#and shows how everyone dehumanizes her

[unnecessarybeltbuckles]

Tsung: I can make you better, faster, stronger. Baraka: Just like your half-breed clones? Tsung: Mileena was a masterpiece.

#he will tolerate no disrespect towards his creation #shang tsung #mileena #dad tsung #like I KNOW I know him referring to Mileena like a work of art rather than a person is intentional #and shows how everyone dehumanizes her #but also I so many Feelings about Shang Tsung insisting she's his masterpiece while almost everyone else calls her a monster #cleaning out my drafts

[rxttenfish]

im still coming out of the nightmare fugue state and loopy as hell but mmmmm something about. miri taking insult. with the way people constantly describe aaravi.

like no she is not just a ball of rage no you do not get to insult her and then call her cute no you do not get to act like she is some badly behaved animal. look at miri’s fucking nightmare mouth and you give her wife the fucking respect she deserves god damn it. she can call her wife pathetic and say she’s her lame ass wife but thats because she knows she is so much more and you do not get that privilege. biting you.

#all the care guide says is 'biomass' #miravi.txt #i would be more intelligent abt this but no #i have many feelings abt the way people talk about some characters in this fandom #specifically like. idk how to describe it i have a potato brain #but its in a way that i sincerely hope they never use on a living human person #because it is so downright insulting and even more insulting in the fact that they are using it as a compliment #anyways aaravi actually has that. as a part of her lore. #that people describe her in less than flattering terms and keep dehumanizing her and treating her as lesser than #that its not even like. overt bullying. its just constantly getting picked out as the odd one out #who has something ''wrong'' with her and acts and behaves ''wrong'' #and so people seek to set her off or shove her aside or hurt her because its fun for them to do so #hell the thing that makes miri different in that early day when she was picking on aaravi for fun #is like. both she does this to everyone and its just a part of knowing her. #but also like. she actually did want it for fun. and stopped when aaravi started to show signs that she was getting actually hurt #just kind of. restructured it. mostly subtly. #and its kind of. this specific seesaw of. miranda not really fully knowing what land social expectations are #and not being able to pick up on what made aaravi othered by other people #and her just being a bastard cat who likes making ravi run after her. #like its a far more subtle thing and it led into them actually like #hanging out. because miri joked and tried to pick on aaravi but miri keeps her promises. it just wasnt as serious as she had teased. #like very much the person to ask afterwards if aaravi is alright and check on her #and thus realizing. okay. so miranda is still going through the motions but ravi has some power here too. #she can make it stop when she wants it to stop and miranda is very crucially still listening to her. #and paying attention to her. and not just here because she thinks aaravi is subhuman. #and how this ties back into miri wanting to be good and honestly being able to realize when she's fucked up and hurt ravi and be like. #distressed about that. #there are clear rules with her and clearly aaravi can help set the rules #and if she says ''no im not doing this today'' miranda very sincerely just tilts her head and asks why #and listens to aaravi and doesnt start shit

[dana-chan-the-control-brain]

TADC: Thoughts on Jax in Episode 2

Thoughts on Jax after Amazing Digital Circus Episode 2 Dropped.

Massive spoilers below the cut. Just watch the ep before you read.

Amazing Digital Circus had an amazing second episode as we're introduced more to what the adventures are like, and what NPCs are like and ofc the existential horror of being a living AI only created for a source of entertainment.

Also, I love the dream sequence at the beginning, because we actually get some deeper insight into Pomni's thoughts on Ragatha. Feeling like her helpfulness is the guise of like "man, you're not cut out for this like the rest of us" which is typically something a lot of people who have been bullied in highschool perceive genuine acts of kindness and engagement. (which I kind of suspect Pomni might have been, or at least, been a shut-in and didn't have a lot of friends in her human life. )

Jax wasn't really the main focus of the episode, but it wasn't really until the end of the episode I understood his behavior and what this episode is foreshadowing overall.

Since while Jax isn't the focus emotionally, he is definitely the plot device to push things forward. And I mean, a plot device in a very active and quite literal way. He's the one that causes Pomni to clip out of the map, takes advantage of everyone and is just... genuinely an unpleasant person.

I actually really like this.

As, I know the first episode in the digital circus, many people (me included) could perceive or analyze Jax's actions as someone who is "helping" in a roundabout asshole way. Episode Two has none of that here. He just wants Bloodshed, And I love that we're getting additional context on his character.

It's hard to tell how much fan reception Gooseworx saw of episode one before episode two hit production, so I don't know how much of the fandom perception of Jax had an influence on the writing process, but I can't deny that might have been a factor in assuring us "no he's not secretly helpful, he's just an asshole" But I'm just going to assume that this has been part of his characterization from the start and it becomes way more clear as the episode goes on.

But there was something in his behavior throughout this whole episode that seemed off to me. Like Jax was taking up a majority of the B-plot, while Pomni had the A-plot. So I was wondering why Jax seemed to be the protagonist with the B-plot when Pomni was the A-plot when they seemed to be so disconnected with eachother in motivations and telling us things about the characters.

But then it hit me when the episode ended and the two plots merged together.

"who... knows... what could happen..."

And then it hit me.

Pomni finds comfort in an NPC who is going through a similar experience to her and can emphasize, despite their being other humans who have gone through the same thing, due to her self-admitting to being a loner in her human life. Well, she didn't admit it outright, but from how she perceives Ragatha's kindness as an act, or patronizing, it seems like she doesn't have a lot of friends...

Meanwhile... Jax... He treats the adventure like a videogame. Why shouldn't he? He's trapped in a videogame, right? But it really goes beyond that.

The fellow humans that Jax is trapped with, he treats THEM like they're NPCs, while Pomni treats the NPC like they're human.

Jax says to Gangle "Aren't you supposed to be the suggestible one?" Which you wouldn't typically wouldn't say to a person, right? That's something you would say more about a character that you maxed out the dialogue trees in.

He calls Pomni "His Bridge" even.

They're his objects. His tools, his own npcs he's exhausted the dialogue options on.

Jax dehumanizes the players in a way that Pomni humanizes the NPCS.

These are two opposite ends of the spectrum but what really sold it for me was Jax's reaction to the funeral.

And Jax is the one member out of the cast who doesn't even show up to the funeral. (aside from Caine and Bubble but they are AI.)

He does NOT want to think about the Players as real people. And showing that opposite perspective compared to Pomni I think is much as important going forward.

Jax was the plot catalyst of this entire episode, and served the thematic theme of the episode quite well, even if it didn't look like it on first glance.

I absolutely loved this episode and I can't wait for more.

Also... Poor Pomni can't have shit in Detroit

#the amazing digital circus #tadc #tadc jax #Jax #danachan's rants #digital circus #the amazing digital circus spoilers #tadc spoilers

[genderkoolaid]

i feel like the crimew thing shows how much queer discourse dehumanizes people. crimew is an extremely cool & talented person who's like. literally embodying 'be gay do crime' in it's truest form, but the minute that people find out it is a bi lesbian, suddenly thats. all they can think of her as? like no consideration of how it Hacked The Fucking No Fly List, everyone can only focus on her lesbian identity crimes. because none of the people who do this shit can ever see "wrong" queer people as people. they treat identity discourse like it's the biggest issue in the world even to this absolutely absurd level. doesn't matter what they do for queer liberation doesn't matter if they are happy, if you Do Identity Wrong all you are in their eyes are a freak who's personally responsible for lesbophobia or transphobia or w/e. funny how that works

#m. #anyways as someone who's bi and a lesbian and likes it/its and hates the united states' im having the time of my life

[pollyanna-nana]

I think it’s so interesting that Kui decided to show us how differences in lifespan affect tallmen and elf relationships from both angles with Kabru and Thistle and also how that reflects real-life abusive situations. And then goes on to deconstruct that by showing how genuine understanding and respect CAN exist between the races with other characters!

Kabru being raised by an elf (who is shown to only have a superficial respect for short-lived races, the same one might have for a pet in a lot of ways) and treated like a child even though he’s in his 20s. After all, a 20 year old elf would be a kindergartener, and Milsiril seems to have a rather toxic combination of overprotectiveness and dehumanizing tendencies that leads to perpetually seeing the children she raises as children, even well into adulthood for their race.

And yet, we see with characters like Otta that this doesn’t have to be true of EVERY elf (nor should it logically be, especially those who spend actual time around short-lived races.) For all the jokes made at her expense I actually think it’s really interesting that she’s also canonically queer since recognizing the agency and maturity of short-lived races is in itself a type of queerness in elf society from what we’ve seen. Senshi too, as funny as his misconstruing Chilchuck as a child is I think it’s really important that he realizes his mistake and rethinks his assumptions on short-lived races following his example. It doesn’t HAVE to be the way it is, but it will take work on each side to improve things.

Then on Thistle’s end… woof. Complete opposite of Kabru, it was difficult for the tallmen of the golden kingdom to comprehend how someone in their, like, 60s could still behave like a teenager and chalked that up to a personal and moral failing rather than literal differences in biology (kind of an autistic mood but that’s a conversation for later.) It’s just as disturbing as Milsiril’s treatment of the children she adopts really, since they explicitly didn’t want an adult that could exert their own agency and control over their situation. And the thing is it’s not like that’s totally uncalled for, the previous points show how a non-insignificant number of members of long-lived races do genuinely see short-lived races as inferior, or are otherwise ignorant, like with below.

It ended up working out just how they wanted, because Thistle’s child-like innocence and singleminded desire to make the only family he had happy meant he was never going to do anything he didn’t think would help them… which then backfired, because of course it would. It’s overcontrolling and manipulative parenting, but with the added spice of lifespan differences and magic. Kabru ended up detesting the elves that raised him and wanting nothing to do with them, and Thistle basically had a massive breakdown trying too hard to please everyone. Infantilization vs adultification, as some have said, with predictable results.

#polly speaks #dungeon meshi #dungeon meshi spoilers #dunmeshi #delicious in dungeon #kabru of utaya #thistle dungeon meshi #child abuse tw #to be safe #ask to tag #sorry for the milsiril hate I’m willing to hear perspectives but everything about her icks me out #dungeon meta

[margokesses]

Cannot stop thinking about thresh and reaper in the hunger games movie. Two black boys who are shown to really strong and could easily take out the other tributes. And how they're precieved as violent because of it.

But when they enter the arena they're seen as the exact opposite. The only death that we see thresh take on screen is clove bc she kept bragging about rue's death. Which we can tell hurt him bc if you look at scenes before the games he seems to be protective of her. And he could have easily killed katniss but he spares her life because katniss humanized rue.

And with reaper. We're told that he killed a peacekeeper in his district and he threatens snow but in the arena its shown that the only thing he cares about is protecting dill. He even defends her from attackers in the beginning and tells her to stick by his side.

And I cannot stop thinking about rue's death. And how although it is violent (a spear through her body) it's not shown in a grotesque way (I don't think we even see blood when she pulls it out). And with dill it's a similar situation. A girl with tuberculosis who drinks water that she doesn't know is filled with rat poison. And when she drinks it she doesn't convulse or do anything dramatic she just lays down and dies.

And I can't stop thinking about how those deaths are instantly humanized. Katniss and reaper both scream in anger when they find out about it. They cry about it. And then they instantly mourn her. Katniss stays with rue until the end and sings with her until she passes and then gathers flowers to give her a proper burial. And it's the same with dill. Reaper grabs her body (and the other tributes and removes their weapons) and he covers them with the flag of the capitol. To show that they're the cause of tributes deaths.

And then katniss and reaper bodly faces the camera and expresses disdain for what's going on. Katniss raises the 3 finger salute and reaper screams "are you gonna punish me now??"

And I cannot stop thinking about how when thresh dies you don't see any of it you just hear screams. And when marcus is in the arena he is tied up and beaten and shown as an example bc he ran away and he could have easily died a violent death from the other tributes. But he is given a mercy killing by another tribute. And when Jessup dies. It's because he has rabies from protecting Lucy gray from the bats on the train. But he also dies in a non violent way bc he was given water to scare him away and he just ends up accidently falling. And how when reaper dies its him being engulfed in snakes because he finally accepted his fate.

And idk this probably doesn't make sense bc it's currently 4am in the morning but as a Black fan I am glad that in a world where my people are constantly dehumanized and our graphic deaths are released in video format for the world to see and be desentized too....

It's nice to not see anything violent and dehumanizing about us in a series about kids dying to the death. Like everyone knows that the black kids are gonna die but they could have done something really violent with them and it's nice to not see that happen.

#the hunger games #tbosas #the ballad of songbirds and snakes #reaper ash #thresh #rue #jessup diggs #marcus #dill #hush ke #my only critique is the colorism in rue and dill casting but that's a topic for another time

[whateversawesome]

Spy x Family Chapter 98: An Explosion

Let's start with the most important thing and we'll go from there. Ready? This panel:

Blink and you'll miss that insignificant comment from someone we don't even know their name. Nevertheless, given the implications of Project Apple, this panel is huge! Because, even if back then it was just a rumor, there's a chance it could also be true. Project Apple could have started during the first conflict. This leads me to the following theory:

Anya's biological parents were prisoners of war.

The story about Twilight as a soldier, Martha and Henry, as well as Millie, Franky, and even the Lady Patriots Society tell us about the dehumanization of the enemy. So yeah, it's very possible that it was acceptable for either side to do anything they wanted with captured enemies, that includes experimentation.

And by prisoners of war, I'm not only referring to soldiers and medical personnel, but also spies. Wouldn't it be funny if Anya's birth parents were also spies? It's too soon to tell, but it's so much fun to speculate 😆

At the beginning, it's stated that Anya was created by accident:

Maybe she was "an accident" between two prisoners of war or between a prisoner of war being experimented on and a scientist 🤔

So here's another crazy idea: Everyone thinks that Anya learned Classical Language because it was used in the lab by scientists, but what if it was her biological parents the ones who taught her that language in order to be able to communicate with each other?

At some point, I thought that even if we learned about Anya's past there was a possibility we would never know about her parents, now I think we will.

About the Chapter

Clearly, SXF is an anti-war story that wants to show us how terrible war is for EVERYONE. That's why big and small characters, side or main, have been affected greatly by war.

I'm sure plenty of people will talk about Martha and Henry's love story. After this chapter, I think it's clear that they probably were separated by war and that Henry had to marry to save himself, leaving Martha up in the air. (I know I am a fool, but I keep hoping she's the one he married, but I don't think so 😭)

Anyways, leaving the cautionary semi-tragic love story aside (Ahem, watch out Twilight and Yor)...I see what the author is trying to do: The story shows us very clearly what happens to every person when pushed to their limits, when they and their families are in danger. It's a story about loss, loss, and more loss.

The story is trying to make the readers root for peace and be very adamant against war. This is a masterclass on "Show, don't tell." So even if a lot of these stories seem insignificant because it's about side characters, they are meant to influence the readers' point of view about war, so when it reaches the main characters, we all know what could happen to them. These stories are meant to raise the stakes for the main characters.

Now, I've said it before: It's very possible that close to the climax of the story, Ostania and Westalis will be at the verge of a third conflict. By then, we'll know much more about the main characters' background as well as many other stories of side characters affected by war (don't be surprised if The Garden was created as a consequence of it). So when we're close to the end, when war is about to happen, we'll know exactly what could happen to the Forgers, because it has already happened to so many people: loss.

Something to Keep in Mind

The more the story moves forward, the more curious I am about the Desmonds. Since all of the characters were affected by war, I'm wondering how were the Desmond affected? Melinda certainly has issues (did this happen during and because of the war?) and Donovan Desmond is still a BIG question mark. It easy to relate to what normal characters feel. If any of us were going through something similar, we would be terrified too. However, how is it for someone in charge? How did Desmond see and suffer war? I really want to know.

One Last Thing

If in two chapters focusing on two side characters Endo has managed to create such a beautiful love story, can you image what he plans to do with Twiyor, which is the main couple of the story??

I know I say this a lot, but after seeing this my expectations are high and I am convinced it'll be worth the wait.

Food for thought.

#spy x family #twiyor #sxf #spy x family analysis #Sxf meta #Sxf chapter 98 #loid forger #yor forger #martha marriott #henry henderson #loidyor

[a-town-called-hometown]

yippee! apologies if my takes are horrendously bad

my personal take on the matter is that i definitely think the dark worlds can work as a metaphor for escapism without undermining the darkners' personhood. it can be more than one thing, yknow? the darkners are important, their lives matter. and the lightners do go to the dark world as an escape from the problems they face in their own life. but that's not the darkners' whole PURPOSE, yknow? i mean. according to the laws of the universe of deltarune yes darkners' "purpose" is to serve the lightners but like it's not their whole purpose in the STORY.

it's sort of like how, in UNDERTALE, LOVE represents how distant you've become, how easy it is for you to hurt people. but it also literally gives you the power to destroy the world.

i think the biggest reason i believe escapism is at least a part of deltarune's narrative is queen.

queen's whole speech in both of her fights is about how she intends to provide escapism for the lightners (so that they will worship her but also so that they will he happy). she wants to turn the whole world into a dark world, so that everyone can live in bliss and not have to worry about the woes of the light world. she mentions "Staring, Tapping, To Receive Joy. Staring, Tapping, To Avoid Pain." which is like pretty much the definition of escapism

she wants to help Noelle with the problems she faces in the light world ("Noelle. Who Will Be There To Help Her? Her Strange And Sad Searches" and "My One Idea To Help Noelle, Failed") by just... shoving it away for a blissful fantasy world ("Wake? No, She Has Already Awakened Too Much. Let Her Close Her Eyes And Sleep Away, Into A Darker, Darker Dream.")

...i forgot the rest of what i wanted to say!

well first off, thank you for your ask! I'm going to get extremely in depth in my answer, so bear with me here. sorry it took several weeks to write this. the escapism reading of deltarune is pretty deeply entrenched in fandom, and to refute it, I felt it required a full-length essay to completely explain my viewpoint.

yes, "the lightners desire escapism" does not automatically translate to that being the darkners' actual narrative purpose. escapism can be a theme without dehumanizing those who are used in order to escape - in fact, I've read a number of stories that use someone's desire to escape to HIGHLIGHT how they're hurting others in pursuit of that. I believe that toby fox is definitely capable of telling a story about kids having a valid desire to escape, and about them grappling with having inadvertently created a world of real, living people as a result.

(I'll reiterate again that this is not the story arc that generally shows up in fanon. the common consensus is that the game will end in an omori-esque "growing out of" the dark worlds. it's why I have a huge dislike of the fanon escapism reading, given that the darkners are shown as people whose lack of agency parallels kris' own. it would feel cheap if the resolution to that plot was that the darkners were actually never meant to be agents in their own fates. but this is a digression.)

the reason why i DON'T believe that this is a story that toby fox is telling is because of the way the world, themes, and characters are written. put simply, it just doesn't come across as congruent with the story being told.

deltarune's main themes are agency, fate, identity, and control. this is a conflict that shows up in nearly every major character, is baked into the worldbuilding, and is the central struggle involving us, the player. the protagonist of deltarune is literally possessed by us against their will. the darkners are objects that have no choice but to serve and be discarded. over and over again, there is emphasis on roles that characters play - and crucially, roles that are imposed on them.

what would escapism mean, in this thematic context? in real life, escapism can represent any number of things, but in a story, a major narrative theme generally has to dovetail with other major narrative themes in the work. I would argue that escapism in deltarune would likely mean going to a place where characters are able to choose for themselves what roles they embody, or even to discard the notion of roles altogether. a fantasy of control is the only way to escape a reality where you have no agency. and honestly, it's hard to imagine that something could count as an escapist fantasy if you don't even get to choose whether or not you participate in it.

let's talk about kris.

I see a lot of discussions around kris that say that kris goes into the dark worlds to escape. the dark worlds are posited as kris' fantasy of heroism. it's a world where they can seem heroic and cool, a world where they can have friends. this theory makes a decent amount of sense on the surface level, but only until you consider that kris is being controlled in order to go into the dark worlds. and it is not a control that they appear to welcome.

if those worlds represent kris' fantasy, then why don't they get to choose what happens in those fantasies? why are they being controlled by an external force, one that they actively push back against? if it's really an escape, then why does everything about this world reflect their lack of agency? if they really think this world is just a pure fantasy, then why do they care if spamton falls when his strings are cut?

because they're being deliberately obscured to the player, it is hard to say how kris actually feels about many subjects... but I do seriously doubt that they view the dark worlds as an escape. they don't act in a way that is consistent with that. they resist their lack of agency, and what little we do see of their reactions to darkner characters doesn't suggest that they view those characters as part of a disposable fantasy, either. they seem to have complicated feelings on ralsei. and of course, one of their biggest emotional reactions in the game is to the spamton fight. I would argue that that suggests they have empathy for spamton, which is a hard emotional reaction to have if you believe he's just part of a fantasy. not impossible, mind you, but it seems unlikely that kris believes that all this is simply fantasy.

also, considering that snowgrave both actively discredits the idea that the dark worlds are mere fantasy and is actively traumatic for kris... I seriously doubt they'd open another dark world in chapter 3 on a snowgrave run if their motive was purely to escape. on that route, they've seen the damage we can cause in a dark world. they know that berdly has sustained lasting damage due to our actions, assuming he's not outright dead. why would they want to try and "escape" to a place like that again now that they know what can happen?

the only answer is that they have a motive that isn't escapist.

now, as for ralsei... what part does he have to play in all this?

ralsei does play a lot to the fun, fantastical elements of the dark worlds. he delivers the prophecy that kickstarts the adventure. he flatters both kris and susie endlessly when they act appropriately heroic. he welcomes them into the castle and even makes nice rooms for them. he initially seems tailor-made to enable a fantastical experience where no real issues can ever complicate anything, and where the pain of reality can successfully be hidden from. but there's a lot of complications to the idea that he might represent an escapist fantasy.

the first, and what honestly seems the most important to me, is that he doesn't encourage kris and susie to remain in the dark worlds. he is welcoming and kind, but once the adventure is over, he prompts them to return to the light world. he wants them to deal with their more "real" problems like homework. that doesn't feel like he is trying to facilitate escapism in them. a real fantasy would encourage you to stay in it, wouldn't it?

and while ralsei is definitely invested in making sure the lightners are happy, there are always cracks that show. he isn't able to make kris ignore what happened in the spamton fight. he isn't able to convince susie to be peaceful and kind. and in his very essence, he represents a number of uncomfortable ideas. very importantly, he represents a number of uncomfortable ideas to kris.

this probably ain't your first fandom rodeo, so I'm not going to explain all the different ways that ralsei interacts with kris' personal issues. there's plenty of posts on it out there. what i will point out is, once again, it feels odd that a character who seems tailor made to bring up kris' most uncomfortable associations with their lack of agency and their outsider status in their own family would be part of a fantasy of escapism to them. you'd think that they'd prefer something that didn't have an inbuilt hierarchy, a prophecy that denied them autonomy, or especially a person that reminded them how little they fit into hometown.

that doesn't mean kris doesn't care about him at all - it seems very likely that they do. what I mean to say here is that he just seems ill-suited to an escapism reading, both behaviorally and on a conceptual level. it doesn't seem like that's at all part of his servitude towards the lightners.

of course, there is another non-lightner entity that ralsei seems diegetically engineered to serve. but I'll discuss that later.

now as for susie...

yes, susie definitely views the dark worlds as more fun than the light world. and why wouldn't she? the light world sucks for her, and she doesn't seem very aware of the fact that the dark world can also suck. you could definitely make the argument that she views the dark worlds as a fantastical escape from reality... were it not for the fact that she treats her darkner friends with just as much importance as she does kris and noelle.

can someone treat components of an escapist fantasy as real and important? of course. but given deltarune's themes of agency and control, as well as the fact that darkners exist in servitude to the lightners, I feel like you'd have to make escapism tie into forcing others into a lack of agency if you wanted the theme to feel coherent with the rest of the work. this would require susie to be limiting the agency of the darkners around her. and obviously, she doesn't do that. her presence around them might be inherently limiting, just by simple virtue of being a lightner, but she isn't aware of it, and clearly is uncomfortable with the idea of limiting anyone's agency. she encourages ralsei to make choices. and she supports lancer in basically anything he wants to do. her treatment of lancer is integral to chapter 1's narrative, and it seems like that treatment of ralsei is integral to the ongoing narrative as well!

her preference for the dark world feels very rooted in her engagement with it as its own reality. rather than trying to avoid her real-life problems by engaging in a pretense, she seems to simply want to spend time with her friends in a place that isn't cruel to her. she isn't ignoring any of the dark world's problems in service of that, either. she notices when things don't line up. if she thought of it as a fantasy, wouldn't she be inclined to ignore issues that impede the fantasy?

and critically - like kris, she does not intentionally choose her imposed role in the prophecy at first. she steps into the role of bad guy to resist it, but that role is limiting too, and she eventually acquiesces to being a hero. it's never something she's completely on board with, though. she actively pushes back the limitations that the role places on her. I find this important to reiterate when we are discussing the notion of the characters viewing the dark worlds as fantasy.

noelle has a complicated relationship to the dark worlds. susie tells her that it's a dream to make her accept the strange reality she finds herself in, which works well on her. she continues to think of it as a strange dream throughout the chapter. (though, like the others, it is not a 'dream' she entered of her own volition!)

it is also a markedly unpleasant 'dream' at times. she has her agency restricted, is kidnapped, has to evade a controlling monarch, and is even tied up in a weird evangelion cross thing on the hand of a giant robot. it's not purely fun. noelle does like scary things, and while it might be healthy for her to have an experience where she stands up to a controlling adult figure... again, the circumstances make it difficult for me to assume that this is a fantasy she would choose for herself. not impossible, mind you, but it's not the first reading of the situation that comes to mind.

and while she does say she wishes she could dream like this every day in the normal route, that does happen specifically because she was talking to the girl she likes. it makes sense she'd find that pleasant. I don't think that necessarily equates to her finding the dark worlds escapist.

and importantly, this isn't the sentiment that she expresses in every route.

again, there's a lot of analysis on snowgrave, so I won't bother regurgitating it much here. but it's nightmarish for both kris and noelle, and very likely fatal for berdly. noelle needs to believe that the event is a dream, for her own psychological safety, but one of the most important parts of snowgrave...

...is that its events, and the world it took place in, are very, very real.

noelle wants to have the strength to face her problems, both in the regular route and in the snowgrave route. rather than escaping from them, she views the "dream" as a chance to practice dealing with her day-to-day issues. it's just that in the regular route she finds that strength authentically, and in the snowgrave route, that desire is manipulated and pushed until she is forced to kill berdly. she doesn't interpret snowgrave as an escape gone wrong. she views it as a dream that became a nightmare. and those are two extremely different things.

but i haven't even gotten to the biggest thing that undermines the concept that the dark worlds are a metaphor for escapism! which is: this fucking guy is dead wrong about everything.

so full disclaimer - I really love berdly. I think he's slept on a lot in the fandom because he's annoying and weird. which is fair, I suppose, but I think ignoring him hinders a lot of people's understanding of deltarune's overall narrative. because berdly often illustrates a lot of concepts in the game, but his narrative framing as a joke (usually...) prevents the player from taking it completely seriously. he has things to say and ideas to show off, it's just that he's often very loud and kind of dumb in his expression of them. which is kind of the point!

ralsei brings up the idea that the darkners are meant to serve the lightners very seriously in chapter one. by extension, and by way of the literal mechanics involved in a dark world's creation, we can infer that this logic is probably something that also applies to the dark worlds themselves. they are allegedly worlds and characters that only are supposed to fulfill a dream of the lightners. but due to narrative framing and deltarune's themes, we know that that's not the full truth. however dark worlds and darkners are created, they deserve to have their own agency. they can't just exist to fulfill a higher being's wishes.

you know who else undermines that view of the dark worlds? berdly! berdly does!!!!

because berdly is the only lightner in the game so far who does take the dark worlds to be an escapist adventure! he wants to turn cyber world into smartopia. he views this as a chance to be a cool hero. he believes he's going to get the girl, he's going to shape this world to his own liking, and maybe also he's going to get queen to acknowledge him or something so he stops being a forgettable little bluebird. and not only does none of this happen, his steadfast belief that it will happen is continually a joke within the narrative!!

berdly's wishes for uncomplicated escapist fantasy are flat-out denied by the dark worlds themselves. as a lightner, those worlds should be serving him. he should have the power to do whatever he wants within the bounds of an escapist fantasy. these npcs should be singing his praises!

but he doesn't have the power. and this world doesn't sing his praise. because it just isn't an escapist fantasy. he isn't right to view it that way. his wishes for heroism are always going to be thwarted.

so now that I've gotten all that out of the way, let's swing back over to the subject of your original ask. queen.

because, like berdly, queen's entire character arc is about how she's completely wrong about what the lightners actually want.

queen would in fact like nothing more to place the lightners into an escapist fantasy. she believes that that's the best way to serve them and make them happy forever. as a darkner, queen has very much internalized the idea that a lack of control is what actually makes people happy. since darkners have no choice in their destinies and are supposed to be happy in it, and since she personally finds her role as a darkner fulfilling, she believes that that's true of all people everywhere. if you want to make people happy, you just have to remove that pesky personal agency!

so she spends the story trying to force the lightners and particularly noelle into situations where she controls them in order to make them ostensibly happier. she does genuinely believe that this is the right thing to do, but as she finds out eventually, she's just wrong. noelle doesn't want that. queen believes that escapism is why the lightners use the internet... but that's totally wrong too.

while there are other searches mixed in, noelle is trying to use the internet to find her sister. instead of trying to hide from whatever happened, noelle wants to figure it out. queen's thesis about noelle and the lightners is proven wrong even before she personally encounters noelle in the dark world. it's just that queen doesn't realize it due to her limited perspective.

the concept of escapism being brought up with both queen and berdly is not there to say that the dark world is escapist. rather, it's there to say that it isn't. despite the dark worlds being a fantastical place, they are extremely real. to view them as a means of escape is foolhardy at best. you cannot act as though you are above consequences within them.

themes and ideas exist within the story for a sake of an audience. so let's get into the final character I need to discuss here. hopefully this will tie my thesis of deltarune together neatly.

that character is of course us. the player.

when creating a piece of fiction, an astute author will often identify and anticipate an audience's reactions to certain things in their work, and write things in such a way that they elicit the desired reactions. in essence, a writer is directing the "character" of the audience. how we feel and how we are anticipated to react to things is an integral part of nearly every fiction.

that effect is far more overt when dealing with metanarrative fiction that diegetically involves the audience. since the fiction is saying a lot of things about the general 'you,' the audience in aggregate, your reactions to certain things in the story have to be finely cued and anticipated by the author, so that the author can thus commentate on the reactions that you have to the story. the "character" you are assumed to inhabit is posited by the author to have certain traits.

to explain what I mean in plainer terms, I'll use the player of undertale's no mercy route as an example. because undertale is commenting on the way rpgs generally work. the player's behaviors in no mercy are attributed by characters in the story to be the result of us acting like a typical gamer. we kill the characters in the game because we want exp. and more than that, it's because we want to see everything the game has to offer. the role we inhabit in this role-playing game is that of a completionist. you could say that that's assumed to be our "character" in no mercy.

deltarune also posits that certain things are true of its audience. by being written to evoke certain cultural ideas, rpg tropes, and references to undertale, it guarantees that its audience will probably have certain traits, and spends a large amount of its conceptual focus commenting on those traits. one of those traits is nostalgia, which is probably an idea that I'll expound upon in a further essay because it's quite integral to my reading of deltarune. but the main one I mean to discuss here, and why I went off on this tangent about how audiences are dealt with in metafiction, is that we are posited as someone who believes in the logic of certain narratives.

deltarune's writing evokes a lot of portal fantasy narratives. alice in wonderland, narnia, pretty much every story where it's revealed at the end to be all a dream... the story of deltarune superficially resembles a lot of those. this, I think, is responsible for the popularity of the escapism theory. because those stories are often at their end about a child learning to put away fantasy and grow up, people tend to believe that deltarune must be about the same thing. but I truly don't think that deltarune is trying to do anything with that aspect of portal fantasy narratives, at least not directly. its main characters aren't involved in that exact type of coming-of-age arc.

instead, deltarune is very concerned with what happens to characters in fantasy, and specifically fantasy rpgs. if your world is deemed to not matter because it's a dream, what does that mean for you, who has no choice but to live in it? if you are an npc whose role has been predetermined for you via script, then can you ever decide for yourself what you want? what if you want to matter? what if you want to be your own person?

as the major controlling force of deltarune, we are initially cued to believe that deltarune is like a dream. it superficially fulfills so much of what we want from undertale fanon. hometown seems like it's a perfect idyllic town, at least until you start noticing the obvious cracks. and remember what I said about ralsei earlier? he is so reminiscent of asriel, and extremely eager to help us. it's not a stretch to say that making us specifically view deltarune as dreamlike and idyllic is probably part of his purpose in the game.

I would not say that we are posited as escapist. but the idea of escapism as brought up with queen and berdly is meant to strike at the heart of a much deeper idea that deltarune is trying to deconstruct. because if we view deltarune as a dream, escapist or otherwise, then we are inclined to write the internal realities of the characters inside off. the dark world can disappear without it mattering. we can control kris without it mattering. if it's all a dream, what does it matter? why should we care to let its characters go free? aren't we supposed to be in control?

if deltarune is an rpg... what is the significance of us interacting with it?

#deltarune #deltarune analysis #BIG big thanks to tvlandofficiall for being my sounding board and providing the flavor images for this essay #this one gets into some big overarching analysis of deltarunes construction and what it deconstructs. hope u enjoy

[secretmellowblog]

Les Mis Hidden Name Meanings: “Fantine” (posting here because it got popular on TikTok)

Every character in Les Mis has a name with a deeper symbolic meaning— here’s a video I made for the official @barricadescon TikTok about the meaning behind “Fantine!”

Transcript and Digressions I left out of the video, under the cut:

Every charcater’s name in Les Mis is either a pun, a reference to a historical/mythological figure, or had some deep symbolic meaning — and sometimes it’s all of them at on.

The name “Fantine” comes from the french word “enfantine” or “childike, infant-like.” Her name basically means “Baby.” And obviously this speaks to her innocence and niavetee. But also “baby” is kind of,.,, well it sounds more like an informal term of endearment than an actual legal name?

And that’s because– Plot twist– Fantine isn’t her legal name! What is her legal name? She doesn’t have one.

And the reason she doesn’t have one is directly tied to political turmoil of the era she was born into.

Fantine grew up an orphan living on the streets, without a family without parents. Hugo tells us the origin of her name:

“she bore on her brow the sign of the anonymous and the unknown. (...)She was called Fantine. Why Fantine? She had never borne any other name. At the epoch of her birth the Directory still existed. She had no family name; she had no family; no baptismal name; the Church no longer existed. She bore the name which pleased the first random passer-by, who had encountered her, when a very small child, running bare-legged in the street. She received the name as she received the water from the clouds upon her brow when it rained.”

This moment is adapted beautifully in the Manga adaptation by Takahiro Arai, which I recommend to anyone who loves Les mis, manga, or any combination of those things.

But now let’s talk about the Directory.

To wildly oversimplifly a lot of complex history: Before the French Revolution, the Catholic Church’s records of baptismal ceremonies were often used as a registry of people’s legal names. During the French Revolution, the Revolutionary government– including the Directory– put in place a series of policies we now call “dechristianization,” where they attempted to dismantle the power of Catholic church.

Fantine was born during the age of these dechristianization policies. So she was never baptised, her baptismal name was never recorded, so she has no recorded legal or family name. She’s slipped through the cracks of the legal system, and ended up completely anonymous.

It sets Fantine up as this anonymous child of the Revolution– a stand in for everyone who was left behind when the Revolution was left behind, and kings were restored to the throne.

Fantine’s namelessness is meant to show atomized . How she has NO support system. She has nothing to connect her to other people, nothing to connect her to a support system.

Finally, the way Fantine tends to “slip through the cracks” is something that follows her throughout her life. When she’s fired from her job at a factory, Maroy Madeleine never learns of it– Fantine has this tendency to overlooked and forgotten. She is born anonymous and she dies anonymous. At the end of the story, she is buried in an unmarked grave, with not even the name “Fantine” on her headstone.

It ties into novel’s questions about which people we consider worth remembering, whose lives are worth being records.

And obviously Fantine is not the only character in Les Mis whose name has a deeper symbolic meaning. If you have any other Les Mis character names you’d like to explain, leave their name in the comments below.

Thank you for watching!

From the description of the original tiktok, here are some things that were left out of the video for time:

How this all relates to Cosette’s name(s)

Fantine’s nickname “The Blonde,” and how this relates to the way she’s dehumanized by Tholomyes

How the 2018 Bbc series fundamentally misunderstands Fantine’s character, and how one sign of this is that they give her a full legal first and last name

How Fantine’s name shows up/is revealed is significant parts of the story (like when Valjean reveals her signature on a letter to Thenardier, allowing him to take Cosette away)

How Fantine’s inability to write ties into the way it’s difficult for her to record her own story

How some of Valjean’s last words are revealing Fantine’s name to Cosette

Thanks again for reading!

#les mis #les miserables #Fantine #:3 #tiktok #barricades con

[marunalu]

Okay so.... like I already teased before, here comes the post about the "afo red herring" hori put in the manga and I just realized yesterday evening thanks to JADE (I dont know if you have an tumblr blog and what your username is, so if you read this, this post only happend thanks to you!) from the afo discord server and I feel so dumb for not realizing it sooner. So to make it short JADE pointed out in one of their comments that in the scene when yoichi is killed afo actually reaches out with his hand towards yoichi, because he was trying to GRAB HIM! And when I did read that I was like "Huh? What? Didnt he use a quirk and it accidently killed yoichi?" So I checked and JADE is absolutely right!

The way afos hand is drawn and reaching forward makes it look like as if he just used an attack on yoichi. This is what I believed myself. I thought he used an quirk on yoichi, because he was in a fit of rage that his brother was "leaving him" and that in his anger he used more force then intended and thats the reason why he is so shocked afterwards and in denial about killing yoichi. But the thing is: nothing in this scene actually confirms that afo really used an quirk on him! We dont see him use one. We dont see an energy beam, flash of light or an other more physical quirk used here. We only ASSUME afo used a quirk, because of the way his hand is raised and reaching out and yoichi falls into pieces! I also believed that myself! I was sure he used air canon on him or maybe decay but didnt intented the attack to be lethal and THATS why he is so shocked! But then JADE mentioned that afos hand is raised because he was trying to GRAB yoichi to stop him from running away! Afo DIDNT use a quirk on yoichi that killed him, it only LOOKS like it! THAT is the red herring!

Okay look, I know this sounds crazy, but please hear me out a little bit longer, because I will explain WHAT actually happend in this scene in a moment. But before I do that, I want to point out something else. Since we got the chapter about yoichis death, the whole flashback about their childhood and afos tendendcy to dehumanizing himself to the point that he is convinced that he was born evil, there was something that bothered me, but I couldnt pinpoint what it was. NOW i know! Afo is trying to portray himself as the ultimative evil. The flashback of him as a baby is from HIS narrative and he is trying to convince everyone (espicially himself) that he was born that way! But the thing is: despite his desire to be seen like that by others, he REFUSES to acknowledge himself as yoichis murderer. I thought he was just in denial and coping. But if he wants to be seen as the ultimative evil, WHY doesnt he acknowledge that he is indeed SO EVIL that he was even able to kill his own brother if he really did it? Murder is already horrible enough, but to murder your own family? Espicially in a family focused country like japan in which "family" is the most important thing EVER?! To be able to kill your own kin would make you look like the devil in human form. Its the very image afo wants people to see of him. But STILL he refuses any responsebility for yoichis death! And now I think I understand why: as incredible as it sounds, but afo refuses any responsebility, because he really DIDNT kill yoichi! Look at his shocked face:

Look at his confusion afterwards and his inability to accept that his brother is dead. Look at the fact that kudou, bruce and the rest of their group managed to flee from afo after the incident which shows that afo didnt follow them after yoichi was killed! It was not just because he was in a state of utter shock. He simply couldnt understand WHAT THE HELL HAPPEND! And that only works if afo indeed never used any quirk on yoichi. Becauae no matter how much in denial he is after killing yoichi accident or not, its very suspicious that it was never mentioned by him or the narrative what kind of quirk he used in that moment. WE DONT EVEN SEE HIM USE ONE, WE JUST ASSUME HE DID, BECAUSE IT LOOKS LIKE IT!

But WHAT killed yoichi then? Soon, soon Im almost there guys. But to understand you need to look at this first:

THIS is what pissed afo off! THIS is what his focus was on: yoichi and kudou "holding hands" while running away together from him. He wants kudou to let go of hid brother, wants them to stop holding hands, because he is fucking JEALOUS (from the flashback we got about their childhood, I think we can conclude that afo and yoichi NEVER did hold hands as kids) since holding each others hand is a very intime gesture you dont do with everyone. It fuels afos fear and anger that kudou is "stealing" yoichi from him. That he is losing his "most precious possession". And he also for the most part is pissed at kudou and even blames HIM for yoichis death later. But still its yoichi who dies not kudou. If afo indeed used a quirk, why was it directed at yoichi he clearly just wanted back and not at the person who was "stealing" him? It doesnt make any sense. And now I want you to look closely at the picture of kudous and yoichis hands again. Do you see the glow around their hands? Do you understand what this means? Because THIS is the very moment ofa got transfered from yoichi to kudou! Look at their hands and you can see that they are a little bit brused and dirty, so its not to farfetched to assume that this is how ofa was transfered, because we know blood contact between 2 people works just like how in the movie "heros rising" ofa was transfered from izuku to bakugou through blood contact.

And now back to the most important question: if afo indeed didnt use a quirk on yoichi and to us readers and kudou, bruce etc. just looks like he did, because of the way his hand is reaching out towards yoichi and he falls apart, then WHAT really killed yoichi? Guys... its so simple, I cant believe how I didnt get it sooner. Yoichi wasnt killed by afo, he was killed by OFA!!!

Okay listen, before you freak out and call me delusional or something similar, lets remember a few facts we know. Ofa was created when yoichis "give" quirk fusioned with the stockpike quirk afo forced on him. That means, while it was still an very weak quirk in that moment, it already got his first powerboost. We know that ofa is an incredible dangerous quirk that can kill its owner if they cant control it. We know ofa shortens its owners lifespan (except all mights and izukus). We know that if the owners body is weak ofa can KILL them! We know when ofa is transfered and used at the same time between 2 people it sets an huge destructive energy free (again look at heroes rising when izuku and bakugou both use ofa at 100% after izuku just transfered it). You may wonder now WHEN did kudou and yoichi use ofa though? And the answer is they actually used it without realizing (since they didnt know of its existence yet) the moment it was transfered from yoichi to kudou by trying to outrun afo. It was still an pretty weak quirk at that point, but yoichi was born with a WEAK BODY! The exact thing the owner of ofa SHOULDNT have because its a DEATH SENTENCE! Its the very reason why all might helped izuku to train his body before he gave him his hair to eat. Izukus body needed to be tough and strong enough, otherwise he would have immediately killed himself with it when he used it the first time (which he still almost did!). And now look at this:

"Your limbs would fly off and youd be BLOWN TO BITES!"

Here you have it everyone! THIS IS WHAT HAPPEND TO YOICHI! THIS IS WHAT KILLED HIM! Afo never used an quirk on him, it just looks like he did TO US! It wasnt air canon! It wasnt decay or any other of afos quirks! He was simply trying to grab his brother! THAT is the red herring! Hori is a fucking genius!

And its the whole reason why afo looks like as if he just got punched in the guts with a wrecking ball when kudou tells him "you killed him". Because just this one time afo really didnt do it!

#bnha #bnha spoiler #my hero academia #bnha all for one #yoichi shigaraki #second user kudou

[faeriekit]

Health and Hybrids (XVIII)👽👻💚

[I can't remember the original prompt posters  for the life of me but here's a mashup between a cryptid!Danny, presumed-alien!Danny, dp x dc, and the prompt made the one body horror meat grinder fic.]

PART ONE is here PART TWOis here PART THREE is here PART FOUR is here and PART FIVE is here PART SIX is here and PART SEVEN is here PART EIGHT is here PART NINE is here PART TEN is here PART ELEVEN is here PART TWELVE is here PART THIRTEEN is here PART FOURTEEN is here PART FIFTEEN is here PART SIXTEEN is here PART SEVENTEEN is here..welcome to eighteen..

💚 Ao3 Is here for all parts (now featuring mediocre mouseover translations, only available on a computer)

Where we last left off... Uh... *checks notes* UH... *flips frantically*...listen my laptop exploded and I lost the original version of this chapter gimme a break. I think it was the oatmeal ch. last off.

Trigger warnings for this story:  body horror | gore | post-dissection fic | dehumanization (probably) |  my nonexistent attempts at following DC canon. On with the show.

💚👻👽👻💚

So. Danny is halfway through his squeeze this, please exercises where he has a grippy thing the doctors give him where he tries to squeeze this until they make calm noises again when something bursts through the door.

He’s so distracted that he drops his squeezing machine. 

Everyone immediately gets terse and guarded— the lady who looks out for him the most actually pulls up in front of him? Like, protecting him? With her body?? It’s so far out of left field Danny has to wonder if they’re, like, keeping him for something important down the line instead of just treating him. 

The doctors take shelter behind medical equipment where they can, but whatever the assailant is, it’s too fast for them to put up their defenses. For a second, Danny is instinctually scared— the doctor in the periwinkle scrubs sees him almost every day, changing out his bag and fussing with his lower half under his blankets. The doctor in green makes him do the hand stretches he doesn’t want to do and sit up so that he can do it more often again. 

He’s used to them. He doesn't want that to change, or— Or for them to get hurt. 

The blur darts through the doors and past the doctors and is definitely aimed at Danny, so when the lady catches it (with one hand??) and hauls it up out of reach of Danny’s cot, Danny’s relieved wheeze is genuine and emphatic. Ohgodthatwasscary. 

On the other end of her arm is a teenager. A teenager in a…red…outfit, probably, unless he really likes gray and Danny’s eyes are actually working normally for once. Gray hair. Some kind of face, presumably. 

The teen’s legs keep spinning until he realizes how caught he is. Then he goes completely limp in defeat. 

“Cild Lihting se þridda,” the lady scolds, not unlike how Danny’s heard Vlad scold his cat for throwing paperwork off his desk. “Hwæt eart eow dydest?”

“...Naþing ,” the teenager lies, badly, and it sounds so much like Nothing, mom, wasn’t me, that Danny can’t help but choke out a laugh. 

It makes his chest muscles spasm and his throat sore, sure, but that’s not the point. The lady keeps scolding the teen she’s holding up midair, but the teen lights up at Danny’s choked out wheeze like the sun. Almost literally, actually— the green starts accumulating in Danny’s field of view as his body tries to compensate for whatever’s going on in the atmosphere around him. 

The doctors slowly let down their improvised shields, fetching Danny’s lost grippy tool (ugh) and putting it back in his hand (UGH). Danny gives one, pathetic squeeze of the tool, and then decides to visibly languish, because this sucks, obviously. The fact that no one can sympathize with his struggle isn’t new. Just watch him go limp about it. 

The next time the lady and the teen stop making scolding and scolded noises, Danny looks over; the teenager has been, apparently, wrangled into a hair net and face mask. Okay. So it’s not that Danny is off limits then— or maybe he is, but either way, it’s more about getting people into the right gear than about keeping them away from him. Once the teen’s been sprayed down with something that smells absolutely gross, forcibly gloved, and dropped unceremoniously onto the ground, the teen is back on his feet and hollering as he leaves the lady behind. “Þancie eow!!” 

“Slaw, lytel Lihting!” 

Slow, Danny understands, parsing out the weird words as they reach him. Lytel might as well mean little. This sucks. He can never tell if he’s right when he guesses, and he just gets lucky when people understand him back, or whether people are pretending to understand him more than they actually do. Lighting is a weird nickname for a kid though. 

—And then the teen is a foot away from his face and babbling at top speed, entirely at ease with their proximity and hands moving a mile a minute, and Danny has not been losing enough time for that to be anything other than either magic or a superpower. 

Oh, his brain corrects. The word clicks into place. Lightning. 

It’s probably some kind of magic, Danny’s guessing, because as he’s absolutely flabbergasted that someone is leaning into his face and trying to engage him that talk that isn’t happening, his ghost sense flares with a backwash of OMGHIHELLO!!MIS/SEDYOUMISSED//YOUPLAYING?? that. Uh. Is very…a lot? Very intense??

Very…welcoming?

The lady who minds him but isn’t a doctor sighs, picks the teenager up by the waist (??) and sets him a whole foot back. The teen doesn’t even stop chattering, his aura flaring alongside a story Danny is definitely missing, but not unappreciative of. 

He throws something onto Danny’s bed. Danny drops the grippy tool in order to grab it, to the doctor’s verbal dismay. 

But. 

Like Danny’s model shuttle, which never leaves his side, the thing on his bed is Danny’s. This is Danny’s weird, flimsy, squishy toy.

The teen practically vibrates with pride.

…Okay, then. He’s kind of confused, but like. You know. He’s not against this.

Danny picks the squishy, blue thing in his trembling fingers and shakes it around without any sense of fine motor control, and the thing leaps out of his fingers and lands on the floor pretty much instantaneously.

It makes a weird suction noise. Danny peeks over the bed to find it sitting upright, stuck to the floor.

The teen responds by throwing even more colorful, oddly-shaped toys on the bed.

Danny knows enough about doctors to know that there were probably structured plans on how Danny was supposed to spend his time on specific exercises to target specific muscles and stretch specific parts of his hands, but the teen sits at his bedside and plays with toys Danny doesn’t remember with him, and no one stops them at all.

It’s nice.

For about an hour, until Danny truly tires, it's almost…normal.

#Medical team: CAN YOU WRANGLE THE TEENAGER?? #Diana: yes of course— #Bart: Whee! :D *items crash* #Medical (sheltering in place): CAN YOU WRANGLE HIM HARDER??? #health and hybrids #danny phantom #dp x dc #dpxdc #dcxdp #tw gore #tw medical #tw body horror #dcu crossover #incarceration to elopement to healthcare pipeline

[inkskinned]

if you're smiling you're vapid or flirty or vain or contrite or insipid or a massive bitch or coy or cunning and if you've relaxed and are just watching-back, you're enigmatic or mysterious or sexy or a massive bitch or coy or cunning and if you're frowning you're hysterical or overwrought or the voice of your people or hard to please or a massive bitch or

and you stand there reading the little plaque next to pictures of people who aren't really like you because they're rich and they wear satin but they are like you because they had to watch other people paint their pictures without getting to paint them by themselves and you think about the fact that something like 80% of "fine art" on the walls is only made by white men and how so many of these pictures are of white women and how many are of naked women and how many are of bloodshed, and how the women are all looking at you and watching you and there are so many discussions about what kind of a person is she

but she isn't in this painting, is she, she's watching like a ghost behind you, saying a man told my story and you know what that's like because her facial expression defines her personality (what if she was just happy? what if she was holding back a sneeze? what if she is a kind person who relaxes into a frown when she's not focusing?) and on trains and in public if you hunch too much or let your "resting bitch face" show (it means you're not-smiling. you don't even have to be frowning. you know people who think they have "resting bitch face" and really mean they don't look delicate and pretty when they're relaxing; their facial expression isn't even intimidating it just isn't lovely) like congratulations that's your whole personhood

oh it's lovely to be in art circles and of course you've had some similar conversations because you do your homework but when you point out that maybe it doesn't actually matter if the mona lisa is smiling, that maybe we need to look at something other than her lips - people tell you that you just don't get it, so maybe you don't, but your skin crawls because you picture someone taking a picture of you and saying is she coy? is she clever? what do we see? and you think. well, i'm hungry, and stressed, and i've got those rent bills incoming

and it's not like you can say it doesn't happen with men because of course there are conversations about it but you've noticed that a man with a blank face is empowered or showing leadership skills or calm or even kind - that he gets good attributes faster for less effort - and it's not like you're even a professional in these circles but it still feels like you're trying to express something very akin to - if you were one of us, you'd need no explanation for it because you can look at a picture of these women and something in your heart rings and something else in the back of your mind says - this isn't for everyone, this is only for us and you know that no matter what you do or say about dehumanization and how we are people at the end of the day and how not every woman who smiles at you lies on a spectrum of "flirting" or "devoid of wit" - no matter what you do, they're not going to get it.

#whatever this is #i love discussing art btw #i just have noticed a very specific pattern about this #that men in paintings are Powerful #where as a woman looking at the artist without any specific expression is ''enigmatic'' like bro she's just chillin

[spop-romanticizes-abuse]

How to Write Disability: SPOP vs ATLA

(TW: ableism)

(before i start talking about this, i have to tell you that i am not physically disabled so my observations may not be a 100% correct. i'm only writing this post in relation to my experience with autism. if you feel like something i've said is inaccurate or insensitive, please feel free to let me know!)

so the two characters i wanted to talk about, in reference to writing disabled/neurodivergent characters, is Entrapta from SPOP and Toph from ATLA.

Entrapta is an autistic woman who grew up in solitude, only surrounded by robots. as a result, she is desperate for human etherian connection while at the same time, struggling with social interactions because of her autism.

she was pretty heavily autistic-coded, even before the writers confirmed that she was canonically autistic; she has a hyperfixation on tech and machinery, she is shown to stim a lot, she has a preference for tiny food (likely a sensory issue) and she is not good at reading social cues or communicating in a way that neurotypical people would understand. she is also an extremely intelligent and intuitive person who is not only good at handling tech but also shows love and affection towards people in her own way.

Toph is a character from ATLA, who was born blind. not completely unlike Entrapta, Toph was also raised in solitude, although she had her parents and servants to look after her.

her parents were convinced that Toph was incapable of being independent, because of her blindness, and were unwilling to look past her disability and treat her as a person. as a result, Toph is extremely rebellious and stubborn. she is an incredibly capable individual who learned how to navigate her way through earthbending. however, she still faces difficulties due to her disability and has to rely on her friends every once in a while.

the trope that these two shows share in relation to their disabled characters is the humor. there are jokes made about Entrapta's and Toph's disability in both shows. however, the key element that differentiates these jokes is the target.

Toph was never the butt of a joke in ATLA. in fact, she was the one making jokes about her disability 90% of the time. Toph was comfortable enough with her blindness that she didn't mind joking about it or even pranking the others sometimes.

in fact, one of the running gags in the series is that the other characters forget that Toph is blind because of how insanely capable she is.

Toph is never the butt of the joke, she's the one making fun of the others for forgetting about her disability. and it's all done in good faith.

and whenever someone is being ableist towards Toph, it's taken seriously. it's not played off as a joke and the narrative doesn't act like people mistreating Toph is this funny gag that everyone should laugh at.

now let's come to Entrapta. there are “jokes” in the show made about her disability as well, except these jokes are often made at her expense.

one of the most problematic parts of the show concerning Entrapta is the way Perfuma leashes her TWICE, because she was worried that Entrapta would get distracted and leave the group. so instead of holding Entrapta's hand or something like a normal person would, Perfuma decides that the best way to tackle this situation is to treat Entrapta like an animal and put her on a leash.

this is shown as a joke and is never addressed seriously. the show writers think that Entrapta being dehumanized and infantilized is supposed to be funny and quirky. Entrapta never gets to confront Perfuma about this or gets any kind of closure.

this was the main example of ableism in the show but there are also other minor scenes where we see characters treat her in a way that other characters aren't treated.

examples being Catra using Entrapta's trauma and loneliness to manipulate her, and Mermista literally yanking on Entrapta's hair and yelling at her, because she couldn't understand social cues.

there are also multiple examples of what i'd like to call the “translate nerd language” trope, where one of the other characters get irritated at Entrapta for using technical terms while speaking, and she has to dumb it down for them.

there's a way to write disabled characters and while Entrapta was a very relatable and sympathetic character, the ableism towards her is never addressed. the princesses are never called out on their actions, while Catra gets off scot-free after a vague apology.

when ableism was portrayed in ATLA, it was always taken seriously. Toph was allowed to leave her toxic parents and find people who accepted her for who she is, she was allowed to prove people wrong and be a powerful character in her own right. meanwhile, Entrapta was forced to be friends with the people who mistreated her and she was only kept around because she was useful.

#yes this is a repost because tumblr decided to act weird lol #ableism tw #tw ableism #spop critical #spop salt #spop criticism #spop discourse #spop #she ra #anti spop #neurodivergent #autism #disability #entrapta #toph #atla #also toph was allowed to be vulnerable as well she wasnt strong 100% of the time #she was allowed to talk about her concerns and miss her parents even after the way they treated her #meanwhile entrapta's trauma is never addressed

[hoyotournament]

Semifinals: Collei vs Furina

(Propaganda under the cut)

Collei:

MY DEADALIVEGIRL!!!!!!!!!! i genuinely don't even know where to start. collei is such a beautiful beautiful character who's entire story revolves around a girl who's been dehumanized and exploited for her entire life, healing through compassion and a recognition of her own humanity. first of all, when we meet collei in the genshin manhua, she is full of vitriolic anger and hate at both the world and herself. she's been dehumanized over and over and over again and because its a repetitive experience, she fully believes that her lack of worth is something innately true. this only changes when someone (amber) shows her unrelenting compassion and trust. amber goes against everything that collei believed about herself. amber tells her that she is not only capable of good, but she is good. amber reinforces this novel idea that collei deserves goodness. and that realization is the moment that collei begins recognizing her own humanity, and thus, recognizing her own potential to grow, heal, and be the good person that amber knows she is. every moment thus forth is a demonstration of her attempts to grow and be kind!!!! she decides to go through with cyno's sealing ritual even with its conditions! she asks lisa to help her write a letter at the end of the manhua! she mends amber's tattered clothes like she promised! she decides to go to sumeru, a land of wisdom! it's so pertinent to her character that she gains her vision (representative of her ambition) during a show of compassion (protecting a child during a dangerous storm)! it's even in her symbolism with the way she's constantly referred to as a sproutling. NOT EVEN MENTIONING HOW THE REBIRTH METAPHOR THATS APPLIED TO HER CHARACTER (re: sprout of rebirth, revived serval, cyno and anubis and their ritual) IS SO DEEPLY CONNECTED TO SUMERU (her being the first sumeru character we know of and having that rebirth metaphor hinted at in the manhua! that rebirth metaphor carrying over to the actual sumeru plot w nahida! the rebirth metaphor tying in with the snake and cat symbolism that she and the archon residue complete!!!!!!) she's just such a loaded character!! AND collei's one of the few genshin characters with canonical cptsd who has identifiable and realistically common triggers. most importantly, the game acknowledges that its there and in spite of that, shows her resilience in still trying and healing!!!! my disabled deadalive mummygirl i love her so bad.

Furina:

the girl who saved fontaine. condemned herself to a life of silent pain and suffering without any warning or preparation. she could confide in no one, seek out help from no one, all while bearing the weight of her entire nation on her shoulders. not only did her willpower save everyone in fontaine, but after the prophecy was averted, she was finally allowed to live a normal life.

#hoyoverse women tournament #hoyoverse #tournament poll #genshin impact #genshin #collei #genshin collei #furina

[jasmineiros]

I wasn't going to post this here due to the somewhat sensitive subject of idolization of celebrities and I actually already vented on Instagram stories, but once the dam breaks out it's useless to even try to contain it. And the only thing that is flooding my mind now is rage.

I already hated millionaires, but after Taylor Swift came to Brazil to that freaking circus people called a concert, I hated them even more.

In case you're not aware, Brazil is dealing incredibly badly with the climate crisis. In Rio they hit the temperature of 60°C (100F, but the sensation was of 140F). It was the highest temperature registered SO FAR. A mix of this unbearable heat and the fact that the staff managing the production of concert used certain materials such as god-damned metal to cover certain structures made several people to get severe burns and 23-year-old die of a heart attack.

Now, that's where the irony comes.

After hearing the news, the best Taylor could ever do was posting a stories saying "how sorry she was and she was so young and she was so beautiful and blablabla" but also very vehemently reinforcing that "due to her grief she wasn't going to say anything about it during the show". I mean, a person who technically loved her, had to get donations to travel across the country and literally died because of this god-damned concert and you can't even make a tiny, small tribute for her. She didn't even mention her name in the stories, which was Ana Clara, btw.

She or the staff never reached out to the family to ask if they needed anything, even though they absolutely had the means to do it. Several years ago, when a Rihanna fan was murdered, she personally paid for the expenses of the funeral, because the family couldn't afford it.

And it gets worse.

She cancelled her next performances due to the climate issues. Being herself is the biggest celebrity CO2e polluter of this year so far. And she got back to the US. In a fucking private jet.

I mean, this combo couldn't be more unbelievable. She not only completely dehumanized an incredibly painful and serious situation, as she, with the 1% of magnates that literally rule this planet, is simply the root cause of the imminent destruction of this planet but it doesn't matter, as long as she still has money being shoved into that white ass of hers.

Or maybe I'm being naive, maybe it's our fault, after all, monkeys are meant to the zoo, not to be in the presence of an untouchable, perfect and almighty nature force such as she, since apparently she can't even breathe the same air we do by just using a freaking common airplane, like a sensitive and sane person would.

The fact that she will just run out and make other concerts with that same innocent angel aura, even though she displays a borderline psychopath behavior, like she still was the 16-year-old girl writing songs about her break ups is absolutely unbelievable to me.

This is just so similar to when that cryptofascist piece of trash of Aurora decided it would be just a good idea to make a shallow and generic discourse about love and acceptance and how everyone is being cancelled nowadays when a member of her band posted and gestured dog whistle supremacy symbols on more than one occasion.

Honestly I wish I could feel anything else right now, but the only thing I can still manage to internalize and express is pure hate.

#yara.txt #taylor swift #anti taylor swift #anti swifties #swifties dni #anti capitalism

[grimeclown]

It's kind of insane watching this after years about hearing how Utena is problematic for depicting incest when it is so clearly a theme that is being explored on purpose instead of something that is being fetishized. The way that Anthy is objectified and dehumanized is a huge factor into the way her brother abuses her, just like the way everyone else treats her like a tool or a toy or a status symbol to be passed around. Miki and his sisters relationship is fucked up and weird because their relationship fell to a traumatic halt after being so close as kids, and now manifests in jealousy over one another showing interest in romantic partners. But they're not allowed to address it directly, which means they wont be able to work through it and come back to having a normal relationship. Touga entertains Nanami's fixation on him because it makes her easy to manipulate, and feeds into his ego, and she acts out in crazy ways because she can see how he leads her on. But she can't let it go because he is still leading her on.

It's a story about being constrained and suffering under concepts of societal taboos, not because they should let these siblings be together and be happy but because the secrecy and taboo is making these fucked up dynamics next to impossible to unravel

#incest mention #abuse mention