love when you can ask the Narrator why the Princess is a Princess and he's like 'well i uhhhh YOU did that. maybe it's because uh... something something about her being above you... but still approachable... look i don't want to analyze or anthropomorphize your--' my guy. i am a primal being of Order and Eternity and Shaping. You're the one who convinced me I was some dude and were quite willing to take credit for shaping my view on the world through narration five seconds ago. Are you gonna look me in the eye and tell me the desire to interpret something worthy of adoration and more powerful than me as a dommy princess is written in the very nature of the universe or are you going to show me your browser history like a man
Danny would like to blame Vlad for this, but it’s actually his own fault. He was the one who insisted on telling his parents about the whole half-ghost thing since everything else was going so well. He was the one who insisted on not waiting, on not using a duplicate and doing it in person.
Which resulted in the situation they both were in now. Injured, destabilizing, and barely able to retreat through the portal. His parents hadn’t taken things well and he would have probably ended up in one of the cages or worse if Vlad hadn’t been skulking around.
If they could make it to the Far Frozen they’d be alright, maybe. At least safe enough to not be in as much shock as he was right now and to properly take in what had happened without having to worry so much about blood loss. Ecto loss? Ugh, he was starting to get dizzy.
Maybe a nap would be fine? Vlad was still able to fly… he thinks. Just a little nap and a moment to figure out what to do. To… something. Why is it so much harder to heal now…?
i know everyone is like no no alicent wasn’t jealous of rhaenyra she always had her best interests at heart etc etc but i want to propose: alicent was jealous of rhaenyra. maddeningly so. like imagine being married to your childhood best friend’s father who has a weird valyrian fetish and can’t seem to let go of his doomed homeland which isn’t even really his homeland and then you’re suddenly being put on a pedestal with all these expectations placed on you while (as far as you are aware) your friend seems to escape all the scrutiny and despite being afforded all these options and freedom that you had a hand in convincing be given to her, she still doesn’t seem to understand nor care. i would be green with envy and i think that is alright!!!! let her be jealous! because what else did u expect from the child bride who’s been fed alternating agendas from everyone around her since the moment of her marriage??!
sokka explains to you the mystery of ms. blanche appleton
[ID: This is a digital drawing of Sokka in contemporary blue clothing, drawn in warm colors in front of cork-board with various screenshots and pictures from the linked post, all connected through red threads and notes in all caps. With his hair getting out of his wolftail, a crazed expression and in the middle of a rant, Sokka gestures like an italian for emphasis with one hand while the other touches the board. End ID]
I was always enraged at the way capitalism has devalued some of the most important labour in human history, but now I'm even more angry since I have started getting more into crafts.
So many people are alienated from the world to such an extent they don't realize how fucking important textiles and construction and art and culinary labour is, because its all ubiquitous under capitalism: it is all profit, and if it isn't profit, then it is worthless. People don't realize just how revolutionary all of the labour was, how important it is, and was, to our survival. And that enrages me.
so I heard you wanna talk religion in ttpd! let’s talk I Can Fix Him (No Really I Can).
“they shake their heads saying ‘God help her’ when I tell ‘em he’s my man.” this isn’t the outright controlling judgment of the saboteurs in But Daddy I Love Him. nobody is trying to tell her what to do or force her to break up. this is a simple admission that the situation she’s in is difficult, that she’s chosen a hard path and needs help. and what is her response? “your good Lord doesn’t need to lift a finger, I can fix him, no really I can.” she admits salvation is needed. but Taylor is casting herself as the savior. she doesn’t need any help, any grace, any divine assistance. in fact, she doubles down: “only I can”. she and she alone has the power to reform this man, because of the love between them. it’s reminiscent of False God, except now the idol isn’t their love, it’s just her. she’s going to save him.
what’s interesting to me is we don’t know how the themes of salvation would have been recapitulated in light of the reversal at the end of the song, “whoa maybe I can’t”, because the song ends there. maybe she can’t fix him because he is ultimately unfixable, irredeemable, worthless. or maybe she can’t fix him because she’s not God. and honestly, I think the song is meant to leave us wondering. she’s waking up to reality, but is the reality his smallness of soul or her power trip?
so what is the blatant Christian language in this song for? is it telling us that Christianity is evil for implanting the idea of redemption into our minds when it doesn’t really exist? or is it a hint that trying to become our own gods, even with the best of intentions, is a pathway that leads only to death?
can we talk about the katniss/lucy gray parallels (or lack thereof) for a sec?
they're superficially the same, because of the things we talk about all the time: they're both female victors from 12. there are things that come with that culture and background -- the mockingjay, the plants, the songs. those similarities aren't so much between them as people, as individuals -- they're born of coming from the same culture. the most significant thing they share is their resilience; their spirit of resistance and rebellion. their defiance.
but really, all those things they share, only serve to demonstrate just how different they are as individuals (because personality is different from upbringing or values).
we parallel their sarcastic bows, but they're so so different. lucy gray is a performer mockingly curtseying and saying "kiss my ass", where katniss is a hunter who doesn't have time for this society bullcrap.
they both sing the hanging tree, but as i've ranted about, their renditions show how different they are: lucy gray, again, a performer with a spirit unbroken, loud and charming and sassing right to the capitol's face, daring them to defy her, daring them to look away. katniss, again, a hunter, quiet but unyielding, sparking rebellion under the capitol's nose.
they both won their games, but in such different ways. lucy gray charmed the snakes (both literal and in the form of one coriolanus snow), while katniss threw down with weaponry.
lucy gray said look at me, care about me. katniss said fight for me, fight with me.
and so what we see is that they are not at all the same person, but that's what's so important. because it's not just one person or one type of person that puts their foot down and rebels. we don't need a specific kind of Chosen One to light the spark -- anyone can.
I haven't even watched wwdits since partway through season 4 but I've suddenly Ascended and am filled with divine Nandermo comprehension. This is the only read of their relationship, actually
I think there’s a definite problem though with the amount of art and fics being HEAVILY Astarion with cis women. That reeks of his queerness being erased. There should be a healthy balance of Astarion with different partners, but the “default” in the fandom is always him with a woman. As a gay man it’s very frustrating.
Okay so. in however much any of this matters. 1. Shoving this under a cut for people who are tired of seeing the discourse (I am too, I tend to scroll really really fast past it.) 2. I know the fandom discourse machine looooves super firm and snarky opinion jabs summed up in 169 words or less but I am literally incapable of not elaborating so. sorry YOU asked. since it’s also probably relevant, Im coming at this with the Mega Dyke with the fuck around and find out perspective irt my life experiences and queerness. I don’t generally care about niche queer internet discourse and I don’t generally care about fandom discourse, so you can tell how bored I am at work rn that I’m deep diving into this. tldr yeah you’re not wrong I agree that astarion’s queerness is erased in certain spaces but that has nothing to do with being attracted to women. my funny hot take is once again that astarion is a he/him evil femme to me so. let’s MOVE.
I received the second one within the first few minutes of the first, and I’m goingggg to proceed on good faith and with the idea that I think we’re all in agreement for the most part, because I think we are. But I’m going to address the most obvious thing that. I don’t really…. think is necessarily the point in this. first of all, I empathize that it suuuucks to not see as many works made for your main pairing of choice (there’s generally a deficit for literally everyone BUT astarion to boot too.) however ultimately fanworks are exactly that: fanworks, and they’re made For Free and posted by a Fan Author who has done this As A Hobby, “a problem nobody is addressing” in this context is……. you are one google doc and keyboard away from writing what you want to see in the world. or, I don’t know. encourage + comment + follow up on fic authors that write what you enjoy. fic is not paid content and the fic authors in bg3 are writing for themselves and what they put out, that they wrote for FREE, is up to them. I once again empathize with not seeing as much of a specific thing as you would like, and I definitely empathize with seeing a popularization of specific characterization that makes you want to scream, cry, throw up, etc. which brings me to what I can actually comment on and critique here. (general note: if you proceed to misread me on the basis of “people can do what they want!!” I assure you. you can do whatever you want forever. I do not care. I am not mad. I am minding my business 90% of the time. do I like domstarion? no. but it is NOT my concern nor my judgement.)
“That reeks of his queerness being erased. There should be a healthy balance of Astarion with different partners, but the “default” in the fandom is always him with a woman.” <- so! now that we have “it’s all for free man idk what you want me to say here” out of the way. we CAN critique something real in this that I do agree with. the sort of…. honestly kind of fascinating (derogatory) trends of what I’ll call Straightifying astarion for lack of a better word.
this brings me to the point I kind of offhandedly made in the previous post, about how there IS nuance to be said on astarion’s queerness getting erased. I do actually agree with you that in some spheres of the bg3 fandom, his queerness has been heavily sanitized and he’s become something of a placeholder for Sexy Vampire Boyfriend romance tropes. he’s mostly there to be a stand-in for a sexy dom vampire man; MANY of his complex character traits that have literally Nothing to do with romance have been basically entirely removed to serve a specific idealized idea of him that suit the scene. it’s frustrating! I find it frustrating. I also agree that within this specific Brand of Mischaracterized Astarion, he’s been so……….. reduced down to this that his more overt queerness is basically entirely removed. however, the issue is not that he’s with a woman in this? the issue is that the writer is not incorporating a sort of.. overarching queer lens, for lack of a better term, to the characterization they’ve got going on. you can write whatever you want forever, but it’s not written in a vacuum, I agree.
Since these are all popular straight romance tropes, he falls directly into the pit of Sexy Man (straight) very quickly, and his attraction toward others (let alone, good god, his complex relationship to sex, sexuality, desire? good fucking luck finding something thoughtful in there about that) tends to fall by the wayside as a result. It is what you would expect but it’s not without room for critique in what I think we’re aligned on; which is seeing astarion’s queerness erased is maddeninggg. And it is EXTREMELY frustrating to see if you’re someone like me, or possibly yourself, who’s into 1. really analyzing characterization and 2. really into exploring queer dynamics in writing + lit + media many different formats. THIS—the sanitization, the removal of astarion’s queerness—this is what is irksome as a queer reader.
however. the issue I’m seeing is that ^^^^^ this brand of mischaracterization is 1. being conflated with simply that he’s with women, and 2. the frustration of having less content (understandable) is turning into a very WEIRD dialogue in which the extreme of “well actually he wouldn’t even want to fuck women!!” is the stance to take (very weird) (kind of misogynistic) (kind of also reeks of continuing to talk about women as sex objects that astarion would not or would want to fuck) (astarion himself doesn’t even want to fuck for about 90% of his romance so maybe we should talk about that too) — rather than that it would be nice if his queerness would be addressed more openly and with more nuance and clarity than it currently is in That Particular Sphere Of Astarion Characterization. and, of course, the idea that it would be nice if he was portrayed with other kinds of partners! which I agree with and equally appreciate.
but there is no default. literally, there’s no default. what you’re seeing is what people are making of their own tavs, and maybe you would like to see more of another kind, but it doesn’t hold up as an actual fandom critique. what holds up is when we dive into how people write him; how do they write his personality, what traits are being exaggerated and what traits are being ignored; IS his queerness remembered within the text at all? and beyond that, how is that queerness treated when it is written? because I’ve seen the other extreme in which it’s The Homophobic Gay Stereotypes That Maybe We All Agreed At One Point Were Equally Offensive To Exaggerate To The Point Of Horror. half the discussion I see AROUND his queerness amounts to “omg he’s such a slutty flamboyant little fag” but in a quirky haha internet way. very “fruity is a nice alternative to saying queer!” “calling a gay guy fruity in the real world will get you punched out.” vibes in here sometimes and it is EQUALLY weird.
anyways. Astarion’s a multifaceted character which means the first thing everyone did was pick one or two traits to exaggerate and cling to and these color the entire reading of his character rather than taking in the whole. i agree that means his queerness got put to the wayside in some formats of him, and that’s deeply unfortunate + very frustrating. but fanfic is free, so I’m not with you that there’s a Problem That Needs Addressing so much as that’s what people are creating, and you should add to what you want to see in the world.
I’m not going to go on a tangent about how “oh let m/f be a thing!!” because I ALSO agree literally no one needs to be told “m/f is okay to do ❤️” we live in the real world here. and it’s really mindboggling how in some iterations he’s been turned into Straightstarion rather than his CANON QUEERNESS being applicable in every format of every relationship dynamic he could ever possibly be in. However. However. the answer to that is not? acting like the baseline attraction to women is the problem. if the way you’re talking about attraction to women feels rooted in upset about not relating to it and feeling like you’re forced to either relate to it or simply not engage, I do Get It, but at the risk of opening up an entirely different can of worms that needs an entirely different essay to address, gay men are not immune to misogyny and if the language used while talking about women is also objectifying or belittling women to some extent or acting as though attraction to women makes his queerness lesser. newsflash. that is still misogyny (and biphobia). it is not about defending straightness here, it’s entirely that reducing women down to sex objects even in the conversations about not seeing women sexually is alive and well (and repulsive), and that’s what I mean when I say I can hear the “lol I don’t fuck WOMEN that’s DISGUSTING” behind some of the other side of the conversation here. also this is an entirely separate essay but queerness will almost never exist in an easily consumable binary and trying to type him by his character traits is also. kind of weird. just as a thing.
inspired by the rubio quote on emily - I understand believing the LMM heroines leaving their ambitions behind is somewhat necessitated by the historical context, and I sympathize with those who would have preferred a different ending for Anne or Emily...but also (esp w Anne), I find it the line of thinking frustrating because (1) it's a false dichotomy that's (2) belied by the text imo and (3) somewhat dismissive of marriage as less than. Anne keeps writing after her marriage. She reads her poems aloud to her family and (iirc) inspires her children to do the same. Just because Emily is marrying Teddy doesn't mean she'll stop writing. The text gives us literally no reason to think that, and in fact explicitly states the opposite when Emily says that she has to write. No matter what, she has to write. If Anne, who doesn't demonstrate Emily's level of ambition, keeps writing, it's nearly laughable to think that Emily wouldn't.
What's especially frustrating is that repeatedly, LM Montgomery's stories focus on the importance of community and family in shaping, sourcing, and strengthening creativity. In Emily, it's explicitly stated that she couldn't have written her breakthrough novel if she had moved to New York and followed her ambitions as such. That's doesn't necessarily translate to romantic support, but romantic support is one form of that! Certainly, these heroines all have domestic endings; it's almost as if LM Montgomery's defining characteristic is finding beauty and power in domesticity, all while acknowledging domesticity doesn't exclude talent and ambition. Her thesis is that women can, and do, contain both. Anne can dream of handsome princes one day and publication the next because you know what--quite a lot of girls do! Emily can fiercely chase publication and long for companionship because you know what - that's the most human thing imaginable!
Acting as if marriage is an imprisonment or hindrance of some sort while LM Montgomery's heroes are marked by being supportive of their wives' talents and ambition (Gilbert is unthreatened by Anne's intelligence; Teddy understands Emily's ambition) ignores the major themes of the novels. It also fails to grapple with the historical barriers faced in a substantive or satisfying manner; it simply poo-poos the semi-requirement of marriage as the happy ending all while ignoring how radical the statements that first, women have ambitions and, second, their ideal partner would support those ambitions, were for the time.
The position also assumes that publication is the only legitimate form of success for writers, and similarly, "real" success requires recognition. It ignores the inherent value of creativity, inserts its own standards for success, all while ignoring what the heroines themselves state they want. Anne wanted marriage and babies; Emily is deeply lonely at the end of Emily's Quest and desires a companion who understands her. LM Montgomery actually directly addresses the idea that Gilbert stole Anne from her ambitions in TBAQ, and Anne laughs at the idea. For Emily, it's more understandable because she does value publication and is very ambitious, but that's where point number one comes in. Would the critics of her (admittedly rushed and slapdash) ending prefer that she stay alone surrounded by people who don't fully understand her? If anything, it's implied that Teddy will enhance Emily's creativity by providing the support she needs, and has in the past when he literally gives her the idea for her first novel, A Seller of Dreams.
I understand the cut and paste ending of "love husband marriage babies" can get to be tiring, especially when presented as the "right" path for women. I admit that the historical context - and pressure - here is impossible to ignore. After all, the examples I gave above are only legitimate to the extent LM Montgomery legitimized them; there could have easily have been a version of the story where Emily only succeeded because she moved to New York. Even LM Montgomery, as mentioned above, writes Gilbert explicitly saying that he regrets that he stole Anne's talent from the world. Sexism is definitely present in these novels. Still, the condescending tone when talking about these ending irks me. In the end, I guess I find the sainting of ambition as ridiculous as I find the sainting of marriage and babies as paths for women. One's as gross a simplification as the other.
At the end of the day as well, LM Montgomery writes slice of life novels based on the charm of rural PEI and local community. She focuses on the everyday purposefully. Complaining that she doesn't have heroines who move beyond domesticity (although really, she does with Sara Stanley) is like going to a pizza parlor and complaining when you get served pizza. Again, this only works to the extent that you agree with LM Montgomery's presentation - but there's something silly in complaining that her slice of life semi-romance novels from the late 1800s-early 1900s all end in marriage for the heroine.