plenty of people are going to analyse these pictures in a much more eloquent way but i still want to throw out a small perspective i have on nace's photos
especially as someone who's struggled with body image and self perception and weight for practically half my life (so tw for talking about those things kinda)
because i'm sure we're all very aware nace has struggled with those things in the past too, and i can't help but think about how those things will have affected him while having his shoot done.
compare what nace wears here to bojan's topless photos. bojan is emotional in a very different ways in those pictures, and the shirtlessness enhances that, but he's confident in his 'nakedness' (not happy, arguably, but confident enough in his body). compare it especially to kris, who appears the most naked out of all of them in their shoots, despite wearing a shirt, because of the all the artistic choices made and how much more relaxed within himself he is compared to the others in his own 'therapy session'. compare it even to jan's all-black long-sleeved shirt; jan (or the image of jan being presented to us through damon's lens – that's a whole other story in of itself) is making a choice in what he shows of himself, and he's certain in his choice. there's no resistence or discomfort or yearning in the shadows he's hidden himself in.
nace, meanwhile, is somewhere in the middle of all of them. he's in a short-sleeved shirt, tugging it further to give us a glimpse at a little more. aside from, obviously, letting us see his gorgeous tattoo sleeve better, i think one of the things this could well be showing us is nace's strides in confidence, alongside the discomfort he likely still feels.
because he's ready to show off his arms, and he's tugging at the fabric to show a little more than we usually get to see and, let's be real, it's fucking hot. he's confident enough now to start leaning into being found attractive, which is fucking beautiful.
but, at the same time, he's not ready to go fully shirtless – he's not at the point where he can strip and pose purposefully like bojan can, or strip and let himself relax into his identity like kris can. and, unlike the way jan hides himself, which feels very purposeful on jan's part, it doesn't feel like it's fully nace's choice – or, at least, there's tension and discomfort there still that he doesn't get a choice in hiding. his hands are clenched and clinging to the material, his arms are crossed protectively over his chest, and his eyes?? they're heartstoppingly dangerous. protecting himself and keeping the audience at a distance, but alluring and drawing you in at the same time; he's so confident in himself these days, but he still likely carries a lot of his old discomfort.
couple all of that with the way he looks in the last picture up at the top of this post – the way he's rubbing at his face, like he's trying to mould it into a shape, almost. all these three images have a kind of tourmented edge to them.
luckily, similarly to bojan's safe sweater shots, nace gets catharsis after all these intense emotions in these soft, tender shots, where his eyes are so much brighter and then heavily lidded and peaceful.
...oh, and of course, as has already been pointed out by @radioactive-cloud, nace gets his safe sweater in the form of jan, and we get to see that playful smile when he's around someone who makes him feel comfortable in himself ♡
84 notes
·
View notes
On Daenerys, Colonisation and Race Discourse within the ASOIAF Fandom
This has been on my mind for a good long while and honestly, as much as I would like to leave discourse in the pits, it has been bugging me intermittently over the past few weeks.
Far too many of you get on here and call people who like the fictional dragon-riding family, neo-Nazis and that sentiment is so prevalent, that white people feel comfortable telling me a black woman that I am a neo-Nazi for rooting for Daenerys Targaryen. I am upholding neo-Nazi power fantasies for wanting to see a little girl live at the end of a story. I am a neo-Nazi for wanting to see the rape survivor have the family she aches for and children with the man (or men) she loves.
Then, those same people go on spiels about how the systemic erasure of those who sing the song of the earth and other old races is not colonialism. That their removal from their home is not displacement but an agreement between two equal parties. The fact that the only place where those who sing the song of the earth exist in the present timeline is north of the wall, surrounded by the bones of their dead, is not a travesty. That the expulsion of the old races from their home isn't that bad and should not be condemned.
Instead, people argue, completely seriously, that the harm that the First Men and Andals have caused is centuries in the past, so essentially the slate has been wiped clean. The logical leaps that are required to arrive at such a boneheaded conclusion are truly mind-boggling, and those who make such arguments are not good people.
I am unsure how one could read those books and come away with the impression that the old races do not mourn the loss of their home. I am unsure how one could read The Last of the Giants[1] and Ygritte’s reaction to both the song and Jon’s dismissal of the ethnic cleansing of the giants then believe that the old races and the free folk have moved past their displacement.
In Westeros, from the Wall to the broken arm of Dorne, they all speak one language despite the fact they are all different ethnicities and they all landed on the shores at different times. That is not the case in Essos, we have been introduced to at least six languages and in A Dance with Dragons, Tyrion notes that the Valyrian spoken in the Free Cities has evolved into nine distinct dialects, and they are well on their way to becoming different languages.
How would a continent as large and diverse as Westeros maintain its hegemony over the people if not for forced assimilation, discriminatory practices and violence? The brutal repression required to keep one house in power for thousands of years is nothing to sniff at. The suppression required to keep the vast majority of Westeros worshipping one (or seven) gods. The systems in place ensure that language does not grow or evolve amongst the highborns at least.
Centuries before Aegon's Landing the maesters were the definitive educational authority and even now centuries after, nothing has changed. The grey rats still decide who learns what and when they learn it. There's one in every highborn home, all correspondence passes through them, they are the healers and the councillors.
The circular logic gets even more blockheaded when you factor in the fact that Daenerys is far from the only white character in the books. She is not the only character who wishes for home. She is not the only character who draws strength from her ancestors, her bloodline and her magical creatures.
Cersei draws strength from her family’s iconography, and the Stark children (Jon included) all draw strength from their direwolves, their home and their blood. Sansa, Arya and Bran wish to return home and their home was built on the indiscriminate murder and displacement of the indigenous peoples. Their home is built on centuries of rape, murder, exclusionary practices and sexual slavery.
However, if we give the nonsensical argument that time erases crimes air; the Starks, Lannisters and Tullys are warring to settle personal grievances in the present timeline. As a consequence of that war, thousands (a modest guesstimate) of small folk, minor nobles and even some major ones have been raped, tortured, maimed and killed.
Despite all this, no one writes meta after meta about how Sansa and her siblings must surely die for justice to be had for those who sing the song of the earth, the free folk, the giants and all the old races that fled beyond the wall.
People write meta about Cersei and how she must die, but those are typically more misogynistic nature. They typically argue that she must die not for the “crime” of being Lannister, but for the “crime” of being Cersei and “ruining” Jamie.
I would not mind criticisms of Dany and her peace-focused approach to ending slavery because the approach is naïve and she gives the slavers far too much ground. However, she is learning, growing and self-critiquing. At the end of A Dance with Dragons, she has decided to embrace fire and blood, her knight is breaking the false peace which is a necessary step forward.
What I find offensive is people saying that she should have planned better before she abolished slavery. And that the death, violence, and sickness that arises from her quest to eradicate slavery is somehow worse than the death, violence, and sickness that already existed in Slaver’s Bay.
This argument often downplays the horrific conditions and suffering that exist(ed) under the slave system in Slaver's Bay. Such arguments are often in poor taste and prioritise the lives and comforts of the slavers more than the people they have enslaved.
I would not mind criticisms of Dany if people applied that same critique even-handedly. The same people who believe that Jon and Bran have done much to rectify the evil that their ancestors perpetuated believe that Dany has not done anything to right the wrongs of her ethnic kin. They praise them for the non-existent steps that they have taken, but in the same breath, they condemn Dany for not being able to immediately end the plague that is slavery.
It is perfectly alright to not like fictional characters, no law requires you to like certain fictional characters over others. However, what is not right is making broad accusations about those who do, it is beyond the pale. It is disgusting, and annoying, and trivialises real-world issues to score cheap points against fictional characters.
Equating the survival of a teenage survivor to the restoration of a fascist house or neo-Nazi power fantasy when such designations do not exist in the world of ice and fire is strange behaviour. Saying that the teenage survivor will eventually be manipulated and raped (again) before ending up dead on her manipulator's blade is also strange behaviour.
Dismissing the horrors of colonialism, especially when the text shows you that the involved parties are still affected by it, is not normal and often veers into real-world imperialism apologia. While criticism and analysis of characters and their actions are valid and even encouraged, it is essential that we do not resort to sweeping generalisations about other people and that we keep criticisms of characters grounded in the text.
[1]
Ooooooh, I am the last of the giants, my people are gone from the earth.
The last of the great mountain giants, who ruled all the world at my birth
Oh, the smallfolk have stolen my forests, they’ve stolen my rivers and hills.
And they’ve built a great wall through my valleys, and fished all the fish from my rills
In stone halls they burn their great fires, in stone halls they forge their sharp spears.
Whilst I walk alone in the mountains, with no true companion but tears.
They hunt me with dogs in the daylight, they hunt me with torches by night.
For these men who are small can never stand tall, whilst giants still walk in the light.
Oooooooh, I am the LAST of the giants, so learn well the words of my song.
For when I am gone the singing will fade, and the silence shall last long and long.
129 notes
·
View notes
This might be juvenile, but do you have any tips on not comparing yourself to others? (Especially when it comes to note count or popularity.) I’ve been posting a story for over a year and it hardly gets any traction. It’s tough for me to see new creators post and get hundreds or even thousands of notes. I hate that I’m doing this but don’t know how to quit it!
this is not juvenile!! i struggle with this myself, especially knowing that i hit my peak years ago and i've been on the decline ever since – but only by numbers alone! i'm more proud of my story than i've ever been, i'm more attached to my characters, i'm putting more love and thought into everything, but i had to be realistic with myself and understand that i'll never pull even half the notes i did in 2020. gone are the days when i would wake up to 3 new anons about my story and dms from people every day (i can't believe i used to get overwhelmed by it...) and i would be lying if i said it didn't make me sad sometimes, because we're humans and our brains are practically wired to crave the hit of happy chemicals you get from seeing the stupid number go up 😭 it does feel demotivating. it makes me feel less urgency to post quicker if i convince myself that no one is waiting for me anyway, which means i post less, which means even less people stick around, which makes me post less, and on and on. it's a tough thing for me to come to terms with in all honesty.
but it helps to remember that i would be writing even if no one is reading. and i know that, because i have! i've written entire novel-length fics that i've never published, i've written countless short stories in the frozen pines universe that i'll never post, i've created alternate universes that will never be shown, etc. i do it because the idea is in my head and it needs to Get Out and i'm kinda just a conduit for that. that might not apply to you, and that's okay! everyone is different. the important thing is to really sit down and think about WHY you write and what you get out of it. which part of the process makes you happiest? what makes you feel a sense of fulfillment / satisfaction? play to your strengths. try not to spend your time doing things you think other people will enjoy and instead, spend more time on the things that make you happy. for me, i haaaaate editing and i always have, so lately i've been trying to speed through it a little bit quicker even if it means the final product won't be as appealing to others. (this is still a work in progress for me...) i have more fun when i experiment with different writing styles, which might not appeal to others because it takes longer and i don't really have a recognizable style, but i don't care anymore because i'm having fun! ask yourself what YOU want from your story, and then write for yourself and only yourself.
essentially what i'm saying is: there will ALWAYS be people more popular than you, and there's no guarantee that when you find the popularity you seek, you'll be able to keep it. so you need to find some sort of intrinsic motivation to continue or you'll just keep comparing yourself to others forever and you'll deny yourself the joy of creation! "comparison is the thief of joy" could not be more true!!
44 notes
·
View notes
Ranking Velcinta moments by how insane they make me feel, a(n overly) comprehensive list
As promised, here's my way too detailed ranking of all 18-ish of their moments. This (predictably) got obnoxiously long toward the end, so venture under the cut if you actually care and/or don't mind a lot of scrolling.
18. Valley One (Ep. 6)
I'm relatively sane about this. Except when I think about how they probably slept in that little hut the night before. Also when I think about how this is one of the very few shots in which they're both visible and (relatively) in focus.
17. "No farewells tonight." (Ep. 5)
Mostly was insane about this when the episode first came out and I was SO. FUCKING. WORRIED. that they were gonna die in the next one.
16. "What are they doing?" (Ep. 5)
Girlfriends who scowl together stay together (please Tony Gilroy I'm begging you).
15. Feeding the dray (Ep. 5)
The fact that Cinta is smiling here is what makes me most crazy. Also I just adore this flash of simple domesticity with them. Ahh, what could have been....
14. "Have you heard from Cinta?" (Ep. 7)
Vel not being able to look Kleya in the eye when she asks about Cinta makes me crazy mostly for the whole "Vel/Kleya exes" plot but of course this whole part had me jumping out of my seat on first watch.
13. "The rebellion comes first. We take what's left." (Ep. 9)
VEL FINDING STRENGTH IN CINTA'S WORDS AND USING THEM TO HELP MON WITH HER DOUBTS TOO I'M !!!!!
(went all-caps way before I thought I would, maybe this one should be higher....)
12. Into the smoke (Ep. 12)
She looks so worried when Cinta isn't where she's supposed to be and then she sprints INTO the melee while everyone else is running AWAY. I'M NOT FINE!!!!
11. At the campfire (Ep. 4)
I swear to y'all that the first time I watched this episode and saw them sitting so close I was like "oh. hey" fully intending to ship them even if that was literally all we got. And then holy fucking shit we got everything I was too afraid to ask for. So this moment always has a special place in my heart.
10. "What's she doing?" (Ep. 4)
It. Makes. Me. CRAZY. That the first time they share a scene together, they're literally always in the same frame.
CRAZY.
Like....they've been connected from the VERY beginning, even if the show revealed them being together rather slowly. Also it's everything to me that the first time we see Cinta it's Taramyn asking her what Vel is up to bringing a new guy in. Because if anyone would know, it would be her.
9. "Stay focused, Clem." (Ep. 5)
All of the territorial Vel stuff is great to me but I especially love this moment. First of all Cinta's little smirk. And also it's just so....idk it's a quiet moment of contemplation and probably anxiety but we can't not take a second to tell Clem to back off.
I'm combining this with the "you can dress yourself" bit too because that moment just makes me laugh with how Vel's always in the background watching and then immediately jumps up to give Clem the business and use his scuffle with Skeen as an excuse to mark her territory.
8. "Closet?" "Empty." (Ep. 12)
That bit of dialogue made my gay little self so happy and then they went and did the whole "that's blood" "it's not mine" thing and I'll never recover. Vel being so concerned that she won't even let Cinta keep packing, but then at the very end she's a little impressed/turned on??? 10/10 no notes. (okay I have one note and that's "you're really just going to leave me hanging like that for two years?????" but that's a different post)
7. "Get down!" (Ep. 6)
Truly one of my favorite scenes in the whole show is when Vel almost loses her shit at the top of the dam. The tension is insane, her fear is PALPABLE, and I absolutely love that it's Cinta just calling her out for stalling and then yelling at her that breaks her out of it.
But the thing that makes me feel most crazy about this scene is this:
Someone please explain to me WHY Cinta makes the jump while looking directly at Vel. EXPLAIN IT TO ME. Or else I will just continue to believe it's because part of her is scared up there too and looking at Vel is what helps her take the leap. That is a crazy thought -- I'm pretty sure she's fine -- but if it's not that then I don't get why she's even facing that way??
6. This (Ep. 8)
THE MUSIC. THE FADE. THE SORROW. I like literally can't even talk about this one. But it does make me feel a lot how obvious it is that Vel's thoughts are soooooooooo far from the fight here:
While at the same time there's not a thought in Cinta's head about her:
Breaks my fucking heart.
5. "No. She didn't tell me." (Ep. 5)
Whew. This moment. For a while I was mostly happy about this moment because it was just one more piece of evidence that they were together before that was fully confirmed.
But then my headcanon brain took over while I was writing my multichapter fic and it has been fucking me up ever since. Because I'm always going to wonder if all their drama was always going to happen the way it did or if Vel betraying Cinta's trust as a partner was some kind of breaking point.
Is that probably just me? Yes. Does it matter? Not to this ranking.
4. "She's already sharin' a blanket if that's what you're wonderin'." (Ep. 5)
I was!!! I was wonderin'!!!!! And I will forever use this phrase as a euphemism for being a lesbian.
What I would not give........to experience this line and this shot for the first time again. Or at least know what I sounded like giving a joyous shout.
3. "Tell me you'll be alright." (Ep. 6)
This is the one that I would probably sound the most insane trying to talk about out loud. It would be a lot of me like verbally keysmashing and somehow going "!!!!!!" out loud.
The hand-hold that saved my life? The EMOTION in their eyes when they look at each other??? Vel starting to go in for the goodbye kiss right in front of the hostages' salad but then just not????????
Fuck.
FUCK!!!!!!!
2. "Come away from the window." (Ep. 12)
I have to start by talking about Vel's cute little sad grin in this scene when she's like "nice to see you too" and Cinta like glares back at her. That made me feel crazy enough but then this whole scene that I want to say I can't even put into words even though I have in fact already done it.
The desperation on Vel's part is what kills me. Not that she's desperate for attention or love or whatever people always try to pin on her here (and of course it is that to some degree) but that she's desperate to keep Cinta from losing herself. She's so desperate but all she can do is ask. All she can do is hope Cinta will turn around and take a break. And she does.
BUT WHAT THE FUCK HAPPENS AFTER THAT TONY GILROY?!
I have never screamed so loud about a scene just ending.
Whatever, it gave me something to write and I enjoyed doing that.
1. "You love me because I show you what you need to see." (Ep. 8)
And here we are. The scene that has taken up space in my brain more than any other single thing since I saw it. I've been over it so many times. Watching and taking notes, staring at the gifs, studying the screencaps, trying to wrap my head around every little line and gesture and movement and emotion. I've spent hours on it, and I still find myself coming back to think about it and wondering if I've truly understood it all.
Just getting them reunited after Aldhani was such a relief (even though it was jarring at first to just see Cinta and be like "how the fuck did you get here?"). But then the conversation just knocked me on my ass.
"Haven't we been apart long enough?" YES YOU HAVE!!
"We take what's left." NOOOO TAKE IT ALL
"That's cold...even for you." Stabbing me in the face would be less painful.
And then...hearing the words "you love me" from one woman to another woman in a Star Wars show....not a book, not a comic...a show. Truly meant everything to me. I was so fucking happy to hear those words that I couldn't even process how goddamn sad the rest of it was until later. Once I did I had a stomachache for an entire week. I have one again right now.
And then it ends with the most fucking beautiful hand-hold and yet another tiny look that makes me feel crazy in and of itself (which I've done a whole post on by itself), and despite my broken heart I have hope.
If I am ever able to watch this scene and not feel seventeen emotions at once, it's over for me.
Easy number one.
127 notes
·
View notes