud alleyways, fighting someone bigger than him. But there’s no Jason to watch his back, and Danny has to get himself out of there alone. Or he might just not get up at all.
Black eyes, busted lips. It’s familiar to him like an old scent, Danny isn’t quite sure that he’s missed it. It’s more familiar than his fights with Dash.
But there’s no one else who can do it but him. Not Sam, not Tucker. He can’t lose them too. He can’t. He can’t. He can’t. His heart can’t take another break, he already feels like he’s going insane.
With no threat of death, Danny’s enemies fight like death themself. He learns why when Technus puts a street sign through his stomach one day. It pins him to the asphalt like a moth pinned by its wings.
Danny claws at the metal like how an animal caught in a trap chews off its leg, and every move is blinding pain. He thinks he was howling, but it’s hard to tell. He couldn’t recognize the sound of his voice.
He bleeds green. It mixes in black with the pitch blackhole in his heart, which throbs and twists and cries in time with his reckless panic. The finger-choking terror of dying again strangles out the air he doesn’t need. His blood evaporates, only to reabsorb into him. It just bleeds out again, cycling like a snake eating its own tail.
Danny breaks his nails clawing at the metal, and eventually gets it in his mind to pull it out. So he does, and the end drips ectoplasm green as he gets to his feet. In red-vision, Danny sends the sign back with snarling, vicious fervor. The pain is irrelevant in his rage.
Only after the fight does the hole the pole left start to close. Danny doesn’t shift human until it’s gone. Unlike other injuries, a scar stays behind. Ugly; mottled, it aches for a week with every twist and stretch his body makes. He hates it.
Being dead is agony.
Every part of him is in pain. Every step, every word he speaks, everything he does, it is prerequisite with pain. The body is temporary, but the soul is forever, and death has carved into it with its freezing green hands and left him with never-ending heartache. It has torn from him and stolen what of him it could, and in return it’s left him with sorrow.
His pain is his grief, and he’s sobbed in the safety of his room more times than he can count. It’s still as fresh as the day he heard the news of Jason’s death. He knows, instinctively, that it will stay fresh forever.
In his room, Danny shoves his hands over his mouth and shrieks in whatever, muffled way he can into his pillow. It’s not enough. It’s never enough. He needs to be louder. He needs to be heard. He refuses to be.
Being dead hurts.
240 notes
·
View notes
Thinking about body horror in The Locked Tomb, specifically how the bodies of the dead are treated. Wake's skeleton tilling the fields, using her to feed an empire she hates even in death. Abigail's death not having anything to do with her but more just the inconvenience that she was there, evidenced by Cyth stashing the key in her as if she were a box. Protesilous is particularly good because you meet him as a person after you have seen his corpse used against his consent in the first book. After Cyth tells Palamedes she tossed his girlfriend and her bodyguard in the garbage she says "Don't look at me like I'm a monster". How ppl's remains are treated matter, when Crux threatened Gideon he threatened her with just that, being treated as parts.
I just have specific feelings about dead bodies and how they should be treated. I could never do anything involving cutting them without thinking this was someone's grandmother, or lover, or best friend. I distinctly remember what did this was going to see The Bodies Exhibit where you get to see a lot of preserved organs and such. I thought I would be fine, I was even super excited, I liked anatomy and physiology. But I remember looking at a sagittal cut of a head and torso meant to show off the brain and spinal cord and Idk why but I turned my head side ways and got level with the display and there was the man's face. That horrified me more than anything, his face mostly hidden so you don't remember this was a person. The ppl in this exhibit never consented to be a part of it, they are unidentified persons, no one came to get their body so it meant anyone could do what they wanted with it. Even worse popular myth for a while was that these were the bodies of prisoners, as if that made it okay to treat them with disrespect. There was writing on the wall as we left saying the bodies had been handled with respect but I would never want to be put on display in a museum, so how could we know they didn't feel the same? I also wouldn't want my index finger on display at the Vatican museum. I understand it's meant for worship but there also seems to be something rude in the piecemeal display of saints.
I feel strongly about respect for remains and idk how Muir does but there's something particularly good about Gideon being aware of her remains after death. The argument for a lot of bad treatment of corpses is "the person isn't going to know". So Muir created a character that becomes BOE's body farm experiment, until finally she has to go back into and haunt her corpse, embarrassed at her wounds and the way others can see her meat. Her first interaction is objecting to someone sticking her corpse with a needle, even though she can't feel
331 notes
·
View notes