(Image description below 'read more' line.)
[Image ID: A four-by-four alignment chart on a white background with text descriptions to the left and to the top of the squares.
The top left description reads, "seems like they'd be good at parenting." The top right description reads, "seems like they'd be bad at parenting."
Then, from the top down, to the left of the squares, the other set of descriptions reads: "excellent child rearing instincts," and "never trust them with a child in your life."
Each of the four squares contains an image of a different character. At the top left is an image of Lan Wangji of the Mo Dao Zu Shi donghua. He sits between the descriptors "seems like they'd be good at parenting," and "excellent child rearing instincts."
In the top right square sits an image of Wei Wuxian, also of the Mo Dao Zu Shi donghua. He sits between the junction of "seems like they'd be bad at parenting" and "excellent child rearing instincts."
In the bottom left square is an image of Xie Lian from the Tian Guan Ci Fu manhua. He occupies the square with the captions, "seems like they'd be good at parenting" and "never trust them with a child in your life."
Finally, in the bottom left square, sits an image of Hua Cheng from the Tian Guan Ci Fu manhua. He occupies the junction between "seems like they'd be bad at parenting" and "never trust them with a child in your life". /End ID]
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literally johnny threw robby so hard into those lockers he was knocked unconscious for like five minutes. accident or not it’s the only scene in the entire show of parent physically hurting their own kid and i just think its insane that in a show that purports to be about the cycle of abuse it just. never gets mentioned ever again.
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Deancas Stabfest 2022
I had the joy of getting to illustrate @themauvesoul's fic:
Fill Thyself with the Word of God
"Dean lays his free hand along the place where Castiel is stretched around the tablet, and strokes his thumb along the edge of the weeping cut in Castiel’s belly. Castiel shivers. He grabs Dean’s wrist, hard, but Dean doesn’t stop. He lays his other hand atop Castiel’s, still clutched around his wrist, and starts gently stroking the skin there, too. “I think you and I both know what broke the connection,” Dean says, his fingers gentle on Castiel’s hands and belly, “and this tablet ain’t it.” Castiel closes his eyes. He doesn’t say anything—how could he? Instead, he lets himself feel it all; Dean’s hands on him, his blood smeared over Dean’s skin. He holds Dean there, because he likes how it feels. The sting of pain, the little hint of pleasure. Together, they make everything seem sweeter."
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me (only sober one in the conversation but tired out of my mind and equally lacking a filter): i thibk my.friends are mad at me
one of the five absolutely shitfaced 15-17 year old cousins also sitting round the campfire at the family gathering, taking it in turns to drink straight out a huge bottle of costco margarita mix where the adults are pretending not to see at 11pm on a sunday night: bruhhh have you tried going into the woods and hitting things with a big stick til you feel better
another absolutely shitfaced 15-17 year old cousin: i wish someone would hit ME with a big stick til I feel better :(
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there’s one version of an f/m/m triangle that crops up so often I’m surprised there isn’t at least a tvtropes/vernacular name for it. Miyokichi/Kiku/Shin. Molly/Fitz/Fool. Asuka/Shinji/Kaworu. Futaba/Taichi/Touma. not-really-but-you-could-shove-it-in-here Luthien/Beren/Finrod. Utena/Touga/Saionji is a twisted spun-on-its-head version of it. Specifically comprising:
masculine male character A: either is the protagonist or a character on to which male viewers can project.
female character B: a secondary character and A’s official love interest, often kept apart from A by story/circumstance/gender roles. Shows some resentment of the trials she’s put through by the story in being A’s lover such as being shoved to the side, cut out of his life, or put in danger.
less masculine male character C: another major character, A’s devoted sidekick, feminine and/or conspicuously cold toward women or sexuality, somewhat ill-used by A but not resentful about it, as a contrast to B.
The dynamic is used pretty equally by female and male creators, though probably with different purposes. Outside the story, there’s a clear explanation for how the roles are divided: men are main, women are peripheral. Obviously the female love interest has to be on the margins of the story. Obviously the male main character has to have an ally in-story who can bounce dialogue back. Any human person has to have a best friend (for men, has to be male) and a lover (for men, has to be female). The major character male bestie and the minor character female gf is the minimum character dynamic you need to sustain the main character as a believable construction.
Except within the story, the dynamic begs far too many questions. On B’s part: her other half and love interest uses her for sex once every few chapters and dumps her to go off on another plot-relevant adventure. She’s kept in the dark, talked down to, pushed away, and distrusted. Her place at her sweetie’s side is occupied by Some Dude and no matter how much she puts into their relationship, she’s always going to be a prize for after the mission. Why does she stay with him? What could possibly attract her about this bestubbled grunt machine whose passion for the sword outmatches anything she’s given him?
On C’s part: he gets used as an emotional support crutch, designed to service his best friend’s every need at the expense of his own goals or story. He’s a housewife, he’s a domestic, he does every thankless story task with a smile because he has to provide the exposition/set up the plot/set the plan in action that carries the main male character to victory. He doesn’t have a love interest of his own, meanwhile the most important person in his life is obsessed with a woman he barely speaks to. Why should he care so much about someone who only takes? Why is he committed to this one-way friendship? What does he think of taking the backseat, providing support, submerging his own will for the sake of a person instead of an ideology?
On A’s part: if he’s a red-blooded heterosexual male character who pursues a woman as is acceptable, why does he dig himself so deep in with his designated ally? Through dialogue and because he has to in order to show the audience, he exposes his heart and soul to C and keeps him in his pocket for as long as we are watching, so why then does he cast him aside so easily? He invests the most time and energy into his relationship with C, cultivating love and loyalty there, but he draws the line so firmly in the sand that the audience is sure he’ll never, ever step aside for one minute to follow the friend. Why does he choose a man for his emotional battery? Why doesn’t he communicate with his supposed partner? Why does he choose to use B and C for sex and solace respectively, and why don’t they ever mix?
The gender dynamics wrap around to simple: women aren’t up to being equal partners to a cool guy, so you need a male wife to do everything for you and appreciate the protagonist’s sick abilities. romance with a man is perverse and impossible, so you need a female love interest to prove that the protagonist isn’t gay and fulfil the audience’s needs. But in-between all of that you could ask some interesting questions of the spoke character, A, the male protagonist whose actions are taken as normal. the question being: bro. what’s wrong with you
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