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5ummit · 1 year

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So there's this post with a troubling number of notes going around insisting that "dead dove" is not a genre, it doesn't inherently have anything to do with darkfic, and that the tag could be applied to fics that are "100% fluffy where everyone's having a good time" if they happen to contain some abnormal (though entirely non-problematic) content like an unusual kink. The claim is that "dead dove: do not eat" is simply a "courtesy tag" that means "this is a very specific niche, mind the tags." And that's just... wrong.

I wrote up a whole rebuttal to this post since I can't stand misinformation and frankly OP was being kinda rude and judgey on top of their wrongness. But right after I posted my reply, OP turned off reblogs because, and I quote, “some fuckwad added some dumb shit onto this post and it is no longer educational” (the “fuckwad” being me and the “dumb shit” being proof that they were wrong). A couple people have asked me to make a rebloggable version of my response, which I've decided to do because this isn't the first time I've heard similar claims and I want to help set the record straight. However, I'm not linking the original post on the off chance this gains traction because OP did the right thing by turning off reblogs, preventing it from circulating further, and I don't want them to get hate for being unfortunately misinformed.

For those who don't know the history, "dead dove: do not eat" was originally proposed as a catchall "hydra trash party" alternative label for any fandom to warn that the content of a fic may be considered problematic or potentially upsetting and to read the tags carefully so you know what you're getting into and won't complain later. Specifically, DD:DNE was intended to convey that the Bad Things in the fic would likely be reveled in and not explicitly condemned by the narrative, which some people tend to get up in arms about, hence the need for the extra warning in addition to the tags. Don't believe me? Here's the original proposal (note DD:DNE can be found on a handful of fics dated before 2015 but this is when it really took off and became a Thing).

There are currently around 50,000 fics tagged as "dead dove: do not eat" on AO3 and close to 50% of those also include the rape/noncon warning (which of course is not the only type of "dead dove" but is one of the most popular and most consistently tagged). The normal percentage of noncon fics in any given fandom? Around 1-3%. That's a HUGE disparity. So don't tell me that dead dove is just a general "courtesy tag" and doesn't or shouldn't have dark connotations. Even the context of the original joke on Arrested Development has a dark undertone. Micheal Bluth casually finds an animal carcass in a bag in his refrigerator with the label "do not eat", as if eating it would be any sane person's first thought. The whole situation is kinda fucked up. And this fucked up vibe very much carries over into fandom usage too, as was intended.

The claim that dead dove has nothing to do with the content's genre and could just as easily be used to describe a 100% fluffy fic in which everyone's having a good time is straight up Wrong, or at the very least, severely warping the original meaning. Also, when someone these days says that they like/dislike "dead dove" most people in fandom automatically understand what that means because of the consistency of its usage over the years and the way language evolves. Whether you like it or not, "dead dove" IS a genre now and the term does carry a specific connotation. I do agree that DD:DNE should definitely still be used in conjunction with other tags, when applicable, to be explicit about the exact type of fucked up content you may find, but to say that the term is meaningless on its own is patently false and I'm tired of people who don't know what they're talking about pushing this narrative and causing even more confusion.

You want a generic term that also means "mind the tags" and doesn't have any inherently dark connotations? Just use good ol' "what it says on the tin" instead of trying to force dead dove to be something it's not.

#fyi I've tweaked my response slightly to remove specific references to OP and make it read better on its own #I hope I don't regret making this post and inviting The Discourse #but dead dove is a topic that is very near and dear to me #I feel like someone has got to say something and put a stop to all of the misinformation around it these days #fandom #long post #my words #psa #wendy's help desk

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scoobydoodean · 4 months

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what is your opinion on people calling dean a heavy misogynist? i don’t agree personally but i feel like you could put my thoughts into better words

First, I have to chuckle a little at "heavy misogynist". Apparently, some people have begun to realize their fave is also guilty of misogyny crimes therefore they focus on making sure all of us know Sam is a light misogynist and Dean is a heavy misogynist. I just find that amusing.

This is a broad topic in a long show, so I won't endeavor to address every conceivable incidence of misogyny in the show I can think of. Instead, I'm going to create a few headings, at least one of which I think most criticism falls under.

Misogyny through the writing team

How Sam's misogyny gets a pass

Purity culture wank and Dean performing for Sam

How Dean actually treats women

Misogyny Through The Writing Team

First, Supernatural in of itself has issues with misogyny—as in, the writers of the show (including female writers) have issues with misogyny which they are happy to put on display semi-frequently. The show started in 2005, during a period of time where casual sexism was absolutely rampant on TV and no one thought anything about it. Female celebrities were regularly mocked and dragged on cable television in a way men simply weren't. They were called bitches and skanks and whores, and even "progressive" voices were inundated with casual misogyny and a fixation on purity culture (that largely applied to women only). Quite simply, I think fandom tends to be far too generous toward the writers, assuming certain things were "flaws" the writers intentionally wrote for the characters.

Put another way, there are some criticisms I prefer to level at the writing team rather than the characters, because what is written plainly reflects their ignorance in the real world rather than any intent to give Sam or Dean or any other character meaningful flaws—much less outright terrible ones that greatly harm their image. I'll give a few examples:

2.17 "Heart" makes me very uncomfortable as I sit here in 2024 and observe how Sam and Madison's romance develops. Me feeling that way does not mean the authorial intent of 2007 Sera Gamble was that I think to myself, "Man Sam comes off as uncomfortably rapey here." Hopelessly bad with women, perhaps—but not creepy.

In season 2, the writers begin to develop a running “joke” that Sam is afraid of not just clowns but also little people. The latter “joke” is (wisely) dropped fairly quickly. I have never criticized Sam for being afraid of little people, and I never will. It is readily apparent to me that this running "joke" reflects the ignorance of the writing team rather than an intent to give Sam meaningful or interesting flaws. Their intent was to use little people as the butt of a joke. I personally find this "joke" distasteful, and the idea of trying to take that and somehow "dunk" on Sam for the bigotry of the writers is more distasteful to me.

This is also how I feel about the running "joke" of a porn magazine and website (BAB) that solely features Asian women, that is put on display on multiple occasions during the show—first in 2.15 "Tall Tales", where the context is Gabriel infecting Sam's laptop with a virus from the website and making him believe Dean is responsible. BAB continues to make "Easter Egg" appearances in the show afterward. While often associated with Dean by fandom, the writers clearly think of BAB as a general, "funny" (it isn't), running gag with no more depth than "haha men like porn funny". An issue is stolen by a sentient teddy bear in 4.08 "Wishful Thinking". An issue is owned by the teenager who swapped bodies with Sam in 5.12 "Swap Meat". The Men of Letters also collected a considerable number of issues (8.17). I simply do not believe the writers thought for a single moment about BAB being a grossly racist gag. They most certainly did not write it as an intentional criticism of Dean from that perspective. It reflects nothing but their ignorance and racism here in the real world, and absolutely SHOULD be criticized from that REAL WORLD impact.

How Sam's misogyny largely gets a pass

One of the things I have not been able to stop noticing on this rewatch is Sam's issues with misogyny, and how often Sam's misogyny comes out in conflicts with Dean... starting from the very first episode of the show. Pretty much any time you get anything that feels like it might be a misogynist Dean or horn dog Dean moment... Sam either just has or is about to follow that up with some misogyny of his own.

In 1.01, right after entering Sam's apartment and meeting Jess, Dean mentions the Smurfs on Jess's shirt. We think to ourselves "Okay. A little misogynist... a little horn-dog Dean." Sam is happy to 1-Up that in two ways. First, Jess voices her intentions to go get dressed. Dean dismisses this, but while doing so, makes it clear he intends to leave the room with Sam, as he'd like to have a private conversation with Sam anyway. Sam objects, walking over to Jess and putting an arm around her, demanding Dean say whatever he needs to say right then and there. Maybe this would feel supportive if Jess wasn't in her underwear and hadn't just made it clear that now that the panic over a possible break-in is over, she'd really like to not be in her underwear in front of a stranger. But nope. By god she needs to stand there so Sam can prove a point about misogynist Dean! Second, Sam immediately (and I think quite erroneously) jumps to imply Dean is trying to cut Jess out of the conversation because she's... a woman? Or... something? He makes a big show of moving over Jess and standing beside her, saying anything Dean has to say, he can say in front of Jess. However, the moment Sam actually understands that Dean is here because John is missing on a hunting trip, he dismisses Jess to speak to Dean alone... because he's lying to her. By painting Dean erroneously with this "The men are talking" bullshit that had nothing to do with anything, Sam sets himself up to be viewed as a misogynist by his own framing of the situation and what it means to leave Jess out of a discussion. He also reveals his own alleged principles as a performative illusion. Despite being his intended life partner, Sam never intends to tell the woman he loves about his past as a hunter (he makes this clear later on the bridge). However, I think because Sam's actions usually co-occur with what gets called out more directly or more immediately recognized as misogyny from Dean (should have gotten him for the Smurf's comment, Sam!) Sam's misogyny often flies under the radar... and he's really... pretty bad.

I spoke here at length about how Sam tends to look down on women who interact with Dean (often before meeting them). There is absolutely an intersection with purity culture here and there's discussion in that thread about that as well, and whether this is a "2000s writers" issue or intentionally written flaws.

In 1.06, Sam cuts Dean off before Dean can accept an offered beer from Rebecca, but then as soon as Sam needs Rebecca out of the room, Sam asks her to not just bring them those beers... but also fix them sandwiches. Rebecca says, "What do you think this is, Hooters?" and Dean mumbles, "I wish" and we somehow lose sight of the fact that Sam literally just asked a woman to make him sandwiches which is possibly the number one misogynist man trope. Sam vaguely suggests Dean is a misogynist in 1.19 for nudging Sam to go on a date with Sarah Blake and possibly get information on the case, because that would be "using" her, but Sam wants to "use" Meg Masters in 1.22 and he wants to "use" Ruby to get what he wants, and when he said getting information from women was "Dean's job", he was also showing he was perfectly willing to use Dean and Sarah—he just doesn't want to get his hands dirty. It also comes to light in 1.19 that this is more about Sam's belief that he has to protect women from him, and Sarah herself ends up calling Sam antiquated for it.

I mentioned before that Sam doesn't plan to ever tell Jess who he is, and he makes the same plans with Amelia. Dean, meanwhile, confides in Cassie (it's what leads to their breakup) as well as Lisa.

I also have to mention... one of the funniest things I see deancrit samgirls in particular dig at time after time after time is Dean calling women "bitches". Never mind that Sam also calls women like Ruby and Bela bitches and calls a woman a bitch in front of Madison. Apparently none of these occurrences count because... *looks at notes* reasons. "Bitch" only counts as misogyny when it's Dean saying it. Also, let's not mention that Sam exclusively uses the word "bitch" to refer to women, while Dean also calls men and creatures bitches at different points so it isn't a gender specific insult for him.

Dean is definitely the "heavy" misogynist here... right? (I guess Sam is a "tall" misogynist instead).

Purity culture wank and Dean performing for Sam

Dean is commonly treated in fandom as if he's some kind of sex pest, and quite blatantly... he isn't one. Women almost always proposition Dean first (thejabberwock has sets on this here and here), but him asking people out also isn't inherently creepy in any way? Co-occurring with Sam's purity culture inundated judgements, we often see fandom's own as well, where Dean is some kind of sex pest because he... likes women? Or... because he has sex with consenting women who also want to have sex with him? Sometimes it's giving purity culture wank, sometimes it's given big radfem energy... but regardless, I sometimes see people talk about Dean like him so much as making eye contact with a woman is a violent sexual threat, and that's just laughable—as is denying the agency and autonomy of consenting women in general.

Even though it doesn’t matter in the grand scheme of things, I'll also add that Dean... doesn't even actually have sex with the frequency that people talk about it? Dean has sex with Cassie—who was a long term partner of his in 1.13. He has sex with an actress in 2.18, and with Doublemint twins in 3.01. He has sex with a waitress 4.05. He plans to have sex with someone in 3.04, but turns her down when he realizes she's a prostitute who's working. This happens again in 10.07. I'm on season 4 of my rewatch and haven't been formally keeping up... but Dean is not actually having a lot of sex? We get implications he's been out partying a few times, and can maybe infer he scored, but we don't actually know.

I'm not a huge fan of performing Dean, in the sense that I think over the years I have seen it wildly overstated far too many times. But I do think Dean sometimes plays a character for Sam especially. Dean tells us this himself in 2.03 "Bloodlust" when confiding in Gordon. He never says so directly when it comes to the sexy sex guy doing sex persona, but his actions reveal him. One can think of plenty of examples of Dean saying horny stuff about women to Sam... but what about his actions?

How Dean actually treats women

Finally, there's how Dean actually treats women... and one would be very hard pressed to prove to me that Dean is sexist toward the women in his life. He's been close friends with multiple women and worked with women on hunts on multiple occasions and never once batted an eye. Jo in 2.06 is sometimes floated as an example, but it's actually discussed within the episode. Dean makes it very clear that he thinks women can do the job just fine. What he has a problem with is Jo's lack of experience and her romanticization of the job (especially during a period where Dean has fallen deeply out of love with the job himself). Everything we see as the series progresses supports Dean's assertion as truth. He's very good friends with Charlie, Jody, and Donna and doesn't go around excluding them on hunts while favoring men. That is not a thing that happens. While he initially tries to talk Claire out of the life (as he does everybody—this is not unique to women—see Adam for example) when she decides to hunt, he supports her regardless. There is nothing uniquely overprotective about how Dean treats women who hunt. End of. Dean has no illusions about traditional gender roles or any of that nonsense, jumping to clean dishes after dinner at Jody's and cooking breakfast for Lisa and Ben. (Our knowledge of Dean and the chores he does for his family already tell us this—but regardless). Even Demon Dean, an entity with no love for anyone and close to zero principles, targeted men who abuse and threaten women, and when Crowley ordered him to kill Lester's wife to fulfill the terms of Lester's demon deal, Demon Dean instead became so deeply annoyed with Lester's hypocrisy (he cheated on his wife first) and his assertion that it's different when men cheat, that he killed him and smiled while doing it.

So anyway, nope—I don't think Dean is a "heavy" misogynist.

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elbiotipo · 1 month

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>wakes up

>someone is preaching about race to latinoamericans again

What's funny about this is, when talking on the US context, most of us are aware of race issues in the US, at least in the basics. We are raised with US media and news, and in this context in particular in tumblr, many of us are in 'fandoms' of US media too. So even if we haven't experienced it ourselves, we understand how racism presents itself in the US and we also understand it's a very diverse country. When we see a Hollywood movie with a cast of people of many different backgrounds, it makes sense to us. The US is big and diverse.

Which is also why it's so incredibly annoying when people from the US or elsewhere have such an ignorance about Latin America, or to be fair, any other place. We wouldn't think of calling the US a "white-only" country, or to judge the ancestry someone of the US by their skin tone. They feel perfectly comfortable and willing to do that to us, though. They feel perfectly comfortable to judge entire countries by their own narrow views on race (reinforcing racism itself, by the way). The fact that Latinos have different experiences and issues with race, ancestry, nationality and identity is seemingly arcane knowledge to them. I've seen people outright deny to me the existence of black or indigenous Argentines (a tactic used by our own white supremacists, so congratulations, you two are friends now!), being completely baffled at the existence of asian or arab latinos, and pulling skin tone charts and calipers on anyone who doesn't fit the racial boxes they think apply everywhere in the world.

It's very, very hard for me to wrap my head around this. How one can be so insistent that their own country is diverse and has complex nuances with regards to race relations, and then going the other way and judging whole countries or complete strangers without any attempt at understanding them. My only suggestion is that they perhaps should stop thinking that their experiences are universal.

#cosas mias #also I don't think they even realize that to ask 'what race are you' is considered rude in virtually all places INCLUDING the US

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nexysworld · 1 month

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Dead Dove, Content Entitlement, and Fandoms

There's been no end of posts clogging up popular fandom tags with arguments and opinions on dark content, dead dove, and related things. While I've seen some decent posts that go over media literacy and dark content, I personally feel like none fully encompass my entire feelings on this nor provide all the points that I feel are important.

I know people have strong feelings on this subject, and I'm not expecting to immediately change anyone's minds. But I hope maybe I can toss some food for thought out there, or provide further context from both a victim of SA as well as a content creator. This has been bothering me for a while now to the point where it has been making me no longer want to write or engage in fandoms on Tumblr, and so I needed to get this out there with my stance. I've also had people in my inbox stating that my dark content is somehow morally better than other writer's dark content. TW: Mentions of dark content including discussions of noncon/dubcon, harassment, SA, etc.

Addressing Common Points

If you write or consume [INSERT CONTENT], you're romanticizing and endorsing it and that makes you a bad person. Or, you're weird/wrong/gross for it. I see this brought up primarily with dubcon/noncon topics. It should go without saying, but fiction is fantasy, it's separate from real life. Adults who consume this type of content understand that these things are NOT ok in real life. But to take it a step further, I want to stress that having noncon fantasies is actually INCREDIBLY common. In studies regarding these fantasies, nearly 50% or more of people who participated admitted to having fantasies that align with these topics the majority of which are women. Not only that but these kinds of fantasies are even more common in people who have been victims of these crimes. This isn't some niche thing only liked by a minority of people. If you don't believe me here's an example of ONE study, but there's plenty of easily accessible information out there. By conflating consuming/writing this content with someone's moral character stigmatizes these feelings further and does more harm than good. And I know what you're thinking though. But why? Why would someone who's gone through something like that fantasize about something so awful? Why is this appealing to anyone, victims or not? Fiction creates a safe space to explore topics. In fiction there are no real victims, no one is actually getting hurt, it's all fake. The characters aren't real and if at any point as the reader you are too uncomfortable to continue, you can stop and exit. You can like the idea of a fictional person tossing you around, while also feeling uncomfortable if a real life man tried to pick you up a the bar or didn't take no for an answer. There's also "normal" things you can fantasize about, but not want to participate in IRL.

Hypocrisy and what is considered dark content? This won't apply to everyone, but I've seen a number of people who claim to be anti-dark content but reblog things that are non consensual, perhaps without realizing it. And this is especially true for those who are younger on here. Please understand that noncon/dubcon does not inherently need to be violent or gory. Any situation in which there's a lack of consent or a power imbalance is inappropriate. Somno fics? If it's not explicitly stated that it was agreed upon prior in the fic, that is still non consensual even if it's written to be "sweet.", even if it's a pre-established relationship. Professor x student fics? There's power imbalance there. There's a reason you cannot have a relationship with your teachers in real life. Hybrid fics? Most people write hybrids as completely sentient people who are treated as sex slaves. They have little choice or are "following instinct." You cannot consent to someone who literally OWNS you after adopting you. You get the gist. There's far more to consent than physically manhandling someone. Yet because these things are written in a way that contextualizes them as being "sweet" and "normal", they aren't considered dark content by many people. If you're ok with the above, you have to understand that these ARE forms of dubcon/noncon. I would even argue that these are more romanticizing of these topics than stuff that's far more explicit in nature. If you would be pissed if your IRL partner tried to feel you up in your sleep, but enjoy somno fics, or enjoy the Taboo of Professor Leon, but wouldn't fuck your actual college professor - then that is the EXACT way in which people who enjoy even "darker" content can enjoy the fiction whilst not partaking in real life.

It sets a bad example for younger people on the website/"protect the children." Children shouldn't be looking at smut in general, dark content, vanilla content, etc. I don't know what else to tell you. It is NOT the job of content creators to try and police what teenagers do on the internet, that's between them and their parents. The majority of creators who make 18+ content explicitly state MDNI and block those younger than 18 if we discover them trying to interact with us. That is the most that we can and should be expected to do.

[INSERT CHARACTER] would NEVER act like that, it irritates me when people write them as OOC. Fanfiction is by definition NON canon. The only people who truly know how a character is supposed to act are the people who created those characters. But I want to add on to this, there are plenty of times in which a character acts entirely OOC even in fluffy or vanilla fanfiction. Every writer is going to have a different interpretation of how a character acts or thinks - and yet it's only really complained about when it's dark content. These characters are not real. Leon cannot be upset or hurt by people writing dark content about him, because he doesn't exist. Part of the fun of fanfiction, at least in my opinion as well, is justifying certain things within the context. Many dark content writers will and do explain why the character became how they are or why they think that way using canon as context - not that I think it's required because fanfiction can be whatever you want it to. The point is, dark content or not, not everyone will be on the same wavelength as you about your favorite character.

Even if you're a victim of SA or other crimes, you should get professional help, not read dark content. This is a very bad take in my opinion. Mental health care can be incredibly hard to get. Reading fanfiction is free, it's harmless. But genuinely, imagine you're a victim of a heinous crime, and you're already struggling with feelings regarding it - to then be mobbed by people online telling you that you're weird and wrong for having the feelings that you do? This is also in league with my first point, but having these feelings are actually VERY normal. This is a healthy way to process the emotions in a safe environment where no real person gets hurt, where you can leave whenever you want. Stigmatizing these things does hurt real people though.

You're hurting other people who're victims of these things. Look, if a fic is not properly TW then I fully understand. Every victim will have a different experience, and while some may be ok with dark content, others won't. So if you open a fic expecting it to be one thing and it's another, that's shitty. But tags are there for a reason. If you see something marked Noncon, and that's triggering for you, no one is expecting you to read it. And here's the thing with tags/tw's as well, everyone's trauma is different. Something that one person might not consider dark content, or is generally considered innocuous might trigger someone else. If you are one of those people who think even seeing the trigger warning could be harmful to people, then that's a prime example of WHY you must curate your own experience online. Block certain words, tags, and phrases to make sure you don't see them. But that's on YOU to do, not people who create content. Their only responsibility is to warn you about the contents of the content they've made, their responsibility stops beyond that point. You know what DOES affect real people besides the stigmatization of their feelings or kinks? Harassing them. Leaving hate comments, telling people to unalive themselves. These affect the mental health of the real people behind the content that you don't like. I've seen death and rape threats SENT to dark content writers.

Dark content in other forms of media. It's interesting to me that the majority of discussion around dark content comes from people criticizing fanfiction specifically. Take horror movies for example. The Saw Franchise, we'll say. Do you think the creators of that series want to enact those horrible things onto other people? Do you think they want to be the victims of Jigsaw themselves? What about people who watch content like that? You probably don't think that they do. There's TONS of movies, music videos, even horror novels that have incredibly, and I mean INCREDIBLY dark dead dove content - and yet most people understand that the appeal is in the taboo. That it's fiction. That people who consume THOSE forms of media don't want to participate in those things but do enjoy consuming that content. But when it's fanfiction it somehow becomes a problem.

Entitlement and demand of fandom content. In addition to all of the above, there is a major uptick in people complaining about the content within fandoms some not even relating to dark content. "There's too many stories where reader acts like X." "I hate how so many people characterize this person because that's now how they would act!" "Why is there so much smut? Why can't there be more of {insert what I want}". This is FREE content made by people who do this stuff as a hobby. No one owes you content, and no one HAS to write the way you want them too. If there's tons of content like that, then it's because it's popular. Perhaps your version of a character is in the minority opinion, and that's completely ok!

What's the solution to all of this discourse?

Be the change you want to see! If you feel like there's too many x reader fics where the reader doesn't act how you want - then write it the way you want. Do you have head canons about a series or character that you haven't seen discussed before? Make that post yourself! If you don't feel there's enough fluff in the fandom - then create some! And if you don't want to make content yourself - request it, commission it. Interact with your favorite writers! Encourage them, don't demand. Talk with them about their work, leave comments, and reblog, reblog, reblog!! Being a part of the discussion and interaction is the BEST way to help the community thrive. Surround yourself with the content that YOU want, curate YOUR experience. Block every dark content writer you see if it helps. Go into your Tumblr settings, block words, block tags. Don't set yourself up to be upset or bothered by the content you're getting. Even if you read the above and you still think every dark content writer is a horrendous, awful person - the best thing to do is still block them. Block their content. Harassing them and complaining on it will NOT stop that content from existing. But you will continue to upset yourself by not curating your own experience.

~~~~~~~~

If you made it through all that, thank you for reading. I want to add that my blog WILL continue in the future to have a mix of both dead dove and regular content. I also interact with other dark content blogs, so if you're someone who followed me because of my "regular" fics and want to unfollow/block me, I'm ok with that. <3

#nexyspeaks #Leon Kennedy x reader #resident evil #fandom culture #resident evil writers #resident evil x reader

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sparrowlucero · 1 month

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Even if a creator is a bad person it's still okay to like their work. People need to mind their own business.

Honestly it's not really that sort of situation. I'll actively defend Steven Moffat here.

There was a huge hate movement for him back in the early 2010s - which, in retrospect, formed largely because he was running 2 of the superwholock shows at once, one of which went through extremely long hiatuses* and the other of which was functionally an adaptation of an already well regarded show**, making him subject to a sort of double ire in the eyes of a lot of fandom people. Notably, his co-showrunner, Mark Gatiss, is rarely mentioned and much of his work is still attributed to Moffat (and yes, this includes that Hbomberguy video. Several of "Steven Moffat's bad writing choices" were not actually written by him, they were Gatiss.)

People caricatured the dude into a sort of malicious, arrogant figure who hated women and was deliberately mismanaging these shows to spite fans, to the point where people who never watched them believe this via cultural osmosis. It became very common to take quotes from him out of context to make them look bad***, to cite him as an example of a showrunner who hated his fans, someone who sabotaged his own work just to get at said fans, someone who was too arrogant to take criticism, despite all of this being basically a collective "headcanon" formed on tumblr. Some if it got especially terrible, like lying about sexual assault (I don't mean people accused him of sexual assault and I think they're making it up, I mean people would say things like "many of his actresses have accused him of sexual assault on set" when no such accusations exist in the first place. This gets passed around en masse and is, in my opinion, absolutely rancid.)

On top of that a ton of the criticism directed at the shows themselves is, personally, just terrible media criticism. So much of it came from assuming a very hostile intent from the writer and just refusing to engage with the text at all past that.

Like some really common threads you see with critique of this writer's work, especially in regards to Doctor Who since that's the one I'm most familiar with:

A general belief that his lead characters were meant to be ever perfect self inserts, and so therefore when they act shitty or arrogant or flawed in any way, that's both reflective of the author and meant to be viewed as positive or aspirational.

An overarching thesis that his characters are "too important" in the narrative due to the writer's arrogance and self obsession

A lot of focus on the writer personally "attacking" the fans or making choices primarily out of spite.

A tendency to treat the show being different to what it's adapting as inherently bad and hostile towards the original

Just generally very little consideration of the themes, intent, etc.

This one's a little more nebulous and doesn't apply to all critique but a lot of it, especially recently, is clearly by people who haven't seen the show in like 10 years and their opinion is largely formed secondhand through like, "discourse nostalgia". Which. you know. bad.

I think these are just weird and nonsensical ways to engage with a work of fiction. I also think it's really sad to see the show boiled down to this because that era of who is, in my opinion, very thematically rich and unique among similar shows, and I hate that it's often dismissed in such a paltry way.

This isn't to say people aren't allowed to critique Steven Moffat or anything, but the context in which he basically became The Devil™ to a large portion of fandom and is still remembered in a poor light is very tied to this perfect storm of fan culture and I just don't agree with a ton of it.

* I'm sure most people have seen the way long running shows and hiatuses will cause people to fall out with a show, with some former fans turning around and joining a sort of "anti fandom" for it while it's still airing. That happened with both these shows. ** Doctor Who will change it's entire writing staff, crew, and cast every few years, and with that comes a change in style, tone, theme - the old show basically ends and is replaced by a new show under the same title. As Steven Moffat's era was the first of these handovers for the majority of audiences, you can imagine this wasn't a well loved move for many fans. *** I know for a fact most people have not sought out the sources for a lot of these quotes to check that they read the same in context because 1) most of them were deleted years ago and are very difficult to find now and 2) many of them do actually make sense in the context of their respective interviews

#and yeah i think the hbomberguy video is kind of bad #I can pull up examples but a lot of what he's saying is very rooted in this sort of critique #maybe most egregiously he sometimes just explains something very poorly or outright incorrectly to make it seem worse or more nonsensical #ex. saying a scene in doctor who 'steals a huge chunk of the plot' when it's less than 30 seconds long #saying two characters randomly start hanging out again while not mentioning the episode entirely dedicated to this #or the way her decision to keep hanging out with him is the emotional turning point of the entire season #etc etc etc.

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demonsword586 · 2 months

Text

Leviathan Attacker part 5

(Out of context,I am a bit afraid of getting taken down. Since I'm pretty sure we all heard what happened to whb wiki and the person in charge of it. As of now there is ln't too much info but apperantly someone reported them and they had to take down all the pics and audios and their blog is also down?! I dunno,I'm just a bit nervous for everyone who is posting a lot of PB's work in case we also get reported and all of this would go to hell.I really hope the person who arcvhived everything for the public isn't in a lot of trouble. It hurts seeing someone who worked so hard for this fandom get ghosted out of existence. Anyway enjoy your horny deer boy)

Leviathan: Ku,urgh...

Leviathan stiffened for moment.

Not because he had calmed down,but because he had ejaculated largly inside !ou again.

A great rush of pleasure,washed over you as you felt your stomach fill with his fluids again. At the same time,you began to feel something else fill you.

MC: How....Why...are you getting harder?!

As you screamed,Leviathan began thrusting inside you roughly,as though the tightwned grip on his throat has made him more than pleased.

You tried to calm Leviathan down somehow,placing a hand over your hole to stop his cock but it backfired.

He buckled his hips harder,as if your touch has made him even more excited.

Each time he did so,the rattling balls beneath his cock,slapped against your bottom

Unable to resist the pleasure that had taken over your head,your hand that was holding the curtain ribbon finally let go.

Wheter you passed out or died while having sex with him,it would be a death of luxury that would make the former devils of Hades jealous.

With those thoughts,you began to mark Leviathan's entire body as if in a final act of death.

You pulled yourself up by placing one hand behind your back and with your free hand you frantically grabbed Leviathan's shoulders,forearms and chest,punching and slapping,embracing the pleasure that was driving you.

In the meantime,your soften and swollen hole and Leviathan's fully hardened flesh were rubbing against each other,producing an endless stream of moisture.

You had a feeling that Leviathan was about to ejaculate again.

This time however,you wanted him to call out your name,rather than to come inside you in a daze.

MC: Leviathan...ugh..Levi...ah!..than...Who am I?

Leviathan: Shut up.....

MC: Look properly...mmgh...Who am I?

Leviathan: Urgh...fuck...Mc

Your fingertips and toes twiched and your eyes narrowed as the perfect auditory stimulus was applied.

It was like a bull running downhill after being kicked in the bottom and then being lifted back up in the air.

In a moment that felt very long,you tightened your inner walls with all the strenght your body could mutter, in your almost unconscious state.

Leviathan: Kurgh?!

Leviathan's eyes seem to turn bright red,and then he buckled his hips harder than you expected,spewing a massive load of cum into you.

MC: No...there's...no more space inside my stomach...I think it will come out of my mouth!

You uttered something,you didn't even know you were saying.

At the same time,a large fountain splashed unknowingly between your legs.

You felt giddy,like you had just ejaculated for the first time in your life and your whole body tingled.

You had a lot of expectations and fantasies about love and sex in your life,including a variety of diffrent and somewhat bizzare,if you will,delusions as well.

Like the clinches that weren't used that much these days even in the K-dramas that Minhyeoks family enjoyed watching.

Sex with Leviathan however,went far beyond that and fulfilled your most basic desires.

The feeling of being a female,being completely owned and held by the strongest male in the world.

That was an expwrience you would never felt on Earth.

MC: Ha...ha...ha...

A feeling of exaustion beyond a pleasant langour washed over you.

MC:( Will I...really die like this?...From coition death?!)

That was a death that was very becoming of you in itself. But...

MC: ( I'd feel a little bad for Minhyeok if I died like that...)

The moment the thought struck,Leviathan's eyes which seemed to be locked in a state of perfect pleasure flashed with frightwning intensity.

The half-dazed,half-crazed look he had before was now nowhere to be seen.

Leviathan: Who are you thinking of,when me is infront of you?

Leviathan: When I am filling you to the brim like this!

The aura of jealousy dripping from his eyes rwminded you of cum drippi g from his cock.

MC: Levi..ahtan...are you,ugh..awake,agh?!

For a moment you wondered if Levoathan had come to his senses and was done with this act.

He was rubbing his penis that was dripping wirh cum over your genitals.

You were already feeling lanquid,but as he gently rubbed himself on you,you felt sleep wash over you with a faint sense of pleasure.

The cum he'd ejaculated was dripping down but he coudn't be bothered.

MC: Leviathan...

Leviathan: What?

MC: Are you still cold?

Leviathan: !

Leviathan widened his eyes in slight suprise,before returning to his normal expression.

And then he carefully brushed the wet hair off your cheek with a hot hand.

Leviathan:....It's warm.

MC: That's a relief.

You said and completely fell asleep.

You opened your bleary eyes,feeling the sun gently warm your cheeks.

MC: Leviathan...?

You were laying on Leviathan's bed alone.

Barbatos: Ah,are you awake? MC? I understand that you would suddenly open your eyes because the sun makes you feep good!

Foras: ...But it may have been to keep your eyes closed for longer.

Foras said kindly,seriously approaching the bed.

There was already a blanket someone put on top of you,but Foras pulled it up some more,covering you snugly to the base of your neck.

Foras: His Majesty Leviathan is away on urgent state affairs. And he assured us to take good care of you.

You were dissapointed not to see Leviathan when you opened your eyes,but you were pleased that he assured them to take good care of you.

Glasyal La Bolas: Keke,Foras. I think it was too much for his Majesty Leviathan instead! You really must have intended on squezzing out all of the seeds inside his Majesty Leviathan.

Said Glasyal La Bolas,pointing to the curtain ribbon which still smelled thickly of Leviathan.

MC: Huh? What do you mean?

Glasyal La Bolas: Did you know that when they hang death-row convicts,they place a bucket under them?

MC: No? Why do they do that?

Glasyal La Bolas: Because men ejaculate a massive amount just before they die whrn they're hung. They ejaculate all the remaining cum inside of their bodies.

Glasyal La Bolas: They're trying to plant a seed somehow just before they die.

Foras: It doesn't have to be strangluation,but creatures have an instinctive reaction to death.

Foras: For example,ejaculating when stiching up a severed arm that's incredibly painful or when your throat is slit.

MC: !

You suddenly realized why strangling Leviathan has backfired.

Hanging already made you instinctevly ejaculate and Leviathan was a devil who even had a fetish for strangulation.

MC: ( I was out of my mind! I didn't think of that before...)

You felt embarrassed realizing in hindsight ypu had encouraged Leviathan.

And at the same time Glasyal La Bolas's words felt like a clue.

MC:....Today,Leviathan was strange. He was immensely....

Barbatos: I know.

MC: Why is Leviathan...

Why did Leviathan look sad? Why did he say unintelligible things? Why did he indulge himself so much? They were questions with many answers,but Barbatos's wistful face prevented you from saying more.

Foras began to speak as though he understood the meaning behind your question.

Foras: Rather than being today,but today a long time ago.

Foras: Is the day he escaped the farm in Heaven.

Foras: That day he only had two choices: to live or to die.

MC: Oh..!

Only then did you understand the unintelligible words Leviathan had been muttering.

MC: (Having to avoid cold,dangerous places to somewhere safe and warm...)

Glasyal La Bolas: He would only have one thought "I have to survive because I ran at the price of everyone else's lives".

Barbatos: On the same day every year,survival instincts are expressed as trauma.

Barbatos: He doesn't like to be around a lot of devils at this time of year. Yes,agoraphobia in human terms.

Too many thoughts filled your mind,and you went blank for a moment.

Foras: This time MC,I think we have something to thank you for. The beautiful palace is intact.

Barbatos: True! The palace that doesn't need repairs is the best! The architect devil will be happy

MC: What do you mean by that?

Foras: Normally...Theres no telling what his Majesty Leviathan will do with his overflowing lust and rage for the angels on this day,and it usually results in the destruction of the palace.

MC: He destroys the palace?

Glasyal La Bolas: The main hall is submerged up to the ankles in cum.

Foras: Sometimes a coffin will appear and he summon an apostle,and we have to risk our lives to stop it.

Foras: The grief,fear,anger and responisbility he feels today would be hard for even God to handle.

Barbatos: You're the first one ever to accept it all.

Barbatos spoke proudly,but he had a subtle look on his face.

MC: (He's like Leviathan when he's jelaous...)

You sat up and thought of the many expressions Leviathan pulled a while ago. Just then...

Splash!

When Glasyal La Bolas stomped his feet with a grin,the liquid on the floor of Leviathan's bedroom that was about a finger's lenght high belatedly caught your eyes.

MC: Why is the floor in the bedroom so splashy?..

Glasyal La Bolas: (dark grin) It's the liquid you and his Majesty squirted.

Glasyal La Bolas said flippantly and Foras glared at him fiercly.

Foras: Anyway,its all thanks to you that this beautiful palace wasn't destroyed.

Foras: I'm glad that the landscape is the same now as it was when you came here today.

Barbatos: It's like a sword that's been cutting through everything it touches because it doesn't have a sheat now has a sheat!

At Barbatos's words,you felt your stomach tightened involuntarily as though you could feel Leviathans presence again,filling your insides.

Drip-!

Some of the liquid that still filled your stomach to the brim dribbled out.

Noticing the subtle change in your expression,Foras stepped closer and laid you back down.

Foras: Sleep some more now. We'll clean this up.

Foras's soft voice and warm touch drew on the languor you had forgotten about.

The moment you nodded and lay back down,Leviathan's thick scent on the sheets enveloped you.

When you opened your eyes again,you were in Gehenna.

And that night you had a good dream.

A dream of walking on the beautiful streets of Hell with younger Leviathan,his flesh smooth and unblemished.

There,Leviathan didn't have cold,cramped or dangerous memories.

As you smiled in your sleep,Leviathan also had the same expression as he slept in Hades.

As the two were dreaming the same dream.

#whb #I can't belive I just voiced out my worries and then talked about devil cum😐#what in hell is bad #whb leviathan #whb barbatos #whb glasyalabolas #whb foras

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lisafication · 6 months

Text

Digging Graves for your Morals; Or, The Ethical Problem of Outlawry

Hello, yes, I am here again. This one is shorter, I swear (it’s under four thousand words, even). If this is the first post from me you’re seeing, this is a follow-up to my prior essay posted here on the game The Coffin of Andy and Leyley, although it should be able to mostly stand alone.

At the end of my last essay, I touched on both the game’s nearly uncompromising moral scepticism and relativity, but I didn’t really dig into it. I outlined that the game only textually frames actions as ‘morally bad’ in the context of a morality set by the society and the world that has treated them as no better than farm animals raised for the slaughter. Well, I have a lot to say on the topic of ethics on the topic of The Coffin of Andy and Leyley, so buckle in, this one’s going to talk about the social contract, moral scepticism and everyone’s favourite topic: Mrs. Graves.

As usual, this was originally posted and formatted for on Sufficient Velocity and you can perhaps more easily read it there. Spoilers abound, and my content warning from last time still applies.

She’s not too hot on either ethics or her mother

The Meat of the Matter

Since a lot of this is optional or otherwise missable information, let’s review the premise the game gives us. If you’re already aware of all of this, I apologise, it won’t take long.

First off the bat, the quarantine at the start of the game was a hoax-driven money-making scheme of which you can pick up more-or-less all the relevant details of. This is entirely missable and by the time it’s possible to discover, our protagonists have better things to dwell on and have dialogue about, so I’ll give you a summary of what you can deduce from reading the notes and thinking about it.

The quarantine is an organ harvesting operation, as per some documents you can discover in the wardens’ office. They entrap the residents, test their blood types and starve to death those they deem surplus to requirements — alternatively the starvation itself could be their method of ‘preparing the harvest’, there’s evidence in both directions and it hardly matters — harvesting the organs of the others for sale. As our protagonists are AB-typed, the ‘universal recipient’ or ‘most selfish blood type’, they’re some of the first on the chopping block.

If you read through the newspapers and the documents in Mr. Washing Machine’s car, you can discover that ultimately ToxiSoda are responsible, and a similar thing is happening in a different city under the guise of a ‘chemical leak’. Should you further investigate matters, you will find mentions of the ‘man behind it all’, the doctor, or the Surgeon, as the fandom have been referring to him — you may recall Mrs. Graves mentioned someone similar! Yeah, he’s the guy who runs ToxiSoda, who are themselves partners with the water company that faked the parasite outbreak in the first place.

It’s all a life insurance scam, apparently

How much the details of the operation matter is something open to interpretation — it might just be something for players to figure out and Episode 3 will not cover the Surgeon at all, or he might play a major part; it's not particularly relevant to this essay. What matters is that it happened at all — indeed, it’s fairly easy to justify Ashley and Andrew in everything they did in Episode 1 (flashbacks aside), arguing that if they’d made any other decisions they’d have died — an argument that the victims dug their own graves, even if the Graves siblings put them in them. How correct that is is a matter of debate, but that you can make the argument at all matters, and we’ll be returning to this later. In my last essay (and again in the introduction here), I made an analogy to farm animals, raised without love and for slaughter. Let’s put a pin in the ‘for slaughter’ part for now and take a look at the ‘without love’ part.

That’s right, it’s time to meet the parents.

As Andrew notes, there are significantly more compelling reasons for you to say that

They Fuck You Up, Your Mum & Dad

They really do.

Our charming protagonists are, as with many things depicted in this game, an exaggerated, almost farcical example of this phenomenon — one that’s just grounded enough to still feel very real, just like the siblings themselves.

The late and lamentable Mrs. Graves is just the same: originally a teen mother, hopelessly out of depth with two difficult children — even if one was good at masking it — and an unreliable, emotionally unavailable (at least to their children) partner who can’t hold down a job, ends up foisting them off on each other and doing a Parental Negligence because she simply Cannot Cope. That’s the real part. The part where she gets paid off by an organ harvesting operation to leave them to die, that’s the borderline-farcical exaggeration that throws all the nooks and crannies of her character into sharp relief.

Mrs. Graves does not have a good relationship with either of her kids. Having self-admittedly fobbed the job of raising Ashley off on her son, to the degree that they did not even celebrate her birthday as kids, both of them hold differing degrees and types of resentment for her.

For Ashley, it’s hate — perhaps not quite so clear cut as that, as it’s her that calls for the eulogy and she shows some potential signs of discomfort while cleaning up her parents’ corpses, but by and large, it’s fairly simple and straightforward, as usual for Ashley. The sentiment is not exactly unreturned, either.

This brings Ashley’s heart great delight!

The most clear incident raising her from everyday ‘neglectful’ to ‘wow she wanted nothing to do with this kid’ is the optional ‘birthday cake’ scene, obtained by finding the present in Ashley’s first ‘transitory world’ dream, in which we see Ashley’s birthday and the founding of a lemon cupcake tradition between Leyley and Andy. She has received nothing from her family, notes that her ‘friends’ would say they were busy before she even told them the schedule and Andy takes her out to buy cupcakes with his pocket money.

This scene gets a callback in Andrew’s dream later. Just remember to Ask Nicely, rather than Kill Her.

Parents of the year, everyone.

So with Ashley it’s as straightforward and obvious as she herself is — she hates her mother, her mother hates her. With Andrew, as with Andrew himself, it’s a fair bit more complicated. His mother is a much more nuanced figure, who is believable in her role as an unfortunate teen parent who was trying her best. He has a degree of trust in her against, seemingly, his own good judgment In her conversation with Andrew, she acknowledges her fault in raising him and seemingly sincerely tries to offer him a ‘way out’, an olive branch.

I think many people have had relationships where they might say this

This scene in particular intrigues me, because she is acknowledging fault in a way that Andrew strictly avoids doing — and well, there’s nothing Andrew likes more than a good way to avoid acknowledging any fault of his own. With her dominant relationship over their father as a model for Andrew to draw comparisons to his own relationship with Ashley with, it’s no surprise that the narrative resonates with him to the point of ‘Accept’ being many people’s first completion.

Of course, that’s not all there is to it. There is a fascinating contrast with her later conversation with Ashley, where she — despite accusing Ashley of brainwashing Andrew — refers to Leyley and Andy as ‘two psychos’ and states that she always knew they were responsible for Nina’s death and that, implicitly, they owe her for not turning them in.

There's something about mother-daughter relationships here that I just do not have the time or reading to dig into, unfortunately.

Meanwhile, when Andrew interrogates her on her possession of their death certificates, she has… an interesting, plausible story about a life insurance scam and claims that she really did think they died in the fire, implicitly denying the claim that she sold them. It’s entirely possible that she’s describing the details of the ‘scam’ correctly — you can even buy that she genuinely does care for Andrew in some way, if not Ashley, but her claim about being an honest, grieving parent shocked at their deaths… doesn’t add up?

This is a very normal reaction to your supposedly dead children showing up in your house.

As Andrew himself notes after hearing her story, she’s full of shit. This gets into speculation, because there are a few ways to read this, but the most plausible ‘gist’ is that she and her partner were paid off in money and jobs to not raise a fuss — the surgeon she mentioned is almost certainly the founder of ToxiSoda, remember?

The overwhelming difference in presentation between how she speaks to Andrew and Ashley invites investigation — and when Andrew turns down her offer and tells her he isn’t interested in her offer in Decline, her reaction isn’t… despair, it’s shock — and well, there’s a good reason for that.

Why do you think she did it in the first place?

This is the happiest we see her

Well — it’s so she can finally fit into society. That white picket fence, that idyllic 1950s life — hell you can call it the American Dream. She wants that, or as close to it as she can get — the working-class teen mother, living in poverty, aspiring to the middle-class. It’s a very common, very real and very grounded motivation.

And to that end, she effectively sold off her children. It’s no wonder she can’t fathom why Andrew wouldn’t choose the same.

That’s the part that makes you think — just like the deaths in Episode 1, well- maybe the siblings are justified here, too. It’s a weaker argument, but it’s still one you can make under many common moral paradigms today — what goes around comes around, all that jazz. Just look at how awful she was to Ashley.

She’s finally found what she’s been striving for.

Here’s the thing, here’s the thing though — what, reasonably, could she have done? Andrew and Ashley briefly highlight this in conversation about Ashley’s ‘friends’ in Episode 1 — was she supposed to fight gunmen to try and break them out? Throw food to the balcony from four stories?

Moreover, as she herself says to Andrew… would anyone really have been able to do better than her in her position? She was seventeen when Ashley was born, living in poverty with a partner who couldn’t even remember Andrew’s name when he was a kid. Anyone would have had difficulty, let alone with these kids.

Her evils are — they’re not any deliberate action, but rather… prompted inaction. She didn’t have the emotional energy, resources or plain capability to properly parent her children, she didn’t have any solutions to their murder of Nina in a state so blatantly hostile to its underclass, she didn’t have a way to connect with Ashley and she took the money rather than fight a futile and likely suicidal battle against a corporation and its armed goons in a dystopian setting.

Ashley, notably, does not deny this.

Her sin is the one we’re all, I think, guilty of — that of not trying hard enough, that of inaction in the face of difficult tasks, of not standing up on principle because it’s just too much that day and you don’t have the spoons, you’ll do it tomorrow (no you won’t). It’s a petty, everyday kind of evil — that of not doing enough.

Is that enough to condemn her? Certainly, there’s a pretty manipulative read of her that likely has some truth to it — in the locked door in Ashley’s dream in ‘Decay’ you can discover that she has a ‘not-hatched’ tar soul — but consider that lens — the game won’t make up your mind for you, so you’ll need to choose that for yourself.

The dad is interesting in terms of negative space — but he’s mostly important in that he doesn’t matter, so I decided to not fit him in here. He has art, though — just no sprite, because, well, he’s never mattered to either sibling.

The Contract We Call Society

Right, it’s time to get a little bit Theoretical in here. Not much, but a little. Social contract theory is a complex topic with a lot of nuance, much of which I will be eliding in the name of not writing a twenty thousand word paper on semiotics, law, and anthropology, but the short analogy is… the idea that as long as you play by society’s rules, as long as you are a good citizen, a good person, the state, or the community, will take care of you.

In a number of ways, the harshest penalty levied by many historical states and legal codes was not death, but rather the criminal status of outlawry, a practice that’s cropped up a number of times in history — the practice of no longer being protected by the law. This meant one could be killed or worse with impunity — you were no longer protected by mob justice and, while overexaggerated as a term of reference, certain texts from Medieval England refer to outlaws as bearing a wolfshead, ‘for the wolf is a beast hated by all folk’. Never minding that wolves are actually delightful, this was a time when wolves were actively hunted and sold by people — and the same was intended to happen to outlaws. They were ‘fair targets’ as far as society was concerned, no longer to be treated as your fellow citizens.

This was the gravest punishment on the books, for most of these legal codes — something saved for those who had broken the social contract so completely that there could be no turning back (civil outlawry is… a bit different, that’s not the topic here). Among others, a modern critique of the concept is that it offers no incentive for improvement, no incentive to change or to cease harming society — if an outlaw has none of the social contract’s protections, what reason do they have to obey… any of the social contract? If that seems familiar, well, let me ask you this:

What if the state or community fails its end first? What responsibility does the innocent outlaw have to that contract?

It’s an interesting phrasing, that the world is better off.

It’s time to talk about the incest, and part of why it’s there. The cannibalism too, but that’s less impactful here. If you’ve seen me elsewhere, you might have seen me say that the incest is a load-bearing narrative pillar — in large part due to it being a critical facet of the siblings’ relationship, but in another large part due to it being an equally critical part of how the game uses taboo.

A taboo is in this context something that is considered repulsive and to be avoided by society. It’s a more complex term than that — you can also use it for certain sacred actions or utterances that are only permitted to certain people, for example — but that’s what it is here. Swearing, premarital sex, BDSM and murder are, approximately from weak to strong, some example taboos held in modern Anglospheric society.

Strong taboos are a staple of horror — they shock, they disgust, they draw people’s attention and it’s that last one that’s critical here. Incest is a very strong taboo — while I am absolutely not segueing into its historical context, the very well-established Westermarck effect gives it a certain timelessness and immunity to desensitisation that most other taboos don’t have — murder, to contrast, is a taboo we’re largely desensitised to in modern media and works of modern media have to put in actual work to make a murder seem horrifying — through atmosphere, cinematography, evocative prose etc.

And this is important because the use of taboo I’m covering in this essay is that the incest is used to invite judgment — it is so ingrained as a ‘wrong thing’ in people’s brains almost regardless of background that it forces the player to engage with the work morally. And that’s where the fun starts.

I’ve mentioned before, very briefly, about the juxtaposition of tone between the Burial & Decay endings, contrasting with the very monstrous difference in morality. Burial is remarkably light-hearted — they play around with the drain blockage, they joke about their mother’s personality and this is further exaggerated on the Love path, where Andrew is much more comfortable with casual contact and the two make a game out of how far they can throw their parents’ skulls, the humour is directly contrasted against their abhorrent actions.

I’ll be real Ashley is far more merciful than I, I’m shuddering at the thought of that gunk in my hair

In comparison, Decay is… bleak. I’ve seen it being referred to as being ‘emotionally sandblasted’ and, yeah I think that’s fair — it’s uncomfortable, it’s heavy and it’s just not fun. And this is the route in which, if you chose Trust into Accept, Andrew has bought into the narrative that his mother’s offered — that he can fit just fine into society if he wasn’t stuck, if not for Ashley — the route that ‘fits’ most closely to the social contract, to Andrew feeling the guilt that we think he should and hating the monsters that they’ve become, as the social contract deems them. Given the pains the game takes to attach the player to the protagonists, this normative moral ending is very easily interpreted as the bad ending.

And well, isn’t it?

Thing is, as mentioned above, the social contract has never held up its end for them. The game takes careful pains to point out to a viewer that they’ve never had the life that society promises people, so why do its moral standards apply?

The game invites you to judge the characters, and in the same motion, asks you from what principles you judge them, making a pretty good guess in that, like most people who haven’t spent a large amount of time navel-gazing and reading some very boring books by very dusty old men, they come from the society around you.

Love even has Ashley express this sentiment directly after the incestuous dream — she asks you — well, Andrew, but this is also something for the player to mull over — why this is what’s engaged your morality or sense of revulsion, rather than the desecration, cannibalism or murder.

Andrew and Ashley are both very funny and very fascinating in this scene.

And that’s the framing that it casts all of its own moral judgement in — even the ‘tar-soul’ aspect is… well, it’s unclear what it even means. Mrs. Graves was a ‘not-hatched’ tar soul, after all. Other than that, it’s society and the world being better off without them, rather than any kind of assertion of objective morality. Due to the present of ‘soul colour’, we’ll presumably see the game make some moral statements in Episode 3, but as it stands?

It’s nearly completely morally sceptical, in and of itself — it’s not interested in moral assertions or education, it’s interested in making you question your own morals. Deconstructive (not that kind), rather than dialectic, to be mildly pretentious.

It uses taboo and shock to invite moral judgement, but then uses tone, charm and our instinct to look for the happiest end for our blorbos to get you to recognise that these are principles you yourself brought into the game, rather than any it’s handed you.

To summarise: you’ve brought these principles in from society, but what do the siblings, the protagonists, the villains to the world, owe society? Enough that they should follow them? It failed them first, after all.

Closing Thoughts

This one is a bit less energetic than the last, tragically — my sleeping schedule is the stuff of nightmares recently, I love windy weather. Wait, no the opposite. Huge thank you to everyone who commented on the last one, you are the wind beneath my wings and the main reason I managed to get this out this week.

This essay is a bit more interpretative than my last one — certainly, there are alternative readings and I’ve been toying with the idea of deliberately taking a reading I don’t like very much and writing from that perspective as a demonstrative exercise recently — mostly that you shouldn’t just take my word for things!

Otherwise, if the last bit at the end seemed murky, I apologise — I did try to write a more detailed version, but firstly, it was three thousand words and secondly, I re-read it the next day and I could not understand what the fuck I was talking about. Personally, I blame Derrida — suffice to say that I strongly recommend playing through it with an eye towards considering culpability, morality and why you think certain characters are more or less forgivable than others, and for what deeds. See what you get out of it.

I managed to keep one particular thread open to wrap up with here — I try to keep speculation on Episode 3 content to a minimum in the main essays, but it should be fine here — you might have noticed that I refer to Episode 1 and Episode 2 being on something of a spectrum of justifiability, with the siblings’ actions being ‘more’ justifiable in Episode 1 and ‘less’ justifiable — but still justifiable if you try — in Episode 2.

To continue the thought of the happiest ending being the one in which they step the furthest away from common morality and to further jar the viewers’ sense of morality by contrasting societal morality and blorbo-oriented morality, Episode 3: Burial could continue this trend in having a major victim be someone who, well, has done nothing wrong and isn’t even guilty of bystander syndrome.

I wonder if there’s any good candidates, someone who’s sweet, harmless and will indisputably be an innocent victim…

…I’m sure she’ll be fine

#the coffin of andy and leyley #tcoaal #analysis #essay #ashley graves #andrew graves #mrs graves #nnnnot sure what the next topic will be #might do a deranged take on purpose #this one and the last one have been very grounded #I'll get to my asks tomorrow #probably #I've been busy sorry

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tavyliasin · 4 months

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Villain-Fucker Angst Hours

Good timezone, darlings~ Are you ready to get all up in your feelings? No? Me neither, loves, but here we are regardless so the words are going to flow as they usually do... This is focused on Raphael from Baldur's Gate 3 and his fandom, but the latter section can easily apply to any villain fandom.

Self-Analysis of Devil-Fuckery, Or Why Do I Adore Raphael When He Is Very Obviously Evil: A Short Essay by TavyliaSin (Who Still Cannot Name Anything With Less Than A Full Paragraph) ((NSFW)) (((Game Spoilers)))

The following may discuss heavier topics, but without specifics, so whilst it should be safe for most to read without triggering any difficult memories please be aware of Raphael's entire vibes, the content and context of his story, and I'd also like to mention that this isn't a "woe be us for we are terrible people" piece, it's actually more about:

"There is an inherent kindness and warmth to much of the Raphael fandom, and I think there could be some common threads behind that, pulling us all in closer in a comforting blanket that we wrap around each other to keep out the cold of the world."

So, what in the nine hells am I on about? Well. Raphael-fandom is a wild and wonderful place to be. The rest is in sections, so feel free to skip through to what you feel is relevant to your interests. I am so prone to waffle I should open a restaurant~

Who Are Fans Of Raphael? What Do They Want?

We are feral, unhinged, all sheets to the wind "I want that devil man, carnally, and there is no force in all the planes that could stop me". There's the vanilla to the extreme and every level in between, tops, bottoms, versatiles, Doms, subs, and switches - there are a whole lot of people who would love to get their hands on either (or both) of Raphael's forms, for a simple smooch or something far more spicy~ [edited in] To add on to this, not all of us even desire him in a sexual way, for many it is romantic, soft, or even just the rather pleasant thought of spending an evening with drinks by the hellfire because he would be fascinating company. Aces, Aros, and AroAces may all find themselves well within the devilish corners of fandom too~ which is a whole other essay~ [end edit] So, I see you. I'm one of you. Extremely loud and utterly hingeless in my fan appreciation for Raphael. He's one of my favourites to write about, I seek art of him, and the same goes for his mirrored other half, Haarlep, who I arguably love more despite there being far less content of them in the game.

And the Fandom? The Vibe?

From my experience in the Raphael Fandom areas, we have a very deep and abiding understanding of consent, respect, and treating each other with an absolute and uncompromising kindness. We've had talks about keeping each other safe in fandom, exchanged details of people we have encountered who need to be avoided, even shared details between moderators of different fandom servers to pre-ban people proven to be creeps and/or art thieves. We've also discussed consent, including the issues with it in the game, and how areas of the story can only really be considered dubious at best and could easily be triggering for people. And these discussions have been open, honest, fair, and with the acknowledgement that most of us love these scenes anyway. So there's a sense of care that runs through everything, behind the horny-posting and fan content, behind the endless thirsting after our favourite fictional characters. We have a depth of kindness that warms my sinners soul every time I see it.

What Does This Have To Do With Self-Reflection, Raphael, or Villainy In General?

Well let's look at Raphael. He's a villain, obviously. He's manipulative, devious, and inherently evil by his very nature. He keeps Hope chained in his basement, constantly subjected to endless torture. There's also mention of how Gortash was sold into his service at a young age, clearly not an enjoyable experience given the other details and how things turn out (particularly as Raphael would need Gortash's own plans to fail entirely in order for him to succeed in his own and get that crown). And as fans, we accept that. We don't sit making excuses, or trying to say "well actually Gortash is a little shit and Hope probably deserve it", and we don't shy away from or conveniently ignore those darker sides of him with malicious intent to enable more evil to flourish. What I noticed, when I allowed the thoughts to continue, is that there is a theme here.

If Evil Can Be Loved Then So Can I

That's the core. Of course, darlings, I am not claiming to be a heinous monster. I certainly do not have a laundry list of crimes that would make the devil himself say "Uh, that's a bit much." But I sure as fuck treat myself like I do sometimes. You see, I think a lot of us have that tendency, to judge ourselves far more harshly than anyone else. Our patience, understanding, and forgiveness for others runs deeper than the Mariana Trench, but when it comes to our own flaws? One minor mistake and we think ourselves to be the worst beings ever to disgrace the earth. Thus, the villainy we see reflects how we are treating ourselves. So by loving and accepting all of those things that should be terrible, hated, we are actually learning that no matter how poorly we think of ourselves that we can be worthy of that same love and acceptance. We are extending the affection we are unable to show ourselves to someone we see the worst parts of ourselves amplified within. And that's why villains attract the people with the most kindness. The most forgiveness. Because it takes someone with a truly huge amount of empathy to find love for the embodiment of evil.

Or, IDK, maybe villains are just hot and we're too far down to care.

But wait, before you go!

THERE'S SOMETHING WE NEED TO TALK ABOUT.

All of this is about FICTION. We should never be accepting of the kinds of evil we see in the game irl. We do not owe anyone kindness if they do not show it to us.

What is hot in fiction is not always OK IRL.

Look after yourselves out there, remember that consent is key in all things, and please do try to learn to love yourselves, darlings, you are worthy of it and you should judge yourself by the same standard you judge others. If you are in doubt, if you are worried, if you feel afraid - reach out, talk to someone. There are many who will listen.

Treat yourself as you would treat a friend. You deserve that much.

Oh, and all Raphael fans who understand kindness are welcome around me, any hour of the day, I adore our little fandom circles and would gladly collect all of us together. I'm following a lot of you as soon as I find you, like hunting shiny pokemon~

See you in Avernus, my darling Little Mice, may we all find joy in the Cambion's Embrace~

#baldurs gate 3 #raphael #bg3 raphael #villain fucker #personal reflection #analysis of the inner mind by a complete amateur #listen the thoughts get loud then I write them down darlings it happens all the time #love yourself please #you are worth more than you give yourself credit for #and keep loving those villains! it's good for you!#be kind to yourself #and be kind in the community #did this even make sense? well it's there now so tough #DMS are open for fellow fans with excellent taste~

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genderkoolaid · 5 months

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I don't know if you know blue eye Samurai, but I hate how people talk about the protagonist.

I'm a non binary Trans man, and I actually identify a lot with Mizu (the protagonist), but I go here on Tumblr and I see a lot of posts that say: "I know everyone can see Mizu however they like, but I want everyone to know that the right interpretation is that she is a woman pretending to be a man... but everyone can think whatever they want, not forgetting that she is a woman of course."

And it's a bit annoying because when I see explanations of why is "wrong" to see Mizu as a Trans man, I see people going "Why can't there be representation of gender non conforming women!?" And "she wouldn't pretend to be a man if it wasn't for the society she lives in!"

The last one makes me especially angry, because of how many Trans men get erased from history with that same argument.

I don't know, I think it makes me mad because that fandom feels like a micro cosmos of the anti Trans masculinity a lot of Trans men have to face.

And it's not like I think it's wrong to see Mizu as a woman, but when everyone goes "of course she is a woman, why would she want to be a man for anything other than necessity?" I don't know how to feel.

I'm gonna steal my own words from that post about jeanne d'arc:

And the best part is, we can say all of this and also see her as part of women's history! Because women's history, too, does not have to be exclusively about woman-born or woman-identified women. It can be about a larger cultural experience. And Jeanne d'Arc suffered because of transphobia which is always fundamentally misogynistic. I would argue it even makes sense to say her death involved transmisogyny in a very literal sense. The thing about transfeminism is that it can free us from the need to view personal identification with the role of "woman" as vital to feminism. Being a woman, in whatever sense, is certainly not unrelated to feminism, but one can be a feminist and have any kind of personal or communal relationship with womanhood. Anyone can be inspired by the story of Jeanne d'Arc and her bold defiance of both misogyny and transphobia, no matter how she may have personally understood her gender.

People have this idea where if a character or historical figure (or even currently living person) is anything but a woman, then any kind of Feminist Story falls apart. Especially when it comes to misogyny! People act like someone being a trans man means all their experiences with misogyny are like. gone? Or the story is now, essentially, about a cis man being mistaken for a woman, and thus women are Not Allowed to feel any connection at all.

All of this on top of the fun hypocrisy that is "we can't say this person/character is a trans man because they wouldn't have that concept, but we can say they are a cis woman because those are both the only options and ciswomanhood is a natural and universal concept we can apply regardless of any other context :)"

& with Mizu its like. you literally can see her as a GNC woman. people calling him a trans guy or transmasc or genderqueer or anything else are not taking away your experience of her as a GNC woman. Transmasculinity is not just Negative Womanhood, the idea that transmasculinity is something which saps away representation/power/dignity/identity/value from (cis) women is like ATM 101.

But the whole way people treat trans men and misogyny really annoys me, I guess because the assumption is that for women, having to dress as a man to get respect inspires anger at one's position in society, but trans men are incapable of having any complex feelings about that. Like trans men must fully enjoy not being able to have sex with others, or go to a doctor, and having to live in fear of being outed and facing the brunt of transphobia and misogyny, and trans men also couldn't possibly be angry about misogyny that they experienced, and also nonbinary people don't exist and no transmasculine person could possibly be anything but fully comfortable being seen as a cis man all the time. Sure, some trans men are perfectly happy passing as cis men, but like. there is more than one trans man. & ignoring all other transmasc experiences besides The One is a form of erasure, it just passes as something else because technically you are acknowledging A transmasc existence.

#m.#ask box

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ianthe-is-a-bitch-and-i-love-her · 2 years

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I've noticed something very interesting about the structure of The Locked Tomb series recently, in that it is a series that is immeasurably more than the sum of its parts. Not that that's an uncommon thing for serialized media, it's literally the point of the format to tell a deeper story as a whole than is told in any one installment, but I think tlt is a particularly extreme example.

Like, gtn is the only book in the series that works at all as a standalone story. In most series, if you skip a book, you'll be confused about specifics and backstories and what have you, but you'll probably be able to follow along and get the gist of the theming, even if you miss some details and subtleties.

With this series, though, the subsequent books (especially HtN but also NtN) are essentially incomprehensible if you've skipped the previous books. They don't follow a predictable trajectory from the previous books that can be back-extrapolated from their stand alone contents. Like, genuinely try to imagine what you would think the previous books must have been about if you just read Nona. Imagine what you'd think the themes were. It's completely out of wack.

This is because each new book in the series isn't just a continuation of the previous books - it is in dialogue with the previous books. Each new book is a commentary on what came before, a reinterpretation that forces you to rethink or even reread the previous books with a different perspective that draws more layers of meaning to the surface. It makes the series feel like a knot that you're slowly unpicking - each new thread that is revealed to you changes how you perceive the weave of the previous threads.

I fucking love this. It makes the series incredibly rereadable, and it rewards spending a lot of time contemplating and theorizing about what you've read, which is excellent because the books are written in such a way that they invite you to ask questions without giving you answers. It make you feel ecstatic when you achieve a new level of understanding of a story you had thought you already understood.

There's a drawback to this, though, in that it makes the first read-through of a new book in the series the worst read-through. Again, HtN is infamous for this, verging on incomprehensible on a first pass but bristling with rich meaning and evocative prose on a second, but it's a trait that applies to all three books released so far. On a first read, lacking the context of the later series, GtN's story feels straightforward, sometimes juvenile, full of relatively simple but evocative characters, and burdened with what seems to be needlessly obtuse and obscure worldbuilding that only exists to slow down the reader's attempts to solve the murder mystery and to act as a backdrop to be cut through by Gideon's harshly modern and irreverent quips. (Sidenote, but as much as that is a thing that a lot of the fandom really enjoys, I know a few people who found that choice extremely jarring and unpleasant. It is a polarizing structural choice, it just doesn't seem like it because people who don't like it don't often stick with the series long enough to get invested in the deeper themes and plot of the series).

NtN too follows this format, although we don't yet have the added context of it's sequel, so a lot of what it has to say remains maddeningly out of reach. It certainly enriches rereads of the previous books, though; a lot of people have gone into great detail about how Nona's perspective on Kiriona reframes our perception of Gideon as a narrator. And John's accounting of the end of the world and the Resurrection adds so many more layers to all the interactions we witness in HtN.

It's just a very unique way to build a story, to start with something fairly simple and self-contained and then spend the next two books layering more and more meaning on those events. For me, it's not the characters (much as I love them) but the structure of the series that keeps me so fucking obsessed with these books.

#the locked tomb #tlt #gideon the ninth #harrow the ninth #nona the ninth #nona spoilers

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penncilkid · 9 months

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Alright, I'll bite. (Sparked by this post) I'm gonna preface this with some context:

First off: I'm Black in case you're unaware

Huxley is my favorite speaker. Full stop. You ask me to choose, it’ll always be him.

Likewise, you ask for my favorite listeners, I will say Starlight and Darlin'. (I'll save my Starlight rant for another day)

My designs for both Huxley and Darlin are Black.

With this in mind, I want to be clear from the jump: I don’t have an inherent problem with these headcanons. If I did, I wouldn’t have chosen then myself. That said, I have noticed that Hux and Darlin are, more often than not, the characters that get headcanoned as POC (specifically Black) in design rosters. In some cases, they are the only POC designs present. Why is that?

Furthermore, the more often I notice this pattern so to speak, the more I sit and think about why those headcanons are so popular. I find my answer when I think about the characters I see headcanoned as white most often. Tell me why it’s "practically canon" for Lasko to be pale with light/white hair. Tell me why white Sam "just makes sense". Why? Because Lasko's a nerdy ball of nerves that stumbles over his words? Because Sam’s a sweet Southern man at heart? Those are not inherently white attributes.

Except they're treated as such. They go virtually unchallenged because they're so widely accepted by fandom. People see these personalities and character details and come up with their vision. So, let's apply that to Huxley and Darlin, shall we?

Huxley: Athlete. Canonically implied to be big, as indicated by statements made by him and other members of the DAMN crew. Classified as a himbo with parallels in Imperium highlighting how some will view him as stupid. Overall chill vibe.

Darlin: Reckless with their safety. Known to lash out/lose control of their emotions when they’re not actively hiding them. Gets injured often because they’re too stubborn to run from trouble. An overall intense demeanor that makes them difficult to approach (at least at first).

Explain to me why this screams Black to so many people. Is it because Huxley's a dumb jock who you imagine gets stoned all the time? Oh, is it perhaps because Darlin is just so aggressive compared to your Golden Retriever-coded Asher, needing to be calmed down by everyone around them? And here's the thing: I can already imagine people saying, "That's not why I made them Black". Then explain why it "just makes sense" for them to Black. Why them out of a sea of characters? Make it make sense.

Now let me make this clear as well: I'm not expecting every headcanon to have elaborate thought behind it. For one, I get that some people take a more casual approach with designs and such. Not every choice has to have a reason or justification behind it. But when literally 95% of the Huxley designs I see are Black and half of y'all don't even know what a fucking durag is? Saying it leaves a bad taste in my mouth is putting it lightly.

You know what I wish I saw more of? Black Huxleys and Darlins with attached nuance.

Give me a Black Darlin who struggles to articulate how they feel with the people in their lives because they haven't been readily given the language to do so. You want to pair a Black Darlin with a White Sam? Why not talk about how POC have an insanely difficult time getting support from the medical system so not only does it explain why Darlin is so resistant to go to healers, but also gives an extra weight to the fact that Sam was their absolute last resort when injured? Give me a Black Darlin who has been taught their entire life that no one will have their back, that they need to learn how to depend on themself alone, and that's the reason why they struggle to feel like the pack would've cared when the Quinn shit went on.

You wanna talk Black Huxleys? Let's touch on how he's learned to control his emotions/anger because he knows how people will take it if it comes from someone who looks like him. Talk about how his moms teaching him not to use violence speaks to a deeper desire for him not to be viewed as a threat because they fear for his life otherwise. In one of his BAs, he mentions how a lot of people used to sleep with him/flirt with him solely because of his body and he could tell. Do you know how often black men are sexualized and fetishized? Why not talk about it through him? I see people explore that concept through Gavin constantly, where's the energy for Huxley? You wanna make him Black so bad, why not actually put some thought behind it? Because right now, it seems like he gets the "luxury" of being the token Black guy in the DAMN friend group at best.

I know a lot of people are probably going to dismiss this post. I am already anticipating that as I write this. But I'm so tired of pretending like this shit doesn't get to me. Because it does. I've got no intentions of leaving this fandom because I have met so many amazing people and adore Erik's content immensely. But what I am going to do is talk about the widespread normalization of attributing certain personality traits to certain racial groups. Because the non-white people in this fandom deserve better than that.

#redacted audio #redacted asmr #This doesn't stop with Hux and Darlin btw /neg #'Cause I could talk about the way y'all handle Gavin Damien and David too #And do not get me started on the vampires #I know to a lot of people this isn't that deep #But as someone who has watched POC creators and designs be overlooked time and time again?#I can't force anyone to do anything #But I can call it like I see it

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zeynatura · 8 months

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Ranting about Nucani

There is something I want to express and this fandom should know.

Nu: Carnival is a Harem game but unlike most games in the genre the relationships with MC are all canon within the same story, there are no "Routes", no "Alternate Universe/Timelines", it's all 1 Main Story where you get to gradually meet all the Characters who'll be your companions, in this game named Clan members, and all of them one way or another end up falling for Eiden (MC), which makes polyam relationship canon with Eiden as the center:

Like very few games have polyam representation, let alone a positive one, like yes the polycule it's very Eiden central but even then all the Clan Members interact with one another, as we see mainly in the time limited Events but also in the Main Story, and have friendly and amicable interactions, they rely on one another sometimes even without Eiden being involved.

But also, Aster and Morvay have a relationship established too since way before the events of the prologue of the game, Kuya and Quincy have hinted some sort of situationship (idk I don't care about Quincy and my knowledge about Kuya is limited to what happens in the story and events cause I have no limited SSRs nor have I read any of his Intimacy Rooms).

[Also if any of you knows of any other relationship that have been hinted at that i'm missing feel free to share, i specifically ask of you to refer to only canon, i know in fanon anything and everything is possible and sometimes we may be missperceiving some interactions between characters so i ask of you to take those rose tinted glasses off and see unfiltered canon, it's hard for me too ngl so dw]

All this started with some posts I saw about ppl feeling bad for Yakumo and/or Edmond to be "forced into a polyam relationship" when they are the "most romantic members" and "deserve a monogamous relationship", their words not mine, as if mono > poly , but also do you really think they're against it!?

One thing is being Clan Members against their will (which is all Huey's fault btw), having to work together to regulate the Altars' Essence (or their own) and then another one completely is involving themselves in a personal and intimate way with Eiden, which the latter they all did in their own terms and out of free will.

Also i wanna share one of the best and my fav scenes with Karu, which i know not everyone was able to experience it cause it's hidden in the Intimacy Rooms of a Limited SSR, but it expresses exactly why the polycule is consensual.

Context: Eiden has been worrying about forcing the Clan Members to be with him because he is the New Grand Sorcerer, against their will just because of Huey's magic that ties them together and the responsibility of Regulating the Altars and basically maintaining stability in the Klein Continent.

His worries began (at least that i noticed) in "Eerie Escapade" (Halloween Event), that was also the first time Garu got hurt while protecting Eiden and the first time Karu got mad at him and fronted to yell at Eiden (which is my another fav scene of Karu omg i love him so much i gotta go back and take screenshots of that but that's for another post), the second one being in "Army x Blood x Oath" (which are the screenshots i'll show u)

Because this are the Intimacy Rooms of Garu/Karu's Limited SSR this scene focuses on Eiden feeling guilty because Garu got hurt in the past (Halloween Event) and this time he lost his memory (temporarily, due to this event's story) and Eiden blaming himself for it all and wondering if they would be better off without him, but the same can and is applied to the rest of the Clan Members, seeing how Eiden met and approached Rei while respecting his privacy and independency even tho he's also a Clan Member and the newest introduced in the story, means that the Limited Events are also canon and part of the story because Eiden seems to be growing and learning from previous Events and showing that development in future Events and the Main Story.

Karu also mentions that Garu (prior to losing his memories) was also worrying about the same thing Eiden was, like 'what if Master (Eiden) stays with us just because of the contract with Huey? :c' and he calls them both idiots because they don't communicate and fronts to fix it! (Mighty Karu to the rescue)

And talking about "Eerie Escapade" that is also the event where Yakumo's possessiveness towards Eiden shows, i'll admit i haven't seen the last room but i feel like those people i mentioned before are using it as fuel to their idea, because if Yakumo is jealous of other Clan Members interacting with Eiden and "Wants him all to himself" that must mean he wants a monogamous relationship, right?

WRONG!

That just means Yakumo is a complex person that feels different emotions specially when it comes to the most important person in his life (Eiden) other than his grandparents!

And Yakumo feels guilty for having those feelings, not because of them being in a polycule and he not wanting to be in it, but because he has trauma and sees his desires and wants as selfishness and he would never allow himself to be selfish cause he doesn't want to hurt people, he's a people's pleaser! He lives with constant fear of hurting others like the Great Serpent did when it killed many (but apparently there may be more that meets the eye, because the current event hinted that the Great Serpent actually liked humans and took care of children ???)

And Yakumo dealing with those feelings along with his yokai powers as a descendant of The Great Serpent have been the main topic of his last 3 Limited SSRs, which is great because that means CHARACTER DEVELOPMENT~

Now unfortunately i cannot talk about Edmond's Intimacy Rooms as i'm missing ALL OF HIS SSRs (why do you hate me Edmond if ily) but from what i've seen he's also pretty happy being with Eiden, heck even HIS MOM is happy his son is with Eiden!

That's right, she's the first and only parent of the Clan Members that knows and approves of their relationship, if it weren't because most of them are orphan we could get many more... i wonder if Yakumo's grandparents are aware hmmm ... and we all know Olivine's parents are gonna HATE it xD and maybe Garu's wolf pack will approve of Eiden by the end of this event.

#i just realized i may not be the right person to talk about polyam relationships and representation #even if i'm open to polyamory while in a monogamous relationship currently #and i do my best to do my research about it and learn from polyam people #but then again i used to do the same with queer people before finding out i was queer #and neurodiverse people before realizing i am one too #and the most recent was autism :D #so maybe i'm not the wrong person to talk about it #also if any of you treat Garu and Karu as the same person when they're a system i will lose it #or worse when people don't acknowledge Karu #help me i love these pups with my life and i will protect them #aster and morvay relationship's nature is not for us to decide #but the fact is that they have one #nu carnival #nucani #canon polyamory #if you read all this i love you~#edit: i thought Morvay having multiple sex partner was obvious 🤔#but some ppl pointed it out so #yeah #the incubus has sex with many ppl besides Eiden and Aster all consensual #while Aster finds it annoying but also helpful Eiden think it's hot #big edit: nvm I AM THE RIGHT PERSON to talk about this as im ambiamorous #which means im happy both in a monoam and polyam relationships #so i am in the polyam spectrum and would love to have what these boys have

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fanby-fckry · 1 month

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How to Support Your Asexual Friend (Who May or May Not Know He’s Ace)

Day 5 of Ace Alastor Week: Friendship Friday

Please ignore that I didn’t post on tumblr, yesterday, I promise I didn’t forget/give up, I’m just indecisive and late. I’ve got one up on AO3, but can’t post it here until I figure out what I’m doing.

Word Count: 2,942

Chapters: 1/1

Fandom: Hazbin Hotel (Cartoon)

Rating: Teen And Up Audiences

Archive Warnings: No Archive Warnings Apply

Additional Warnings: Implied/Referenced Canon-Typical Violence

Relationships: Alastor & Charlie Magne | Morningstar & Vaggie, Alastor & Charlie Magne | Morningstar, Alastor & Vaggie (Hazbin Hotel), Charlie Magne | Morningstar/Vaggie

Characters: Charlie Magne | Morningstar, Vaggie (Hazbin Hotel), Alastor (Hazbin Hotel), Mentioned Rosie (Hazbin Hotel)

Additional Tags: Canon Compliant, (mostly), Episode: s01e07 Hello Rosie! (Hazbin Hotel), then timeskip to, Post-Season/Series 01, Fluff and Humor, Fluff, Humor, Attempt at Humor, Light Angst, Friendship, Developing Friendships, Asexual Alastor (Hazbin Hotel), Aromantic Asexual Alastor (Hazbin Hotel), Alastor is Bad at Feelings (Hazbin Hotel), Alastor Has a Heart (Hazbin Hotel), Alastor Being an Idiot (Hazbin Hotel), Alastor Being Alastor (Hazbin Hotel), Good Friend Charlie Magne | Morningstar, Supportive Charlie Magne, Supportive Charlie Magne | Morningstar, Charlie Magne | Morningstar is Bad at Feelings, yeah I said it. she’s not good at them either she just has more of them, Fallen Angel Vaggie (Hazbin Hotel), Good Significant Other Vaggie (Hazbin Hotel), Soft Vaggie (Hazbin Hotel), Protective Vaggie (Hazbin Hotel), Asexuality, Ace Community Inside Jokes, Unreliable Narrator, Misunderstandings, Baking, Stress Baking, Talking, Conversations, Crying, Implied/Referenced Canon-Typical Violence

Series: Part 5 of Fanby’s Ace Alastor Week 2024 ( <- Prev || Next -> ) || Part 2 of Piece of Cake! ( <- Prev || )

Summary:

“Remember how you said we could work on supporting Alastor and his ace identity after we survived Extermination Day?” Charlie asked.

Vaggie nodded. “Mhmm.”

“Well, we survived!” Charlie gave an awkward, celebratory thumbs up. “So, now I wanna show my support! Be the good, allo-bisexual ally I know I can be!”

“By baking another cake,” Vaggie deadpanned.

“Yup!”

Charlie wants to show some support for Alastor and his asexuality, and decides that the best way to do so is by baking him a cake several cakes! Vaggie does her best to support Charlie in supporting Alastor.

There are only two problems:

Alastor doesn’t like cake.

Alastor doesn’t realize he’s ace.

Better on AO3

Charlie flopped down on her and Vaggie’s shared bed. “You should’ve seen them, Vaggie!” she said. “They were dancing, and singing, and really, really – honestly kind of creepily interested in the idea of getting to eat the invading Exorcists. Especially their wings.”

Charlie grimaced and Vaggie made a mental note not to expose her newly regrown wings while in Cannibal town.

“But I mean, that’s good, right?” Charlie said, sounding like she was trying to convince herself as well as her girlfriend. “Because they’re on our side!”

Vaggie nodded, intently. “Bloodthirsty troops are the most effective kind, sweetie,” she assured her.

Charlie sighed. “Thanks,” she said, smiling softly. “Rosie’s really nice, though.”

“She is?”

“Mhmm,” Charlie hummed. “I didn’t know what to think of her at first because she made a joke about Alastor and I dating and how I’m too young for him, which: First, no. Not dating. I have an amazing girlfriend and I don’t think about Alastor like that, anyway. And second, even if we were dating, I’m pretty sure I’m older than him? Chronologically, at least.”

Vaggie tried her best to follow along with Charlie’s mile a minute rant, but she felt like she was missing some very important context.

“But then she told us she was just kidding, which was a huge relief, and she called Alastor an ace in the hole-”

“Wait,” Vaggie interrupted. “Alastor’s asexual?”

“Huh?” Charlie tilted her head.

“His best friend, who’s known him for decades, called him ace.”

“Ohh.” Charlie shook her head. “No, no, she called him ‘an ace in the hole.’ You know, like a secret weapon.”

“What did she say, exactly?” Vaggie asked.

Charlie thought for a moment. “She made a comment about how I’m ‘too young’ for him, as if we were dating, and then she said, ‘I’m just kidding. I know you’re an ace in the hole.’”

“So, in the context of explaining why it’s obvious that you two aren’t dating,” Vaggie said, slowly. “She called Alastor ace.”

“Yup!” Charlie said, then paused.

Vaggie could see the exact moment the penny dropped.

“Oh,” Charlie said. “Oh shit. Alastor’s ace.”

“Probably aro, too,” Vaggie pointed out. “I bet Rosie said ‘ace’ instead of ‘aroace’ because it fit the pun better.”

Charlie put a hand under her chin. “You know, that actually makes a lot of things make sense,” she said. “I didn’t wanna assume anything, but Al’s kinda…”

Vaggie finished Charlie’s sentence. “Flamboyant in a way that makes gaydar go haywire?”

“Mhmm.”

“Yeah, Angel’s brought that up a few times.” Vaggie sighed. “And by ‘brought up’ I mean complained about. He thinks Alastor is either straight or an incredibly repressed gay man and can’t figure out which.”

“The answer is neither, apparently,” Vaggie added. “Not that it’s any of his business. Or ours for that matter.”

Charlie gasped. “Should we do another lesson on boundaries?” she asked.

Charlie’s words ran together as question after question came tumbling out of her mouth. “What about amatonormativity and asexual/aromantic erasure in the LGBTQIA+ community? Is there a way I can support Alastor without outing him? What if-”

Vaggie kissed her, and Charlie’s questions melted into a pleased hum against her girlfriend’s lips.

“I think we can figure that out later,” Vaggie said once the kiss broke. “Let’s just focus on protecting the hotel, and if we’re alive afterwards, then we can work on supporting Alastor, ok?”

Charlie nodded. “Ok.” She bit her lip. “I guess it’s just that…”

Vaggie waited patiently while Charlie wrung her hands together.

Charlie took a breath. “It’s easier to think about making new workshops and being a good ally to other parts of the community than it is to think about this!” She gestured vaguely to, well, everything.

“I wish I could go back in time before that meeting with Adam.” Charlie sniffled, and Vaggie grabbed a box of tissues from their bedside table. “Before I fucked everything up.”

Vaggie placed a hand on Charlie’s shoulder and handed her a tissue.

“You did not fuck up,” Vaggie said. “Adam is an asshole. He’s always been an asshole. And Heaven is…”

Vaggie hesitated. She couldn’t think of the right words to describe her feelings about Heaven, even now that Charlie knew what she was.

“We’re going to get through this,” she said instead, and kissed Charlie’s tear-stained cheeks. “Together.”

“Together,” Charlie repeated.

In Charlie’s defense, the first cake was incidental.

They’d just finished rebuilding the hotel – which meant a brand new kitchen! – when Alastor made his triumphant return. And what better way to celebrate the hotel’s completion and her friend’s return than with a cake?

Charlie never actually saw Alastor eat the cake, but he did accept it. And Charlie didn’t find it in the trash, later, so she was going to consider that a success!

The second cake… Well, that was intentional.

“Do we have any purple food coloring?” Charlie asked, rummaging around through the – somehow, already disorganized – kitchen cabinets.

“I’m not sure,” Vaggie said. “But I could run to the store and buy you some if you want, hon.”

“Thanks!” Charlie kept looking. “What about gray? Do they sell gray food coloring or should I just use a smaller portion of black?”

“Uh, Charlie?”

Charlie turned around. “Hm?”

Vaggie was sitting at the island, surrounded by various bakeware and ingredients Charlie had set out. “What are you making that uses all of this” – Vaggie gestured to the somewhat-organized chaos in front of her – “And purple and gray food coloring?”

“I’m baking a cake,” Charlie said cheerfully. “For Alastor.”

“Another one?” Vaggie asked.

“No,” Charlie said, before correcting herself. “Well, ok, yes, but… Let me explain!”

Charlie took a break from her hunt for purple and gray food coloring to join Vaggie at the island.

“I’m listening.”

“Remember how you said we could work on supporting Alastor and his ace identity after we survived Extermination Day?” Charlie asked.

Vaggie nodded. “Mhmm.”

“Well, we survived!” Charlie gave an awkward, celebratory thumbs up. “So, now I wanna show my support! Be the good, allo-bisexual ally I know I can be!”

“By baking another cake,” Vaggie deadpanned.

“Yup!”

“Why?”

Charlie took a deep breath. “Ok, I started by voogling ‘how to support my asexual friend’ and I found a website called HAVEN – Hell’s Asexual Visibility and Education Network, which is actually Hell’s version of a website from the Living World called AVEN that asexual Sinners created for Hell’s ace community – and I kind of wound up going down a rabbit hole about ace culture.”

“Apparently cake is a pretty big thing in the ace community. It’s a…” Charlie hesitated. “Mee-mee?” she guessed. “May-may? I’ve never actually heard anyone say that word out loud…”

“Meme,” Vaggie supplied. “Long E sound.”

“Thank you!” Charlie leaned across the island to give her a quick kiss.

“But yeah, it’s a meme,” Charlie said, pronouncing it correctly that time. “Because a lot of asexual people would rather have cake than have sex. So the saying, ‘I’d rather have cake,’ and cake in general became a whole thing.”

“And the food coloring?”

Charlie grinned so hard her cheeks started to hurt. “I’m gonna bake four layers in the colors of the asexual pride flag!”

Vaggie looked at her fondly. “I love you,” she said.

Charlie’s smile somehow got even brighter. “I love you too!”

Charlie squeaked. “This is gonna be amazing!” she said, bouncing in her seat. “I’m going to get a good grade in allyship! Something that is both normal to want and possible to achieve!”

Vaggie shook her head and sighed, a soft smile gracing her adorable face. “Alright,” she said. “Let’s bake a cake.”

Why the hell was Charlie baking Alastor so many cakes?

The first one, that made sense. Alastor had just returned after being mortally wounded in the battle to defend the hotel, and dare he say it, a celebration was in order.

Of course, he would’ve preferred a strong drink or some freshly killed venison, but he graciously accepted the gift he was given. He didn’t eat it of course, but it would’ve been rude to reject Charlie’s misguided attempt at a welcome home gift.

But then came a second. And a third. And a fourth, fifth, sixth cake. What the fuck was going on?

Was there a joke he wasn’t in on? Had Charlie developed some sort of dessert-related madness? Was this her latest hairbrained scheme to send Damned Souls skyward?

It would all come to an end if he would just turn the damned things down. He knew that, but…

Charlie stood in front of Alastor, holding the sixth – the sixth – cake, smiling like the sun he hadn’t seen since 1933. He took the cake, thanked her, and left.

Something had to be done about this. He needed to go see Rosie.

Vaggie walked warily into the hotel’s kitchen. It looked like some kind of culinary warzone. Mixing bowls and baking sheets were piled precariously on top of egg cartons and sacks of flour.

“Hey, hon? Charlie? Sweetie?”

Charlie popped her head up from behind one of the towers of bakeware. There was purple cake batter on her cheek. “Yes?”

“Don’t you think this is getting to be a little…”

Somewhere, something crashed to the ground. Vaggie hoped it wasn’t something breakable. Niffty had a habit of collecting shards of broken glass or ceramic and turning them into makeshift weaponry.

“Much?” Vaggie finished.

Charlie tilted her head to the side. “What do you mean?”

Vaggie pursed her lips. “It’s just that…”

A bag of sugar fell from its perch. The only thing that stopped it from hitting Charlie in the face was Vaggie’s quick reflexes.

Vaggie opened her mouth to speak, but was interrupted yet again. Not by another object falling from the crumbling towers, but by a different kind of chaos all together.

Alastor returned to the hotel at a completely reasonable rate.

Which is to say, as fast as demonically possible. That was a very reasonable rate considering he was facing the possibility of a seventh cake he could neither eat nor refuse.

When he arrived at the hotel, the first thing he heard was something made of glass being shattered on the kitchen floor. He could only hope that it was Husker drinking while cooking or Niffty breaking glassware to have a mess to clean and sharp objects to play with.

Much to Alastor’s chagrin, it was neither.

The kitchen was a disaster. How Charlie had managed to get it in such a state was beyond him. Alastor had cooked dinner for the other hotel residents just a few nights ago, and while the organizational system was somewhat of a mess – as is often the case when you have seven cooks in the kitchen – it wasn’t anywhere near the catastrophic levels of the kitchen’s current state.

Vaggie was balancing on her toes, wings outstretched, with one arm in the air, holding a bag of sugar over Charlie’s head.

“Hello there, ladies!” Alastor made his presence known before Vaggie could do something ridiculously sappy like pour sugar on Charlie’s head and call her ‘sweet.’

“Am I interrupting something?” he asked, knowing damned well that he was.

“No!” Charlie said at the same time that Vaggie groaned, “Yes!”

“Ah, good to see we’re all on the same page!”

Charlie smiled nervously while Vaggie grumbled something under her breath in Spanish. Alastor didn’t speak Spanish, but he was fairly certain that whatever she was saying was both directed at him and incredibly rude. He magnanimously decided to ignore it.

“Charlie,” Alastor said, allowing his voice to drop slightly. “If I might have a word.”

“Uh, yeah, sure, of course!” Charlie made her way through the absolute nightmare that was the hotel’s kitchen, occasionally cursing when something crashed to the ground in her wake.

Vaggie glared daggers at Alastor from over Charlie’s shoulder. And yet, there was something beneath it. Some sense of desperateness. Interesting… He should follow up on that.

“What did you wanna talk about, Al?” Charlie asked once she was finally standing face to face with Alastor.

“I’d like to discuss the cakes.”

Charlie’s face lit up, and from across the room, that look of desperation and wrath on Vaggie’s face intensified. Very interesting indeed.

Almost interesting to make him pause his attempts to stop this nonsense long enough to figure out how he could use it to his advantage. But not quite.

“While I appreciate the gesture, I must admit, I don’t have much of a sweet tooth.” Alastor adjusted his monocle, trying to ignore the way Charlie’s cheery demeanor had started to droop.

He could only hope that Rosie was right about this.

“In fact, I’d rather have garlic bread,” Alastor said, repeating the exact words Rosie had used.

Instantly, Charlie’s expression changed. To what was debatable. Alastor thought he saw about ten different emotions run across her face, most of which he had never had the displeasure of feeling, himself.

When she finally did speak, the words came rushing out all at once. “Oh my goodness, I didn’t mean to assume!”

Charlie reached out as if to touch him, then pulled back, balling her hands into fists and holding them rigid against her sides. Smart girl.

“I’m so, so sorry, Alastor!” she said, barely pausing for breath. “Of course, I know aces aren’t a monolith, I just thought that…”

Charlie continued speaking, but Alastor wasn’t paying very close attention. Whatever she was saying was of little importance and made even less sense.

However, there was one word that kept catching his ear, persistently clamoring across his consciousness like a single note out of tune in an otherwise unremarkable song. And like an off-key note, it didn’t seem to fit within the context provided for it.

Which begged the question…

Why did everyone keep calling him ‘ace?’

Oh, Charlie was starting to look teary eyed. He’d better tune back in.

“…and I just wanna be a good friend.” Charlie’s voice wavered. Her knuckles were somehow even whiter than usual as she fought to keep her hands at her sides, and tears were already starting to spill down her cheeks.

Alastor made an executive decision to cut the waterworks off before they could truly begin. Of course, this would mean he’d be liable for Charlie’s famous ‘happy tears,’ but well… anything was better than this.

Alastor reached out and hugged Charlie, who promptly collapsed onto his shoulder and began to cry what he hoped were the aforementioned ‘happy tears.’

“You are a good friend, my dear,” he said, which triggered another – happy? – sob.

Alastor looked to Vaggie for help. He was out of his depth, here. Somehow Rosie’s advice had both made things better and worse.

Vaggie – whether for the sake of her sweetheart or to put Alastor out of his misery – met them in the doorway.

Alastor was just about to pass Charlie off to Vaggie when she lifted her head off of his shoulder.

Charlie looked up at Alastor with tears in her eyes and a smile on her face. “Thank you, Alastor,” she said. “That means a lot.”

Alastor’s own smile softened. “I do consider you a friend, Charlie,” he said, his voice almost entirely unfiltered.

Charlie made a truly pathetic – and somewhat endearing – whimpering sound, and between that and her expression, Alastor suspected that the ‘happy tears’ which had finally begun to stem were threatening to return in full force.

“That’s quite enough of that!” Alastor spun Charlie out of his arms and into Vaggie’s.

“I think I’ve had enough cake to last a lifetime, and enough sentimentality to last two!” Alastor made a show of dusting himself off. Well, it was mostly for show. His shoulder was wet, and a bit of magic goes a long way when combined with such a gesture.

“If you do decide to transfer your obsessive baking fixation into garlic bread, please limit yourself to once a month or less,” Alastor said casually. And then, with just a hint of darkness, “Lest I lose my appetite for that as well.”

Charlie sniffled and wiped her tears away with her palms. Vaggie held her protectively, wings still visible. Her feathers were fluffed the way Husker’s sometimes got when he was feeling rebellious, and she looked like she was poised to kill should Charlie give the word.

Instead, Charlie gave quite the opposite! She giggled, a much more appealing sound than all the sobbing – happy or otherwise. “I can do that,” she said.

Both Alastor and Vaggie let out a sigh of relief.

Oh, so that’s what the look was about. Vaggie was as disturbed by Charlie’s baking mania as Alastor was.

Alastor probably could’ve used that to his advantage – and potentially gotten another Deal out of it – but he was honestly just grateful that the whole thing was finished.

Alastor and Vaggie shared a brief and odd moment of comradery, silently celebrating the end of a hell within Hell.

“Well, it was nice chatting with you both,” Alastor said, more than ready to leave both the conversation and the kitchen. “I’m happy we could put this whole cake confusion behind us!”

“Agreed,” Vaggie said. Her tone and expression spoke volumes. Clearly she’d witnessed horrors beyond Alastor’s comprehension. Which is saying a lot considering the Eldritch nature of his abilities.

Charlie laughed and hummed an, “Mhmm,” in agreement.

Alastor was going to consider that a success!

Alastor hummed along to a song he’d strung together from the airwaves as he made his exit – read, ‘escape’ – from the kitchen.

That had gone smoother than expected, all things considered.

“Ha!” he laughed to himself. Piece of cake.

#fanby’s fuckery #fanby’s fics #acealastorweek2024 #hazbin hotel #alastor #charlie morningstar #vaggie #rosie hazbin hotel #aroace alastor #asexual alastor #aromantic alastor #chaggie

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drconstellation · 4 months

Text

Liberty versus the Tree of Life

TW: Discussion of death and grief

I received a question from @lickthecowhappy the other day on one of my metas that I'm going to try and address in this post. This is going to wander into some pretty heavy areas, and discuss some implications for S3.

They asked:

"What do you think about comparing "give me liberty (coffee) or give me death" with gaining free will via the tree of knowledge but losing access to the tree of life in the process?"

On one hand this might look like a simple choice between two things, but its not - there are shades of grey, of course. Can the two (liberty/death vs. knowledge/life) be compared? Yes - in a way. But we need to unpack the question in its entirety first.

"Give me liberty, or give me death!"

This famous quote that forms the basis of the name of Nina's coffee shop is from a reconstructed speech given by the American politician Patrick Henry in 1775, as the colonists prepared to fight against the British Empire. It is worth us having a look at the extended excerpt of the speech quoted from Wikipedia in context of what we know is coming in S3:

If we were base enough to desire it, it is now too late to retire from the contest. There is no retreat but in submission and slavery! Our chains are forged! Their clanking may be heard on the plains of Boston! The war is inevitable and let it come! I repeat it, sir, let it come. It is in vain, sir, to extenuate the matter. Gentlemen may cry, Peace, Peace but there is no peace. The war is actually begun! The next gale that sweeps from the north will bring to our ears the clash of resounding arms! Our brethren are already in the field! Why stand we here idle? What is it that gentlemen wish? What would they have? Is life so dear, or peace so sweet, as to be purchased at the price of chains and slavery? Forbid it, Almighty God! I know not what course others may take; but as for me, give me liberty or give me death!

If the mention of Boston wasn't there, you could almost read that as a crazy synopsis of S2 and S3. The Great War, that wasn't considered concluded satisfactorily and must be restarted and finished once and for all, has begun again, and is on its inexorable way. There will be storms. Some see the outcome in black and white - you either win or die; there is no other option, because they do not dare entertain it.

The fandom seems quite settled with the analogy of liberty and freedom = coffee, and six shots of espresso is Crowley's coffee preference, because he loves and protects his freedom with a passion. Crowley is that coffee, in a way - long, dark and richly intense. He is a champion of free will. Even as a demon he still gives those he tempts the choice to make their own mistakes. So how do we apply this to the coffee the Metatron offers Aziraphale, and the other option, death?

The coffee the Metatron orders and forces on Aziraphale is a message, and a warning, to the angel - "I know all about you and your demon partner." The shot of coffee in it is Crowley, the oat milk is to say Aziraphale has maybe gone a bit too far with things with Crowley while on Earth, and the almond syrup is to say they have been watched and observed do so. This is confirmed when the Metatron mentions that he knows that Aziraphale and Crowley have formed a de facto partnership.

And where would Aziraphale get his Crowley from if he went back to Heaven?

What about death? Is it a real option? What does the option of death mean anyway?

If you are not familiar with the Tarot deck, the Death card can seem quite alarming. A skeleton in black armour strides over a fallen king - death does not care for rank or position. Death cares not for riches, they will not hold it at bay. Nor will prayers. Death does not care what age you are, either. But the small, kneeling child holds a posy of flowers up as if in greeting, the only one prepared to face the rider on the pale horse; this is because children are not as always as set in their ways as adults are, and can adapt to change more easily.

Experienced Tarot users know that is what the Death card signifies when it appears: Change. Something is coming to and end, but something else is about to start as well. It's not a physical death, its a spiritual or metaphorical death. It should be a welcomed card, as it indicates there is a promise renewal and new beginnings on the horizon (see the dawning sun between the two pillars in the top right of the card?) and all one has to do is surrender to the inevitable change. But like death, making changes can sometime be a hard, fearful thing to face. Facing death, either your own or someone else's, is ultimately about accepting change.

Surrender to the British is not what Patrick Henry wanted to do. He wanted to keep the liberty he had in the new world.

But death was the only viable option Aziraphale had.

"So predictable," remarked the Metatron to Nina, when she told him people don't ever ask for death in response to his question. Death is present in Nina's coffee shop - it's the green colour on the inside walls.

I haven't done much colour meta lately but I have been doing a lot of research on them, as I realized the original meta I wrote needed a major revision, which I plan to do soon. Green was one of those colours that needed more work.

The green on the inside walls actually has two meanings, which are both specifically tied to the coffee shop, but the first one is Death, with the capital D. This is one of the Four Horsepeople lurking in the background of S2, as Armageddon prepares to ramp up again. War is on the label of the wine bottle Crowley has in S2E5, Famine is the Marley Horse statue that Crowley puts his sunglasses on inside the bookshop, and where the stone-shaped Eccles cakes are placed in offering. Death is waiting inside the coffee shop, right next to the constraining sky-blue moral lawfulness of Heaven.

Death rides a pale horse, but the word used to describe it, "chloros," actually translates to a "pale greenish-yellow." That would have looked a bit sickly inside the coffee shop, I think, so they used a more complimentary shade of green, and one that would double up with a second meaning. Green is also the colour associated with new beginnings and the resurrection. That's why the outside of The Resurrectionist pub is dark green - it's got nothing to do with Hell (at least, I don't think it does, in this case!)

The Second Coming is in progress. Armageddon is underway again. Someone in Heaven is determined to see the supposed Great Plan come to fruition.

The Riddle of the Sphinx

In Sophocles play Oedipus Rex the titular character meets the Sphinx on a hill outside of Thebes. The monster has been devouring travelers who do not answer her riddle correctly.

"What is the creature that walks on four legs in the morning, two legs at noon, and three in the evening?"

Clever Oedipus replies with "Man," and defeated, the Sphinx departs, removing her curse from the city.

A baby crawls on four limbs into childhood, then two legs into adulthood, then on three legs with a cane for an aid into old age. This is the natural progression of life. You would not want to remain an infant forever, and similarly if you have children wouldn't you wish to see them progress from childhood to adulthood and have children of their own?

Remember Momento mori? It's a major theme in the series. Remember that you die. It's a reminder that cycles must end and restart, and that death is an important part of life. We saw the Starmaker set up a star factory, but even stars die eventually, and need to die, to make new stars. The universe recycles itself, that is how it keeps going. Sometimes we need a reminder that life is short, although sometimes it seems too long as well.

I think we too easily forget that our ineffable duo, as angel and demon, are entities that can effortlessly travel between these two worlds of life and death, as we humans see it. It's their business to do so, after all. As supernatural beings, they are eternally alive, and death has a different meaning to them - it's destruction that they fear.

The Tree of Knowledge & The Tree of Life

Aziraphale's role as Guardian of the Eastern Gate was to prevent humans returning to the Garden of Eden to access the Tree of Life after they had eaten from the Tree of Knowledge.

The Tree of Knowledge gave us questioning, curiosity and imagination. We learned, we created and in doing so made choices - we used free will. But in taking this liberty it gave us the responsibility for ourselves. It supposedly gave us the concept of sin and doing wrong, and also shorter lives to help us deal with the "agony" of this.

And the other option, the Tree of Life, that is apparently so dangerous we must be kept away from it? Is it death? No, quite the opposite - it offers eternal life, and redemption from sin. In short - a state of no change - and no choice.

To access the Tree of Life now the choice is made for you before you can arrive in front of it, in the Book of Life. If your name is in the Book on Judgement Day, you get to enter Paradise. If it is not, you will be cast down into a lake of burning sulfur (hmm, sounds familiar...) And that's it, forever and ever.

Is that really the ideal of Paradise? Yet we're made to fear the cyclic change and new growth that death brings, and want to yearn so much for the stagnation of Eternity that we rigidly structure our lives around a possible promise of it as a goal.

Eternal Life, Eternal Youth

Eternal life is not the same as eternal youth. In a cautionary tale from Ovid's Metamorphoses we have the Cumaean Sybil who lived a thousand years. She was the priestess of the oracle of Apollo at Cumae, near Naples, and apparently Apollo offered to grant her a wish in exchange for her virginity. She scooped up a handful of sand, and asked to be given as many years of life as there were grains of sand that she held. Later, she refused to sleep with the god, so he let her physical body wither away, because she had failed to ask for eternal youth as well. Her body shrunk as the years went by, and grew smaller and smaller, and eventually only her voice was left, kept contained in a jar. (And here is a link to one of the books on Jim's bookshelf - Sylvia Plath's The Bell Jar is named after the ampulla that the Sybil's voice was said to have been kept in.)

Searching for a Fountain of Youth, or creating a Philosopher's Stone for immortality has a common theme in stories through history, even from earliest times. It can be seen as a blessing, or a curse, or a fool's errand. It's a quest that is still prevalent in our modern thinking - going to the gym to build muscle, cosmetic surgery for looks only etc Queer culture has long had an emphasis on youth and beauty and growing old is anathema; freezing the body in time like in Oscar Wilde's The Picture of Dorian Gray is an aim, but our fragile mortal frames just aren't made for that. Isn't it what is inside us that counts, not the label we have applied to it?

Choices, Choices...

The time has come to make a choice: will it be the stimulating coffee of free will, or the painful change and rebirth of death, that might lead to something even better?

Perhaps you want to try the other combination: Having control and responsibility over your own short life in exchange for having to live your life to a strict set of rules so that you can then exist forever in somebody else's idea of a static ideal afterwards.

I find I'm a bit biased. But you chose what you will.

“What we call the beginning is often the end. And to make an end is to make a beginning. The end is where we start from.” T. S. Eliot

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