#without realizing what it is and what they're actually perpetuating

[amorphousbl0b]

Arcane does a fun thing with its narrative Darkest Hour.

Or: yet another post about how insanely smart this show is and how absolutely genius its writers are (and how jealous of them I am).

For the uninitiated, the Darkest Hour is the moment just before the climax in which the heroes are at their lowest point. When the Avengers are scattered and Loki opens the portal in NYC, when the Falcon has escaped the Death Star but lost Obi-Wan, when the Fire Nation is set to annihilate the Earth Kingdom, when Frodo fails to destroy the Ring at the Crack of Doom. The heroes must confront their flaws and change for the better for a happy ending.

Arcane’s darkest hour is, of course, in Act 3. One might place it at the very end of episode 9, and that’s certainly where the story is at its most hopeless. But I’d contend it starts as early as the end of episode 8 and carries on through the entirety of episode 9.

After all, that’s when Caitlyn and Vi have separated, lost all hope, and Cait is kidnapped by Jinx. Jinx’s mind is fully gone and throughout the episode everything falls apart around her. Silco is losing control of his chembarons and may well have lost his daughter, the thing most precious to him, and is only barely keeping his powerful façade in line. Zaun has realized how ridiculously outmatched they are in a war with Piltover and the revolutionary cause has become almost impossible. Viktor has manslaughtered his assistant and may never be cured. Jayce has manslaughtered a child and finally realizes how quickly he’s losing his morals. Mel and her mother are fully separating and she is struggling with her warlike destiny. Sevika gets the absolute snot beat out of her and limps to an empty office without a boss.

So yeah. Lot of personal Darkest Hours going on.

“But what’s the interesting thing?” I hear you ask in my ear. I don’t know why I hear you. Shut up. I’m writing. Are you even real?

Excuse me.

Arcane’s interesting twist on the Darkest Hour lies in part of the trope that I didn’t mention. That’s in the villain.

Most stories with a clear-cut villain have a plot structure something like this:

Whether things are going well for one side is inversely proportional to the other. During the Darkest Hour, when the hero is at their weakest, the villain is at their most dominant.

Wait… isn’t Silco the villain of Arcane? Not to be too blunt, but he’s having a shit time. Things are falling apart for him just as badly as for everyone else.

That's the trick. Caitlyn and Vi are suffering. Jinx is suffering. Silco is suffering. Jayce is suffering. Viktor is suffering. Zaun as a whole is suffering. There is only one party in the whole story that isn't suffering, that actually is benefitting from this horrid state of affairs...

EKKO AND HEIMERDINGER

Kidding. They're not really a part of this dance. A big part of Arcane's theming is that acting to help people without an agenda is simply more virtuous than fighting for any invariably-flawed nation that innately perpetuates the cycle of violence.

No, the side that is doing fine is the other that is conspicuously absent from my two prior lists. While the characters that make up its leadership are experiencing personal Darkest Hours, the organization itself is essentially on top of the world, having just scored a huge victory and getting set to bring the war to an end before it even begins. I mentioned how poor the situation for the Undercity looks, but not its counterpart.

Piltover.

Wasn't it so that Piltover started this whole mess? Didn't their oppression cause the revolt that orphaned Vi and Powder's parents? Isn't it their actions that drive Silco to ever greater extremes? Isn't it their normalized political backstabbing that causes Jayce to sacrifice his principles because that's the only way to get ahead? Isn't it their corrupt police force that lets Silco operate his drug empire with impunity?

Silco might look the part. He might be the most personally evil character, might be the one who causes the most misery for our main protagonists Vi and Powder.

But structurally, the shining city of Piltover, its political machine, and its Enforcers are the actual villains of Arcane.

#arcane #darkest hour #writing #silco #piltover #zaun #piltover and zaun #heroes and villains #good writing #just realized this #still noticing new things #even two full years later #i love this show #has someone said this before? #long post

[eastgaysian]

okay here's one post i have to make. Finally racism confirmed real in succession. other people have talked about this before but it is a huge blind spot of the show not to acknowledge the intersection between racism and capitalism, and the excuse that the characters are the 1% and the 1% are vastly white is pretty weak. the fact that the show sidelines its existing characters of color while every now and then broadly gesturing towards race makes this worse, especially as the show more directly focuses on fascism and just Doesn't bring race into it. like i don't even think race is totally absent as a concern of the writers but it's clearly not a priority. i think a lot about how mo's widow is a filipino woman

anyway. ken and rava's conversation in this sense doesn't really qualify as, like, revolutionary in terms of succession's commentary on race esp since it's a discussion between two white parents about their brown daughter without her present. the point of interest to me really is that kendall completely fails to recognize racism as a systemic issue, much less that he works for and is trying to sustain a company that actively works to perpetuate that hegemony. his questions are why was sophie on the street? why wasn't rava there? in the same episode where he calls matsson homophobic for saying the numbers are gay. socially aware king

it's not particularly revelatory to say that a rich white man doesn't grasp the concept of systemic racism LOL but i do think it's more than that for kendall, and i also think this trait is something his siblings don't share. it's like how he doesn't realize he's in a position of power over anna and she was pressured into attending the recny with him, and his adoption of a faux-feminist stance in s3 while continuing to treat women like shit. kendall's whole concept of Everything, including systemic social issues, goes back to logan. there's no system outside of dad. the doj doesn't find the cruises evidence compelling? that's because they're scared of logan. logan's the source of the evil in the world, therefore opposing him is inherently progressive, leaving kendall with even less of a coherent moral framework after his death. and he's completely unable to process the idea that he could be participating in and benefiting from the greater racist or sexist system, because that's fundamentally incompatible with his logan-based idea of his own identity.

i don't think roman or shiv or even connor share this particular nearsightedness. roman 'we do hate speech and roller coasters' roy knows what's going on but he doesn't really care and he doesn't believe it can be changed (or, maybe more accurately, that there's any point in trying). he doesn't buy into fascism on the ideological level, exactly, but the spectacle appeals to him and he does believe it's profitable to align with it, so he's perfectly happy to do so. i think he's the most similar to logan in this regard. and shiv and connor have actual political ideologies, even if they're far from being meaningfully opposed to fascism, which requires a base awareness of the fact that We Live In A Society and That Society Has Systems In It. for kendall it really boils down to logan and logan alone

#chalkboard

[honkthehenry]

unnamed slime game - part 1

Masterlist

The way you suddenly snapped into awareness without realizing you drifted off at all was something akin to having a bucket of ice-cold water thrown into your face.

You... dozed off in class again. In hindsight, it was inevitable – the last time you got hours of sleep instead of something in-between nothing at all and a 2-hour-nap was last Saturday. You've been running on nothing but bitter, cheap coffee and sheer spite for almost a week now, it was high time you finally crashed.

Still, you should have woken up at Uni. You should have woken up to your professor huffing and puffing and glowering in your face about your terrible conduct, about how your generation had no respect for his generation, about how such a complicated and beautiful science like Robotics was not a place for slackers like you (which, fair, you had no idea what you were doing in Robotics either), not... alone and certaintly not in the middle of a forest.

You ran through a bunch of scenarios quickly, but none stuck.

Kidnapping? Far-fetched at best. You lived alone, only barely making ends meet by running yourself into the ground as you tried to marry working retail with being a full-time student, so ransom was out of the question and being kidnapped for the sake of doing bad things to you... Why bother? You didn't know anyone nearly well enough to be kidnapped due to personal feelings and you were neither good-looking enough (perpetually tired goblin that you were) nor famous-, connected- or skilled enough to be kidnapped randomly.

Besides, you were at the University, on the 5th floor, in the middle of the city that had no forests for miles! You were surrounded by 20-odd other people, there was no way someone would be able to kidnap you with so many witnesses around.

So, not kidnapping.

Dream then?

Also unlikely. Your dreams were few and far-between and when they did happen, it was either you being surrounded by characters from the show you happened to be fixated on at the time or it was you getting repeatedly chased and swallowed whole by a dinosaur on a loop, until the dream finally ended (probably Jurasic Park childhood trauma, now that you thought about it).

Still.

This was so weird, because you knew for a fact you were much too aware of everything to be dreaming and yet the things you saw didn't makes sense at all!

You didn't have any arms for one!

And your body was purple!

You could feel electricity zapping at your body and it didn't hurt, it was more like being swallowed in a blanket burrito and nursing a comforting mug of hot chocolate, while watching your favourite show with no worry for deadlines or money!

You weren't supposed to feel like that, you were supposed to be tired and grumpy and irritable and not nice and not toasty and certaintly not so comfortable!

Drugs? Hallucinations? You never partaked, you didn't drink alcohol either, so that was a no—

—A purple crystal you were under zapped at you again and you positively melted on the spot, basking in the feeling and letting the troublesome train of thought go like the wind, before it inevitably derailed and caused you undue anxiety as it always did.

...it was very nice actually.

Maybe losing opposable thumbs wasn't so bad if you got this in exchange.

You could live like this.

×•×•×•× Honk!!! Corner ווו×

You know that one post lurking on Tumblr where OP is turned into a frog by a witch as revenge? And just vibes? Basks in the sun without worrying about life? This is MC now.

I don't care how long or how short chapters are, they're just gonna vibe as they are because I am a goblin with a short attention span and no actual ability to write.

Something to get you thinking - MC is an electro slime for a reason and that reason is electro immunity.

I wonder why?

*smiling like a particularly smug cat*

Did I mention I can't draw lightning/electricity? Because I can't, so I didn't.

Also fvck me, my tags didn't saveeeeee 😭

#genshin impact #genshin x reader #genshin impact sagau #genshin sagau #sagau x reader #sagau #except sagau part is slow burn #isekai #genshin isekai #x reader #x gn reader #x gender neutral reader #x gn y/n #x y/n #x you #electro slime mc #slime mc #unnamed slime game

[bonefall]

I like both ideas, bc it provides an opportunity for the Dark Forest to evolve in some way; I really like the idea of Curl taking lead and trying to make the Dark Forest cats united (not for any real GOAL, but bc they're still clan cats dammit, and separated in little pockets they'll never be able to grow).

The camp one is kinda obvious- it was a place of horror, but they need a place to stay. She never came too close to the place until she realized that if she wanted to unite the cats into a group, they needed a camp. And Starclan (she hisses at the irony) knows she'll never do it on her own. She enters, and it terrifies her- before she knows it shes backing away and fleeing. Over time though, she makes it further in, stays a bit longer. She finds the dens are still pretty decent, and that her heart feels a lot lighter as she rips down and destroys the cage. She's elated to find hierloom tools in the camp eventually- some are broken, but can be fixed. She purrs as she thinks how happy Darkstripe would be to have some proper cooking tools. This was a place of fear and death, yes, but it doesn't always have to be that way, does it?

The dogs less so but hear me out. At first she is haunted by the dogs, downright terrified- the gnashing of teeth, the frenzied barks. It's not even anything she can think or dwell on; as soon as she hears the howling and barking, she's immediately running away, fleeing as far as her paws take her. She knows she'll never actually die here, but she's still so, so scared. Maybe she comes to the conclusion on her own, or maybe someone else points it out, but eventually she realizes what you mentioned. She saved her CHILD- she should be PROUD, not scared. This is her greatest moment- her death an irrelevant footnote compared to her baby's life. Idk *exactly* how it should go, but she confronts her fear, and manages to 'tame' it. She is no longer afraid, this illusion holds no power over her. Either they fade away and just stop existing without Curl's fear to feed it, maybe they turn docile and harmless, idk. No matter what though, i have a feeling that something like THAT will catch the eye of some DF cats, sorta like a Tiny to Scourge deal. "She got rid of her land mar" into "She destroyed the land mar" to "She KILLED her land mar"- even the first one has to gain her some respect frok the others, and gives her a solid footing to try and get cats together and united.

Ask was sent a while ago, and I've been looking at it since then. It's a really good pitch, and I had things to do, so I just passively chewed it for a while. Both ideas are really good; so I was trying to think of some way to get them together.

I think I've got a good thought now;

I'll make Curlfeather's Land Mar dog related.

But they're not the same dogs that actually attacked her (which, depending on how the arc goes, might ACTUALLY be apparitions from the Dark Forest which Ashfur dragged out for his schemes. Specifically they'd be Brightheart's nightmares.)

Curlfeather's Hounds are blind. They hunt completely through "smell," and they smell her fear

I can keep her Land Mar being quite unique by actually having it follow her. Instead of it being a place she's trapped in, she's haunted by random dog events which will inevitably interrupt any plans she makes.

So she's perpetually close to making the group that she wants, uniting these demons just because it's what she deserves, but she is forced to flee when her hounds find her.

The camp she ends up using doesn't have to be her OWN Land Mar; I have another cat who actually has a 1:1 camp as theirs.

Morningstar, the deposed leader of ThunderClan who refused to allow his cats to fight. His is simply his camp, on the day where Pearstar invented the Right to Challenge and killed him for his position.

Morningstar's also HATED in the Dark Forest, because of his pacifism. Thinking about it, it's actually a great parallel for what I'm planning with Curlfeather!

She has disdain for her father because she sees him as weak. Reedwhisker swearing loyalty to The Kin after being tortured was her catalyst for believing he needed to die; that RiverClan would have a sniveling, careless leader.

So if it's Morningstar she ends up developing a bond with, they can help each other.

Morningstar can make her realize that her terrifying death by the dogs is something she can be proud of. That it isn't something to fear and revile, but a sign that when she was forced to choose between love and ambition, she chose love.

And Curlfeather can see that maybe people like Morningstar, who she'd always seen as weak, have wisdom she'd never considered. Uniting these cats isn't about power or recognition; it's just about helping to make everyone's lives better.

I can even keep the "empty camp" idea. Stepping into Morningstar's gloomy Land Mar, setting a little fire just to help with the mist, and realizing it's not all that bad. There's old tools laying strewn about, the dens are all in working order. We can make a proper home here, if we let it be.

There's probably a cage there because of Ashfur, maybe it's the one that he made the demons toss Rootspring into. Maybe I'll have the demons eventually trick Curlfeather's Sighthounds into Deadfrost's Labyrinth, if Shredtail's still around. He double-died in canon but I wouldn't be too opposed to killing someone else in his stead.

She'll also have to prove herself to the other demons. Most of them are pretty wary of "leader-types" after what happened with Tigerstar. Ironically the closest thing they have to a "leader" is Darkstripe because his soups are so good. If he doesn't like your vibe, you're cut off from the "Social Circle."

I need to make some sort of pun out of Rings of Hell and Social Circle. Social Ring of Hell.

#As opposed to the ''Alpha Baboons'' which I can't stop calling them in my head #the Alpha Baboons were the Tigerstar-supporters who made life in the DF unpleasant with their schemes and desire to haunt and attack-- #the living so they could dethrone or threaten starclan #I call them the Alpha Baboons because. Just like the case study of the alpha baboons who were bullies and ate poison trash and died.-- #--life got better in Hell after their double-deaths in the BOTTE. #There's a few Alpha Baboons still around but their number is smaller than Darkstripe's Social Ring. #So the gentler demons will be wary of Curlfeather until her intentions and personality is better known #BB!Dark Forest #Better Bones AU #BB!ASC #BB!Curlfeather #BB!Morningstar

[genericpuff]

Honestly it’s getting tiring seeing the sobbing chronically of the cast ; Hera , Demeter, Persephone and probably more . Like it’s giving big baby cry cry energy instead of idk something proactive. Not sure if It’s just me getting that from the latest chapters???

I have two schools of thought on this.

On the one hand, I can fully understand wanting to show the vulnerability of these characters, to not send a message that emotions are bad and that people should just "toughen up". This is trying to be a "feminist" piece of work after all, and much of feminism preaches vulnerability and empathy and allowing oneself to get back in touch with their own emotions, rather than shutting themselves away from them which is often perpetuated by the societal expectations and norms of toxic masculinity.

Persephone crying as she confronts Apollo - the man who she now understands assaulted her - is understandable and real. A reasonable reaction to an emotional situation that many people can empathize with.

Hera crying as she reveals the true extent of the damage Kronos caused her is understandable and real. He's quite literally been stalking her in the recesses of her mind and it's reaching a breaking point.

But on the other hand, there's a difference between wanting to show a character showing their emotions and then learning to overcome the challenges they've presented with - whether they do it independently or learn to trust in others to help them - thus growing in the process and coming out stronger on the other side vs. using a character purely for torture porn. As much as we preach concepts like "normalize crying" in a very simplified way for the sake of being easily understood, such simplifications often result in a lack of nuance.

An entirely other subject to use as a comparison point to explain this nuance - it's like the difference between having a character who's become so jaded and disconnected from the concept of empathy that even murder becomes just a menial task to them vs. murderhobos. Murderhobos are not interesting or complex or empathetic or relatable, they're just written (and in the case of where the term comes from - Dungeons & Dragons - played) for the sole purpose of having an edgy uncaring character who thinks they're free from consequences while they fuck up the lives of everyone around them in a completely irredeemable way (and is often protected from such consequences due to plot armor, unless it's in D&D, in which case you'll likely be politely asked to either change your character for the sake of the campaign or leave.)

There's nothing to gain or learn from murderhobos. They only exist for the satisfaction of an ego complex - "I don't care what you want or how it affects the people around me, I want to kill people without consequences because that's as creative as my imagination can get in my own personal fantasy."

There's nothing to gain or grow from anymore when we get another scene of Hera bleeding mascara as she cries over her situation with Kronos while still refusing to actually tell anyone what's going on with Kronos, despite the fact that we had an entire fucking therapy speak episode where she realized she needed help. So it feels like it's purely there just to play on the trope of "sad woman is saaaad, won't anyone help herrrr?" which is really starting to learn into learned helplessness.

This is especially apparent with Persephone, who, upon causing a massive problem for everyone, has taken it upon herself to shut herself away while her loved ones deal with the problem. If she needs the time to cry and process what's going on, that's fine. But while that's happening, we know mortals are dying and that she's turning the situation into a learned helplessness pity party of "I'm a monsterrr and no one likes meeee :((((" while having zero self-awareness that yeah, she did cause this problem, and her locking herself away in her literal mansion isn't exactly going to help the situation.

I've already used Tamberlane as an example of approaching the subject of learned helplessness and how it's fundamentally different from simply being vulnerable and having emotions, but I'm gonna share it again here because it's really relevant and Persephone needs someone to give her this same wake-up call.

Considering Demeter was the one to approach her at the end of the last episode, I'm hoping she'll be the one to broach the topic with her, but judging by how Rachel's treated it so far with every character reassuring her with empty platitudes that accomplish nothing but comforting Persephone over something she caused like "Noooo you're not a monster, you're the best queen ever and you're trying her best!!" (and the fact that Rachel has spent so much time turning Demeter into public enemy #1 that her readers still can't fucking give her any shred of empathy even after finding out she lost a child, fucking yikes) I'm not holding my breath that this week's episode is gonna actually have that same level of emotional maturity or growth. This is the second time in the entire comic we've seen Persephone suffer the consequences of her actions out of many that have been harmful, some accidental, others very intentional (which Rachel has even supported her doing in a very unironic sense, it's safe to say Rachel really truly does believe that Persephone is entitled to abuse people). And judging by how things went the first time, it's hard to have the benefit of the doubt and assume Persephone is gonna actually take accountability and learn and grow from this. She didn't the last time and her character has only devolved since.

Sure, feeling like you've fucked up to such a monumental degree that you'll never be able to show your face in public again is something that's real and relatable and worth crying over... but crying is an emotional response, not the actual solution. It is a PART of expressing and processing emotions, but ultimately those emotions are not actions, just REactions. Crying is okay, crying is a normal response to grief and sadness, but if you don't actually take steps forward and continue to wallow in the sadness, blame everyone else around you for it, and simultaneously rely on everyone else to carry the burden of your own actions for you, then that's when it exits the realm of healthy emotional processing and broaches the unhealthy realm of learned helplessness and emotional manipulation.

If anything, her entire monologue in the last FP episode was more about Rachel being upset over criticism of her comic and her self-insert that, like Persephone's deal with Erebus and the "plague" that followed, she earned over not addressing the issues in her work sooner and instead choosing to double down - both through Persephone's abusive behavior within the narrative and Rachel's passive aggressive meta-commentary on that abuse being okay because "she's earned the right to lash out".

The only people in this entire comic who have "earned the right to lash out" are the women that Rachel has villainized along the way in the pursuit of giving her self-insert everything without effort or sacrifice. And even then those people would still have to rightfully answer for their wrongs and grow from them - because there is no right to abuse, there is no right to harming others, especially not if the "others" you're harming are people who were victims in their own right that you turned into imaginary enemies so you could have someone to punch down at in the absence of a spine to stand up for yourself against the real perpetrators. And in doing so, Persephone herself has become a perpetrator, who sheds crocodile tears that no one is buying because the writing is on the fucking wall.

#lore olympus critical #anti lore olympus #lo critical #ask me anything #ama #anon ask me anything #anon ama

[somethingmissingthiswaycomes]

I just read a post I would have liked to reblog for some points, but not for others — so I think I'll just muse about it in my own post.

The post was about the dichotomy of TME and TMA — terms I at first accepted without thought and then began to criticize and eventually grew annoyed with, then saw them as a straight up red flag because of how big the center circle of the Venn diagram seems to be between people who use those terms regularly online and people who use them to disparage trans people who were assigned female at birth. The crossover with people who use insults like "theyfab" seemed to be pretty big too. And it's inaccurate of course; you can't say anyone is transmisogyny exempt based on an innate aspect of their identity. And people who use TME as an insult (seemingly anyone who used it at all) seem to all be hateful about transmascs having terms like transandrophobia to describe their experiences.

But the post that made me muse right now started out saying that yes, it's not precise, it's not fully accurate, but there's something experienced in perpetuity by transfemmes, assigned male at birth, that isn't experienced by anyone who can convincingly assert that they're not trans women — and TMA is trying to reach for that, and transmisogynists wouldn't grant us any language to describe our experiences.

I've been wrong a lot about fundamental things, and realizing where I've been wrong tends to start with a feeling that there's something I'm trying to reject, because it's uncomfortable to me or violates my previous worldview. Learning I was trans, learning about plurality, the process of noticing transandrophobia within the trans community... and long before that, when I lost the faith I'd been raised in and came to recognize it as highly damaging. It's deeply unpleasant for these shifts to happen.

I've been getting a feeling like that lately, but I wasn't sure where it was placed exactly. Each time I notice a problem with my worldview, I get more cautious about what possible new problems could crop up. It makes things, well, more uncomfortable.

Anyway, this one post I'm mulling over phrased things in a way that made me start looking more closely at what it is I've been avoiding. Because my mistrust of people who talk about TMAs and TMEs came alongside a rising pride and solidarity in transmasculinity, and a frustration with people who deny the trans community language by calling us "transandrophobia truthers" and other closed-minded, bigoted nonsense. (It's so fucking frustrating.) So... I haven't been looking for discussions about the terms TMA/TME outside of the hateful context it was showing up for me in.

And this post I'm mulling over mentioned requiring language to talk about experiences, and that clicked. It clicked with me that, while there are a whole lot of people playing boys v girls 2.0 in all this, there's an underlying need to be able to discuss the unique experiences that come with every aspect of who and what we are — and we're trying to categorize, categorize, categorize.

Part of what made me decide not to engage with the post that made me start talking about this is that the OP brought up the idea of transfeminine people who were assigned female at birth... and how that's, to them, a ridiculous idea. The thing is, it's not, and accepting that is part of not overcategorizing. It's an unusual thing, but it's real, and it can mean different things. You can't restrict the type of people who can exist.

But it's true that there are experiences specific to one's assigned gender (like AMAB) and to one's physiological reality associated with it that, in an intersection with a specific or adjacent actual gender (like trans woman, transfeminine, or transneutral with perceived femininity), are important to recognize as, for the most part, unique.

My ability to be specific here breaks down, though, because I know from reading the words of certain intersex people that a lot of the intersection of transfeminine and perisex AMAB isn't actually unique unless you ignore intersex people. I don't think I can say more than that. I don't think I can get nuanced enough.

But I can use an "opposite" example to try to draw a parallel. Because there is an AFAB trans experience that isn't shared by perisex trans people who were assigned male at birth: the risk of pregnancy, and specifically restrictions on bodies with uteruses. That's a difference that TERFs like to prey on to drive a wedge in the trans community. They like to convince us that they're the only ones who care about that part of our lived experiences. That is wrong. And we shouldn't let that difference divide us.

In the same vein, we shouldn't let that difference being something that could divide us turn the topic into one that trans people who have uteruses need to sacrifice in order to stand together with trans people who don't. I think that's contributed to transmasculine erasure. The assertion that it must be so would fall under the umbrella of transandrophobia, a much needed term for the sake of discussing that.

Now back to transmisogyny affected/exempt. An argument I've often shared and agreed with and been fervent about is that it's just recreating the AFAB/AMAB binary. And I have seen people argue that no it's not, it's different, but in recognizing how often it's used that way by bad actors, I decided to ignore that argument. I'd say it doesn't matter; it may as well be that.

I think I've been wrong. And I've known I was wrong, in the back of my mind, for a while. My initial acceptance of the TMA/TME dichotomy had me making that same argument, so it felt like something I had moved beyond. Now I'm letting myself look at it more closely, I'm coming to a less accepting-it-on-faith understanding of the argument.

I'm also forming a new way of explaining my own experiences as a genderfluid person. Hopefully doing so will help to articulate what I'm thinking;

I am, currently, TME. Not in the literal sense that I don't experience transmisogyny at all, but in the sense of, "I have a body that allows me to avoid and avert transmisogyny directed explicitly at my person." I'm affected by transmisogyny in a lot of ways I've been working through for some time now, and it's for that reason that I still await better terms for this concept—but using these terms as I believe good faith actors do, while I'm not exempt from transmisogyny in general, I am TME.

But I won't always be.

I am a genderfluid person who was assigned female at birth. I started testosterone a few years back, and then I stopped because I wasn't sure how far I wanted to take it. I've been coming to terms with the fact that I need to go further and I may have to be on HRT indefinably to be able to be my full, real self... but I'm still also a woman. And it will cause me dysphoria if I can't present as a woman at times when my body has been fully affected by testosterone.

I don't know if I'll be able to be stealth in any direction. I will be affected by transmisogyny in a way I'm not right now. The difference between how I'm affected by transmisogyny now and how I will be then can, at the moment, be communicated with "I'm TME now, but I'll be TMA when I transition."

And that terrifies me, honestly. I had recognized that terror as being me internalizing transmisogyny, but not as me being afraid of it. I know I'll be more comfortable with myself, but...

The forms of transmisogyny experienced specifically by people who are perpetually perceived as male (or "supposed to be male") while presenting as female are more scary than what I experience now.

And that is worth being able to talk about.

And that is worth having a term for.

And I suppose "TME" and "TMA" are the terms people are using right now, at least online. Imprecise language is something we have to work around sometimes.

I do hope that the discussion can evolve language that doesn't so easily allow bad actors to use otherwise potentially useful terms as a weapon of lateral bigotry.

And, in general, I hope the discussion can move in a direction that discourages that more by rejecting separation of trans people into boxes based on AGAB without erasing experiences that come with AGAB. Categories are good and useful to a point — but not as boxes so much as colors we're painted with. You can't split people into groups based on any one category they're colored with without forcing some people within those groups to de-prioritize something else they are.

...

This feels like it could be a draft for a real good blog post, but I know I won't post it if I wait and try to rewrite things later, so it'll have to be the finished thing.

It's been a while since I tried to add to the conversation like this. Gonna turn my anons off in case of problems. I am OUT of spoons and won't be able to respond to any opinion about this, but feel free to say things anyway if you're nice.

#transmisogyny #transandrophobia #trans unity #tme/tma #trans discussion #multigender #genderfluid #I hope to God this doesn't get screenshotted by someone who wants to be an ass about something I said in here 🤞 #I want these thoughts to be added to the conversation without having to compromise my mental health by continuing to interact about it #hoping that's not too much to ask #hoping it's not a mistake to be all vulnerable about my gender in a post like this lol #I'm out of speech spoons #Nervous to post but feeling like it's important #and a one and a two and a

[tyran-the-tyranical]

Baldur's Gate & The Human Condition

I want to rant about the themes in bg3 because I've been stuck thinking about them for a while, so now I must rant.

*Also just a recap on the definition of the human condition (haha rhymes)

"The human condition can be defined as the characteristics and key events of human life, including birth, learning, emotion, aspiration, morality, conflict, and death."

I think on the surface it's very clear that there is let's say a motif of breaking cycles or behaviors, liberating oneself from perpetual toxic cycles put upon the characters. From the beginning, I definitely could see that, but furthermore, I think it all comes back to the human condition and its importance throughout the story (Also, yes, the human condition doesn't need to strictly relate the humans as a species or race in bg3)

Time and time again we see these higher powers abuse their subjects or followers; Mystra, Cazador, Shar, Vlaakith, and so on. The common throughline with all these people is that in some way they have lost their humanity or never had it to begin with, and that's where they inevitably fail, and why on the other side our main characters can succeed.

If we look at the good endings for the bg3 cast, when they do not ascend or go back to their masters/leaders they end up much better and perhaps not perfectly but still it's the best endings for them since they still managed to keep their humanity and experience the human condition. If we look at Gale or Astarion, if you choose to ascend them, they're clearly not the same people anymore, they lost some integral part of themselves that allowed them to understand and I suppose emphasize with humanity, with mortals. Though now, if they lose that ability, they are doomed to repeat the faults of their predecessors, incapable of becoming anything more or seeing what they once did, they are forever changed.

On the other-other side of this, we see that even if the characters don't ascend, they're still doomed. Lae'zel is sacrificed, Karlach burns out (tho both of her endings are kinda glum), and so on. There are some exceptions since Wyll still can keep himself (unless u kill Mizora and doom him lol) but at the cost of his father's life and having to replace him when he really doesn't want to anyway.

We are shown these people in a higher power and not even necessarily supernaturally higher either, like the dead three, since they're still all well mortal. Each of them could've kept themselves but each of them couldn't see past themselves, past their sight for power, grief, and desire for destruction. They were either blinded to their human condition or chose not to acknowledge it, which is what enables them to perpetrate the will of their gods without any remorse. They could be seen as victims, especially in Thorm's case, but at the same time, they inevitably chose what they chose with full knowledge of the consequences.

The difference between the Dead Three and our main characters is that our main cast can let people in, they can depend on each other and be vulnerable. They allow themselves to express their fears and thoughts and let others know about their past and their pains. I think it's interesting that the dark urge is probably the only one of the chosen that even comes close to this, as seen with their relationship and affinity for Gortash as well as their later self-reflections throughout the game.

I also think it's cool that the cast longs for connection and can both do so figuratively and literally since they all have the tadpole and can actually mentally connect with each other.

I hope this makes sense and doesn't just sound like absolute shite, or maybe it was already super obvious and I only realized it late lol, I just never put it together that it was the human condition lol.

#bg3 #baldur's gate 3 #baldurs gate 3 #Baldur's gate #bg3 astarion #bg3 gale #bg3 lae'zel #bg3 karlach #enver gortash #bg3 durge #bg3 rant #I'm actually so cooked #teehee

[youjustfeelthemforever]

ALRight bestie, can i get uhhh context??? i only know like 2 guys from the incorrect quotes yall are messing around with, who are these guys???? <- wants to know how to picture em lol

also been so fun readiing the shenanigans hahaha

OKAY SO

Uhhh Chrumblr server RP got kinda out of hand haha and now we've got this whole plot and an ever-growing cast of characters that currently consists of

Nia Rosewood - Chaos's oc, everyone's little sister (one is younger than her and that's irrelevant haha)

Venatrix - Vixen and Chaos's shared oc, angry murder girl.

Nightwing, aka Dick Grayson - The big brother, nobody knows his true identity but they get why he's hiding it.

Grillface and Sploto - Kirbe's ocs. Creachers. Sploto is a very cat-like in manner kirbe and Grillface is a thief of a waddle dee.

Arrio McKay, aka Spellblazer - You know the Best Boy (>:D). Did his best to avoid letting people know he was a superhero but ultimately failed when he set his hands ablaze and threatened to light Peter on fire (they don't get along).

Peter Parker, aka Spiderman - Classic Gen-Z, opposes murder (as do a few others), a certified little shit. Doing his best to hide his superhero identity. Hates Arrio as much as Arrio hates him (LET THE RECORD SHOW THAT PETER CAUSED THE INCITING INCIDENTS OF THEIR INITIAL CONFRONTATION).

Matt Murdock, aka Daredevil - Might as well be Peter's dad. Blind but has heightened senses. Helping Peter keep their cover as heroes.

Lieutenant Strike - Moob's Star Wars oc. No-nonsense clone, extremely confused with all these Earthlings. (Why don't they know what a holo-map is??? Are they stupid???) Perhaps not as perpetually angry as she seems to be.

Raoul de Chagny - Terrified sobbing French man who loves his wife.

Christine Daaé - Terrified-but-better-at-hiding-it French (actually Swedish tho) woman who loves her husband. Often tries to stop fights between Peter and Arrio, usually fails (by no fault of her own - those two are wild).

(Note from blog author: Raoul and Christine are under the protection of the entire group. Hurt them and suffer the consequences.)

Maddox Darling - Christi's Star Wars oc. Due to time shenanigans I don't understand (lmao), is friends with Strike in the future. Strike is extremely confused.

Basically the plot is these characters all showed up in a small town in the middle of nowhere with no memory of how they got there, and now they're trying to figure out where they are and how to get back to their respective universes without killing each other (looking at Peter and Arrio). Also some of them are starting to realizing that they may or may not be fictional, but those who were elsewhere at the time of the discovery still have no idea.

So uh that's basically it I think? It's kind of a lot but we're having a blast lmao. People keep joining and adding characters and it's really chaotic and fun haha.

Also, completely unrelated but WE GOT ANOTHER ONE BOYS (you know what I'm talking about heheh)

#chaos is our unofficial but unchallenged director lmao #we appreciate her very much #*looks directly at Chaos* (i know you're reading this) #hehehehehe #my asks #incorrect chrumblr rp #chrumblr rp shenanigans #berryblu fren 🍓🫐

[writingrapscallion]

Twin Switcheroo

I'm sure this has been done before, but lately I've been imagining an AU where, instead of Grunkle Stan being the one to meet the twins in Gravity Falls, it's Ford.

It all starts years ago, when Stan breaks Ford's perpetual motion machine. Rather than hide what he did, Stan comes clean to Ford and the two manage to fix the machine, leading to them becoming closer. However, Stan still feels a bit betrayed when Ford leaves to go to West Coast Tech.

A few years later, things are much the same as in canon. Ford graduates with honors (as well as three doctorates) and receives a large research grant for a project of his choice. In this universe, McGucket went to West Coast Tech, so he's still friends with Ford. Stan has still become a con artist and is actually in a pretty bad situation, facing potential charges for his illegal activity. However, Stan gets a call from Ford promising to make all his legal problems disappear if he comes to work as Ford's lab assistant in his investigations of a strange town: Gravity Falls.

When Ford realizes the strangeness of Gravity Falls, he decides he needs people he can trust to help him (and he wouldn't mind having some muscle to help him with the more dangerous problems). And so, along with his old friend McGucket, he decides to ask Stan for help since in this universe they're on much better terms.

Stan quickly accepts. It feels almost too good to be true: he and his brother can finally have the adventure that they always wanted. Sure, the cryptids of Gravity Falls are often dangerous and always disturbing, but at least he's with his brother. Unfortunately, much like in canon, thinks start to go wrong.

Ford makes his deal with Bill and creates the portal. McGucket is sucked into it and goes insane, abandoning the project. Stan begins to notice that Ford is becoming more and more erratic and disturbed, and can't understand why his brother doesn't seem to trust him. Things come to a head when Ford tells Stan to leave, and take the journal as far away as possible. Understandably, Stan freaks out.

His relationship with his brother was better than in canon, but Stan still felt abandoned when Ford left for college. With Ford gone, he'd been reduced to a petty grifter, without a home or family. The past few months have been the best of his life: he has a home, plenty of adventure, and, most important of all, his brother besides him. But now Ford wants him to leave.

The two start to fight and, suddenly, the portal switches on! Except in this universe, it's not Ford who's pulled in, but Stan. Ford is devastating, realizing what he's done to his brother, and does everything in his power to try and bring him back, but unfortunately, Ford already hid two of the three journals in places even he isn't able to reach (perhaps he even wiped his memory to prevent Bill somehow forcing him to retrieve them) and without Bill's insight, he has no clue how to reactivate the portal.

Timeskip to the present day. Ford has a reputation as a brilliant but reclusive scientist. His contributions to Physics and other fields of science have allowed him to win multiple Nobel Prizes and many other awards. However, he doesn't seem to care about any of this (he states to Dipper at one point he only publishes his results to ensure a steady supply of grant money).

Ford is kind but distant with his family. He's never met Mabel or Dipper before the start of the series, but he has written to them and sends them presents for their birthdays. Dipper idolizes his uncle, and is a lot more interested in science than in the original series as a result of his aspiratons to be like his Grunkle. His correspondence with his Grunkle is overly formal and often includes stuff like descriptions of science fair projects and requests to work as a lab assistant for his Grunkle (requests that are gently denied). Ford considers Dipper to be a promising young scientist. Meanwhile, Mabel being Mabel sends him stuff like videos of herself sticking gummy worms up her nose. Ford is mildly confused but very fond of his grand-niece.

The series starts when Mabel and Dipper are sent to spend the summer at their Grunke's place. They are both very excited to meet him (Dipper a bit more than Mabel due to his hero worship of Ford). Ford is happy to see them too, and gets along well with the pair when he's with them. However, he spends most of the day in his laboratory, working on unknown experiments, and leaves the kids to play around town. Ford often sends his two lab assistants, Soos and Wendy to look after the pair. Soos and Wendy are much the same as in the actual show— although Ford could probably hire anyone he wants to work in his lab since he's a famous scientist, he doesn't want to involve anyone outside of the town for fear of attracting unwanted attention to his real work.

A few days into his time in Gravity Falls, Dipper discovers the journal hidden near the metal tree. In this universe, the journal's slightly different. Each of Ford's three lab assistant wrote their own journal, marked with their own symbol (it wouldn't be much of a mystery who wrote them if the journal had Ford's six fingers on the cover). The first book, still owned by Ford, has the standard six fingered hand and is written by him. The second one, which has fallen into Gideon's possession, is written by McGucket and has a symbol based on his glasses on the cover. Finally, the journal Dipper finds is marked with the same symbol as Grunkle Stan's fez.

The contents of the Journal are a bit different than the original. Although Stan does write about their supernatural encounters, his style is far more informal than his brother's, often making jokes or mocking comments about the creatures they encounter. Occasionally, Ford takes over to write a section when Stan can't be serious, so the journals a mix of the two of their writing. Stan jokingly refers to his brother as "Mr. Scientist" throughout the Journal, unintentionally concealing the fact that Ford's the main researcher.

A few hours after finding the Journal, Dipper speaks to Ford, suspecting that the old man is Mr. Scientist (although he doesn't mention the Journal, only his knowledge of supernatural occurences in Gravity Falls, so Ford doesn't know he has it). However, Ford feigns disbelief in the supernatural, hoping to prevent his nephew from diving too deep into the secrets of Gravity Falls.

Although Ford's performance successfully convinces Dipper that he's not the Author (AKA Mr. Scientist), Dipper is not deterred in the slightest by his Grunkle's skepticism and instead takes it as a challenge. To prove his credentials as a scientist, he's going to prove his Grunkle wrong, face down the supernatural, and bring back evidence (cue two seasons of Phineas and Ferb style antics where the evidence disappears as soon as he tries to show it to Ford).

#Twin Switcheroo Au #gravity falls #grunkle stan #ford pines #fiddleford mcgucket #gravity falls au #mabel pines #dipper pines

[merp-blerp]

So I haven't seen Disney's Wish myself (I'm waiting for it to assumedly go to Disney+, theaters are a lot of money to spend too often), so I can't speak on the film from my own point of view yet, but I have seen the reaction to it so far and I wanted to share my thoughts on why I think some of these reactions are happening, based on my own experience of watching and listening to the Disney fandom's critiques over the many years I've done so. These are just my observations based on my experiences and it's okay to disagree, just be cordial.

Opinions below the cut ↓

I feel like a part of why Wish is the way it allegedly is has to do with something that has been plaguing Disney for a while: trying to prove bad-faith criticisms wrong instead of knowing their strengths.

I'm sure they still happen, but especially in the early and mid-2010s Disney had a lot of half-baked criticisms directed at their stories and characters. Wish might be another one of many attempts to quell these critiques. For example, I remember a common piece of writing advice would be to make villains complex all the time, with villains who are evil for evil's sake being seen as less well done (this was towards media in general, but it applied to Disney too), so Disney began the surprise villain and/or the sympathetic villain trend in their films. Now people have seen that shtick so much they want traditional villains back (me too). It's now overdone and no longer shocking or subversive in their movies anymore. [And as a little add-on, I understand why people want King Magnifico's design to be more "traditionally villainous" but I'm actually happy he isn't, as it's really hard to design a villain like that without perpetuating some kind of bigoted stereotype that a lot of traditional villains have. Even Mother Gothel, one of the last, if not the last of the classic villains Disney has attempted, had a lot of antisemitism baked into not only her design but also her actions. Disney's done that a lot, which is likely accidental, but still bad. I'd much prefer him to look and act like some guy over an awful Jewish stereotype or something similar.] People also called princesses with the temperaments of, say, Aurora, Belle, or Cinderella "boring", or hell, "sexist" in their characterization, so the heroines were made more relatably quirky, as that type of humor towards/by girls and women were very popular in the 2010s. Asha is allegedly somehow both socially inept and socially competent, which arguably isn't a flaw at all, just contradictory. (My neuro-spicy brain wants to somewhat lean towards neurodivergence when I hear that, but I haven't seen the film, so what do I know?) Now people are souring to that too, understandably, as that humor's kind of dated and overdone with Disney's heroines. These traits aren't bad on girls automatically, especially if they make sense for the environment they grew up in like Anna or Rapunzel, but they've just been done to death with Disney. Ironically, now when I see people suggest alternative traits for Asha they propose a more "sophisticated", "mature", or "self-assured" type of personality, aka, what the "sexist" traditional heroines had a lot of the time.

The newer tropes Disney tried to do in place of their old ones don't have as much staying power as the old. Once they're done so much they get stale. If they're based on trends in media rather than being actually captivating in writing, they become timely. People can digest characters like Cinderella, who are interesting and aren't overly worried about upholding trends in their characterization, for centuries whether they realize it or not. But characters like what Asha is allegedly like are based on trendy, shallow politics that aren't as deep as they sound, maybe sometimes even circling right back into the bigotry it was trying to combat (like the girl-boss stuff), and become overdone and/or dated if they aren't done well or in a new way. I feel like because of the poorly made assessments that people used to make towards Disney, Disney is almost embarrassed by their past films when they really shouldn't be. This is why the recent remakes tend to over-correct the originals. In the original Beauty and the Beast, it was not a flaw that Adam was eleven when he was made to look like a beast in my opinion, it just made it more interesting, but some reviews saw it as a bad thing, so they changed the line in "Be Our Guest" that implied his age. It was seen as a flaw that the original Cinderella didn't have a clear reason to stay with her abusive family, even though that's how familial abuse works often and it's really rude to victims to ask "Why don't you just leave?" or something like that; so Disney gave Ella the explanation that she stays because it was her father's home in the 2015 remake, which only added more flaws when you remember that she does leave the house in the end anyway. What was the point in saying that? People wanted strong female characters, so Mulan in her remake is a flawless, emotionless girl-boss. It was seen as sexist when female characters wanted romantic love because "girls don't need a man, so romance is sexist", so Disney stopped telling love stories and focused more on issues of the self, which isn't bad, but now people want Disney to tell love stories again and are disappointed that Asha didn't have a romance with the mostly cut "Star-Boy" character in Wish (again, me too, I love Disney's love stories). All of these are overcorrections to things that were never flaws to begin with, just nit-picks from bad observations of their films. There are too many examples. It's like Disney is insecure.

If Disney understood that these things weren't bad in essence, Wish would be more liked by its critics; if Disney wasn't afraid to let their female characters have actual flaws, not see romantic love as something dated, not continue to listen to these types of shitty judgments, or just take more risks again because that's what shaped the company—taking risks against the odds, Wish would be better (I assume all of the former based on what I've heard, again I haven't seen Wish myself). The pseudo-feminism and CinemaSins type of critiquing from the 2010s has mostly died out. The culture's changed. The tropes people once condemned are now being begged to be brought back. What goes around comes back around. It showcases what was truly timeless and what was just a trend in media.

In my opinion, old bad-faith "fan" responses are partially to blame for these themes in recent films, but of course, Disney is ultimately at fault because they make their own choices. There could also be plenty of other reasons why Wish feels half-done to some, like the alleged poor treatment of employees behind the scenes.

By the way, if you were a Disney fan who had these types of opinions in the past, you shouldn't be hard on yourself about it, especially if you were just a kid listening to and trying to appeal to the adults that were around you or influenced you. The latter is the boat I was in once, and now I've grown up past that. Needlessly cynical film takes and pseudo-feminism were all the rage for a while and many have had that phase of being really into those mindsets. You're not bad if you've been in it at any time in the past as long as you are learning and growing.

I'm choosing to be optimistic about Disney. Somehow I still am. They have been in a creative rut for what seems like a while now. Disney-creative doesn't seem to be allowed to tell the stories they want to tell, instead being made to cater to the wrong people. The people who like to insult Disney more than they like watching their films. They should make movies for the fans of all ages who love them. But I believe Disney can bounce back from this. Disney has been through rough patches before, but these rough patches in the past have led to eras like the Disney Renaissance. I'm hoping the backlash from Wish will lead to Disney making changes once more. They've done that repeatedly in their complex 100 years of establishment. Gone are the times when the Disney remakes were panned by fans but still made tons of money that justified their continued production. And long gone are the days when fans were actually excited about the prospects of Disney recreating their movies (because yes people felt that way once upon a time). Now the remakes aren't making as much as Disney wants and sometimes even flopping. Gone are the days when their animated films were their critical lifeline, Wish proves that they are not immune to being received poorly. It's time for something new. Or old done new. Just something different. It would be one thing if this were just another bad movie, but this was their 100th-year celebration, you think they'd be more careful to not muck it up. But apparently, all it did was reflect all the flaws that have been in Disney's storytelling as of late. That's why the backlash is so great. It feels like the last straw. Once time goes on past the 100th-anniversary era, I think the hate for Wish will die down, but that wouldn't make it less potentially flawed. When I first caught wind of this film, way before we had a trailer even, I was very excited that it seemed like a return to form for Disney, but apparently, it might not be, and that's got a lot of people disappointed, especially since this movie was meant to be a celebration. I've loved Disney for as long as I can remember and I know a lot of people are the same way. People wouldn't be so disappointed in the state of the company if they didn't care deeply about Disney and believed that they could do better. I still think Disney could be great. I still believe in them. They just need to believe in themselves again.

If you made it this far, thank you so much for reading! ♥

#disney #wish #disney's wish #wish 2023 #disney discourse #fandom discourse #discourse #disney essay #disney essays #essay #essays

[senjuushi]

Tying up Fal, Benetta, & Carcanore and just smothering them with affection and care help im so soft for these crazy weirdos

Fal

From the start, Fal is on the verge of panic. Being restrained can only mean that something bad is coming, and he's a mess of half-panicked attempts to talk you out of whatever you're planning. Fal is shaking by the time you actually start to touch him— so tense that even gentle fingers combing through his hair make him flinch and bite down on a terrified whimper. He's internally praying that this won't turn sexual, and too preoccupied with his worries to fully process that you're being soft. The longer it goes on, the more his perpetually polite, composed exterior chips away.

Benetta

He'll let you restrain him without so much as questioning your intentions. Even if he's anticipating pain, Benetta is always eerily compliant with his Master's wishes. It's only once you're cupping his chin and looking into his eyes with uncomfortable tenderness that he realizes what's happening— and it actually catches him off guard. He doesn't understand why you're doing something like this. You act like it's a reward; protesting would be disrespectful, even if he's more uncomfortable with this softness by the second. He doesn't understand how badly his body wants it.

Carcanore

He's perfectly content to be tied up, at first. Uncomfortably content. Caracnore is expecting something violent and/or sexual to come of this, though, and his chipper demeanor cracks a bit once you start being all soft with him. The gentle touches feel like they're seared into his skin, and the weird, sharp feeling that keeps building is a form of physical misery that he's not at all prepared to endure— and it only agitates him more when he realizes that he doesn't want you to stop. He'll be struggling soon enough, and growing increasingly aggressive in the process.

#Senjuushi #千銃士 #Fal #Benetta #Carcanore #Headcanon #Reader

[nerves-nebula]

I feel like mikeys are always more emotionally aware. So so socially but the way you have it as mikey being the first to realize the truly fucked up nature of the family is just so in line for a mikey. I feel like they usually have this knack for realizing things and how I feel like your ver just seems like he has kind of adapted to be more aware whether he likes it or not, keep an eye and an ear out without realizing it.

[Once again talking about general Michelangelos] when times get tough then most of the times you can see them being the light hearted jokester to lighten the mood if they can tell they're doing it or not but since they weren't raised neglectful they dont have/havent developed the coping mechanisms and reactions your mikey has from what I've seen/read[first reaction to create a wall and border infront of his emotions, sorta. a thick wall to avoid the topic and the only one allowed out is anger i guess is the best way my brain can put it] unlike other versions who embrace every single feeling they have to the fullest. Sorry for Michelangelo brainrot I have this primal instinct to just zero in on every single one of the little shits. Also im planning on studying psychology so maybeee that has a part! WHO KNOWS! all I know is that your turtles are super duper awesome and cool and have sick ass designs, take care, have fun, you're doing terrific!

YEAH you hit the nail on the head there tbh. I wanted to keep that familiar trait of Mikey being the most socially/emotionally aware. but in this context it means that he's perpetually frustrated that everyone around him keeps making things worse for each other, when CLEARLY the problem is SPLINTER!

so in part he sort of gives up. he never really GIVES UP but he gives up taking the road where you try to directly advise people, and instead kind of has to put up his defenses in order to be functional enough to help his siblings through their emotional issues once they're ready to process shit.

and it sucks ass to be incredibly aware of how shitty and toxic your environment is and just watch people you care about getting worse and worse. guh.

so he's less of a Funny Jokester and more of a bitter little shit who's impatiently waiting for his brothers to shape up. He snipes sarcastically at his brothers for their negative traits, and makes jokes when he can, but tbh he's often too frustrated/lowkey angry to actually joke around without putting real venom in said jokes.

anyway I'm glad you like him <<<33

#ough i got this on april 22nd #aint even the oldest one i have BUT respondin time.. soryr i get overwhelmed whenevr i see a big block of tex tasfidfsdf #tmnt mikey #teenage mutant neglected turtles #ask #asks are sweethearts #child abuse tw

[punkeropercyjackson]

Actually lemme revert back to my Voltron days for a sec because i got rage.I got into the show the same time season 3 came out and the Lance x Allura development immediately stole my heart because why wouldn't it?It was the first time i saw people like me as a couple onscreen,by which i mean i'm a mixed latino like Lance-and we're even both carribean since he's cuban and i'm dominican!!!-and a black woman like Allura,and it was such a well-written ship to boot that gave me a good example of what i deserved to be treated like by my s/o and raised my standards for romance both fictional and for my own future(and current)dating life and it meant the world to me and i think it always will.And y'know what?Yes,Allura's death hurt a LOT and it still does sometimes but by now i've learned the sad truth that this is the norm for canon bw

The thing that REALLY sets me off?The fandom's response to them.Nonstop,i'd see 'Allura and Lance are such siblings!!!' 'Omg i'm so glad Lance is finally over Allura XD' 'I really hope Allurance isn't endgame afterall' and it was infuriating back then for the obvious people hating on my otp reason but i've realized that it was literally misogynoir.White and loads of nonblack Vee El Dee fans just couldn't stand that their precious Lancey boy genuinely loved the darkskin black girl mc with no ill-intentions and grew out of any bad habits towards her in season 3 of an 8 SEASON SHOW so that meant we were getting black4brown rep instead of sanitized twink tsunderes and they're STILL AT IT with the Le///akira desperation

But nah nah,y'all 'Space Mom and Dad' allegation makers ain't getting out of this!Allura was a GIRL,Shiro was a MAN-a GAY MAN FFS!!!Their season 1 dynamic was very clearly that of a tired dad and his rebellious teen daughter and all the 'baiting' you saw was you inserting your straight woman feminism fantasies onto them-Again,WOMAN,when Allura was an entire 17 year old and Shiro was in his mid-20s!You're literally the same as people who ship him with Pidge or even worse because there's an added layer of perpetuating the long history of adultification and by extension dehumanization of black children.Sit your tenheadasses down,it's not racist or misogynistic that people think you're gross and weird for infantalizing and straightwashing a canon gay japanese man

Keith and Lance weren't baited.Shiro and Allura were never even a fucking option.ALLURANCE was bait,for latinos and black people and those of us inbetween alike,they dangled it in front of us in promos and the vlogs and the official books and most importantly in THE ACTUAL FUCKING SERIES.Only to go 'Sike!!!The only deserving happy ending for traumatized black girls is to die for others and their soulmate to be forced to live on without them!!!' and the fact that y'all have the AUDACITY to make it about yourselves by twisting one of the best love stories in modern american animation into 'Nice Guy Gets The GirlTM' is bodyslam worthy.Be.Fucking Quiet.

#this was actually prompted by a positive realization about them and another poc4poc ship i hold near and dear to my heart #but v slur never comes without consequences i see.hate it here i wanna go to earth 1610 #legitallurance #pro allurance #t4t allurance #lance vld #allura #pro lance #pro allura #allura deserved better #antiklance #keith kogane #takashi shirogane #anti shaladin #adashi #space dad #space eldest sister #vld #misogynoir #anti latino racism #adultification tw #biracial tag #blackness #latina tag #dominican tag #homophobia #cisheteronormativity #gender stereotypes #summerposting #n word tw

[bvlladonnas]

Is that MACKENYU ? oh, no, that's KAITO AKIYAMA ! A TWENTY-SIX year old MODEL who uses HE/HIM pronouns. They currently live in VALPARAISO, and the character they identify with most is NATE ARCHIBALD from GOSSIP GIRL. Hopefully they find their own little paradise here in el país de los poetas!

BASICS:

full name: kaito akiyama nickname(s): kai age: twenty-six  gender: cis man  pronouns: he/him  sexuality: heterosexual  date & place of birth: august 25 in kyoto, japan  occupation: model  faceclaim: mackenyu arata piercings: none  traits: warm, polite, hospitable, oblivious, flippant, carefree, and out of touch  similar to: nate archibald (gossip girl), takashi morinozuka (ouran high school host club), bruce banner (marvel comics), steve harrington (stranger things) aesthetics: amber and sandalwood cologne, loosened ties, falling into bed after a late night of partying, the inherent loneliness and freedom that comes with being invisible, a strong hand on your shoulder, a ring on each hand, the sheen of sweat on your forehead at the gym

BULLET POINTS:

– kaito was born as the middle son to one of the wealthiest families in japan. his father, heir to one of the most profitable automotive companies in the world, married his favorite actress after a whirlwind romance that lasted a year. very in love, they had children immediately, and as kaito's father inherited the family company, began their own lives. – they moved to kyoto when his mother decided to quit acting, wanting to be out of the hustle and bustle of tokyo. – as a result, his father was often gone for long periods of time, staying in tokyo for business during the week and coming home for weekends. – kaito has very clearly always lived a life of luxury; everything he had he wanted, and while it didn't spoil him rotten (read: evil), he is very spoiled in the fact that he doesn't want to compromise his way of life. why would he? – being the middle brother meant that kaito didn't really have anything to live up to. he was able to blend into the background, as long as he didn't hurt his family's reputation. and as long as he didn't do that, he could do pretty much everything else he wanted – most of his life has been in a boarding school. when he graduated middle school he left to spain for high school, & decided not to go to college after (he may be smart but boy he is not driven) – decided to be a model because he's hot and it allows him more time to fuel what he likes to do (gym, travel, whatever the hell he has a whim for) – ended up in chile as a pitstop, but after meeting old friends and realizing he actually quite liked it because no one knew who he was in chile, he stayed. it's nice to be able to go out whenever and wherever he wants without worrying about paparazzi waiting for him to screw up

HEADCANONS:

— a super gentle giant. people will think he's really intimidating (tall, big muscles, a perpetual scowl on his face), but he's really kind when you get to know him – pretty quiet if you're not his friend. tends to stand in the back with his arms crossed or minding his own business – leader of the respect women movement he is such a gentleman & was always raised that way. – unfortunately he does accidentally disrespect women because he's oblivious as fuck and can never tell when someone likes him so he accidentally leads people on a lot – only drinks water (and alcohol but whatever). hates soda and energy drinks – uses the gym as an outlet. if he's there for longer than like two hours you know he's hurting. check up on him FEBWKJWJNED – takes a lot of pride in his appearance (it is his job), so he's kind of obsessive about his hair, skincare routine, and sleep schedule. don't fuck with it he WILL get pouty – i have more maybe but they're going to be put in the hc channel as i think of them - he's a polyglot! fluent in japanese, english, spanish (both chilean and spain dialects), and korean, is currently learning mandarin

WANTED CONNECTIONS:

— y'all i have no clue 

– mainly the basic ones rn! friends, childhood friends, flirtationships, fwb, past hookups, enemies (cmon someone has to hate him please), parental figures, etc etc. okay i love u 

#valpohqintro #FINALLY DAMN

[cantsayidont]

Hateration holleration, teevee edition, with important new critical evaluation features:

APPLES NEVER FALL (2024): Engrossing, often funny seven-part mystery-drama, based on a novel by Liane Moriarty, about the dysfunctional family of retired tennis pros Stan and Joy Delaney (Sam Neill and Annette Bening), whose four adult kids — rich dipshit Troy (Jake Lacy), hot mess Amy (Alison Brie), perpetually resentful Brooke (Essie Randles), and neurotic underachiever Logan (Conor Merrigan Turner) — begin to unravel after Joy mysteriously disappears. Did Stan kill her? Does Joy's disappearance have something to do with their former houseguest Savannah (Georgia Flood), a troubled young woman who had persuaded Joy and Stan to take her in under what may have been false pretenses? Everyone knows something more than they're telling, as the situation brings old resentments bubbling to the surface. Perhaps a smidgen too arch for its own good, and the shifting flashback structure sometimes makes it hard to keep track of the sequence of events, but consistently interesting and refreshingly nuanced, with well-drawn characters and excellent performances. (Neill, Bening, and Flood are particularly good.) Only the finale falls short: Certain key character motivations remain murky, and the final scenes are a bit flat, perhaps an inevitable consequence of a story that flits between tones and genres in a way that leaves it without a natural endpoint. Also, the South Florida setting isn't always convincing; big portions of the series were actually shot in Australia. CONTAINS LESBIANS? Yes! (More than one, even.) VERDICT: Flawed but worthwhile.

THE BROTHERS SUN (2024): One-season action-comedy-drama series about an infamous triad underboss from Taipei, Charles Sun (Justin Chien), who's sent to America to protect his mother (Michelle Yeoh) and younger brother Bruce (Sam Song Li) after a cunningly staged attack by an unknown enemy puts his father (Johnny Kou) in the hospital. Mama Sun scarcely needs protection, but the same isn't true of Bruce, a dorky pre-med student who really wants to do improv, and who's totally out of place in his family's world of ultraviolence and organized crime. Meanwhile, Charles' childhood friend Alexis (Highdee Kuan), who's still sweet on him, is now an ambitious assistant DA who sees taking down the triads as a defining career move. Starts off disarmingly light (though always quite violent), but gets significantly darker as it goes on, which really isn't to its credit — after the cheerful amorality of the early episodes, the increasingly maudlin themes of conflicted family loyalty feel heavy-handed, culminating in a credibility-straining climax with about as much subtlety as a cement mixer. It could also have used more Michelle Yeoh and less Sam Li, whose character is such a feckless dweeb that he sometimes grates. Chien actually makes Charles a more credible character than Bruce, impressive considering the level of pulpy plot contrivance involved. A planned second season was canceled, but except for a post-credits tag in the finale, the story feels reasonably complete. CONTAINS LESBIANS? Not so as you'd notice. VERDICT: Starts well, veers too far into turgid melodrama.

PALM ROYALE (2024): Fingernails-on-chalkboard would-be social satire, set in 1969 and featuring Kristen Wiig (with a singularly unconvincing Georgia accent) as conniving but vapid former beauty queen Maxine Simmons, who for some unaccountable reason is determined to wheedle her way into the Palm Beach upper crust, by hook or by crook, while secretly squatting in the mansion of society matron Norma Dellacorte (Carol Burnett), who almost no one realizes is actually in a coma. The glib voiceover narration recalls the early seasons of DESPERATE HOUSEWIVES, but with no bite and no apparent point — there's no reason to care about the premise, the plot, or any of the characters, who are neither sympathetic enough to be likable nor bitchy enough to be fun. Wiig is just awful, straining to prove she can do the kind of role that in recent years has usually gone to Margot Robbie; she can't, and she's obviously at least 10 years too old for her character. The period production design is suitably glossy, but an interesting supporting cast (including Laura Dern, Allison Janney, and Leslie Bibb) is completely defeated by the dreadful scripts, and Ricky Martin (built like a marble statue with acting to match) eventually arrives to stink up the proceedings as Norma's loyal houseboy. I only barely made it through the third episode, and the idea of enduring seven more is too painful to contemplate. If you're in the mood for genteel Southern bitchiness, you'd get more out of a highlight reel of Rue McLanahan scenes from THE GOLDEN GIRLS, which would actually be funny. CONTAINS LESBIANS? Not in the first three episodes. VERDICT: Alternately dull and agonizing.

#teevee #hateration holleration #apples never fall #liane moriarty #annette bening #sam neill #alison brie #jake lacy #essie randles #conor merrigan turner #georgia flood #the brothers sun #justin chien #michelle yeoh #sam song li #johnny kou #highdee kuan #alex hewkin #palm royale #kristen wiig #carol burnett #laura dern #allison janney #leslie bibb #ricky martin

[northwest-cryptid]

I just wanted to say that you are so valid and usually only people that disagree will type up a whole thing on it so I just wanted to put a less arguementative message in your inbox. Thanks for taking the time to voice these things they need to be heard.

Thank you, it's nice to get a friendly anon in my inbox for a change lol.

I fully expected push-back for airing this sort of thing, but my god it's disheartening to see just how many people would rather turn a blind eye or discredit what I'm saying rather than understand the racism that's around them.

I don't point out racism in hopes of getting to point a finger at someone and say "YOU'RE THE PROBLEM!" I point it out in hopes someone will recognize IF they are part of the problem, and seek to rectify being part of the problem.

I do fully believe that a big reason why Native racism is overlooked and ignored is because of guilt that people don't know what to do with. If I point out that someone is participating in something, or that they enjoy something that has caused harm to Natives even in a really minor way (I mean look how big a reaction FFXIV's mention got) it causes them to feel like I'm pointing a finger at them; accusing them of being a modern day colonizer.

I'm not trying to do any such thing, I merely want them to be AWARE of the racism around them from the point of view of someone being effected by it. Because more often than not people genuinely (even if they're well meaning) don't understand the struggles we're facing but they believe they do, and it's that belief that they do that causes a further perpetual unintentional ignorance on the subject. If you need example of this look at how many people are up in arms about "The New World Set" without realizing that only the headdress is actually the offensive part.

I'm not trying to call anyone out, I'm not trying to accuse anyone; I'm just trying to make sure they know the facts.

I've been doing this my whole life, because while I'd love to dream of a future where racism is non-existent; I don't believe that's realistic at least not within my lifetime. Rather I dream of a future where Natives are given the same care and consideration that other minorities are given. Where my people can speak and be heard by those who want to end racism rather than being ignored because people would rather escape to their Genshin Waifus and go simp for fictional racist men who a real person decided to write slurs into the dialogue for.

It feels like garbage that we're not heard, we're not taken seriously; we're told "it's not that deep" people feel safe dismissing us because they know they won't get push-back for it. Even the ones who do will simply cower behind obscurity/anonymity to basically tell us to shut up and stop talking because they don't want to face the reality of the racism around them. That one anon who used anon specifically because they didn't want to get attacked for their opinion, thus admitting they knew they were at least somehow in the wrong or at least they feared they were being a perfect example.

I appreciate your kindness, it's something I don't get to see a lot of.