#that he might as well be different characters in all of them.

[creatingblackcharacters]

"Let's Have a Talk, First"- Stereotypes, pt 1

Come sit down. You and I, before we get into any of the things I'm sure you're impatient to know: we need to have a come to Jesus talk, first.

There are some things that I've been asked and seen that strengthens my belief that we need to have a reframing of the conversation on stereotypes in media away from something as simple as "how do I find the checklist of stereotypes to avoid". Because race- and therefore racial stereotypes- is a complex construct! Stands to reason then, that seeing, understanding, and avoiding it won't be that simple! I'm going to give you a couple pointers to (hopefully) help you rethink your approach to this topic, and therefore how to apply it when you're writing Black characters- and even when thinking about Black people!

Point #1: DEVELOP THE CHARACTER!! WRITE!!

Excuse my crude language, but let me be blunt: Black people- and therefore Black characters- will get angry at things, and occasionally make bad choices in the heat of the moment. Some of us like to fuck real nasty, some might be dominant in the bedroom, they may even be incredibly experienced! Others of us succumb to circumstance and make poor decisions that lead to crime.

None of those things inherently makes any of us angry Black women and threatening Black men, Jezebels and BBC Mandingos, and gangsters and thugs!

Black people are PEOPLE! Write us as such!

If all Black characters ever did was go outside, say "hi neighbor!" and walk back in the house, we'd be as boring as racist fans often accuse.

I say this because I feel I've seen advice that I feel makes people think writing a Black character that… Emotes negatively, or gets hurt by life and circumstance, or really enjoys hard sex, or really any scenario where they might "look bad" is the issue. I can tell many people think "well if I write that, then it's a stereotype" and to avoid the difficulty, they'll probably end up writing a flat Black character or not writing them at all. Or- and I've seen this too- they'll overcompensate in the other direction, which reveals that they 'wrote a different sort of Black person!' and it comes off just as awkwardly because it means you think that the Black people that do these things are 'bad'. And I hate that, because we're capable of depth, nuance, good, evil, adventure, world domination, all of it!

My point is, if you write your character like the human being they are, while taking care to recognize that you as the writer are not buying into stereotypes with your OWN messaging, you're fine. We have emotions, we have motivations and goals, we make decisions, and we make mistakes, just like anybody else. Write that! Develop your character!

POINT #2: YOU CAN'T CONTROL THE READERS!!

Okay. You can write the GREATEST Black character ever, full of depth, love, nuance, emotional range, all those things…. And people are still going to be racist about them. Sorry. There is absolutely nothing you can do to control a reader coming from that place of bias you sought to avoid. If it's not there, TRUST AND BELIEVE, it'll be projected onto them.

That passionate young Black woman who told the MC to get her head out of her ass? Yeah she's an angry Black bitch now, and bully to the sweet white MC. Maybe a lesbian mommy figure if they like her enough to "redeem" her. That Black gay male lead that treats his partner like he worships the ground he walks on? Yeah he's an abusive thug that needs to die now because he disagreed One Time with his white partner. That Black trans woman who happened to be competing against the white MC, in a story where the white MC makes comparable choices? Ohhhh they're gonna be VILE about that poor woman.

It really hurts- most especially as a Black fan and writer- knowing that you have something amazing to offer (as a person and creative) and people are gonna spit on that and call it "preference". That they can project themselves onto white characters no matter what, but if you project your experiences onto black characters, it's "pandering", "self insert", "woke", "annoying", "boring", and other foul things we've all gotten comments of.

But expect that it's gonna happen when you write a Black character, again, especially if you're a Black writer. If you're not Black, it won't hurt as personally, but it will probably come as a shock when you put so much effort in to create a lovely character and people are just ass about them. Unfortunately, that is the climate of fandom we currently exist in.

My favorite example is of Louis De Pointe Du Lac from AMC's Interview With The Vampire. Louis is actually one of the best depictions of the existential horror that is being Black in a racist White world I have ever seen written by mostly nonblack people. It was timeless; I related to every single source of racist pain he experienced.

People were HORRIFIC about Louis.

It didn't matter that he was well written and what he symbolized; many white viewers did NOT LIKE this man. There's a level of empathy and understanding that Black characters in particular don't receive in comparison to white counterparts, and that's due to many of those stereotypes and systemic biases I'm going to talk about.

My point is, recognize that while yes, you as the author have a duty to write a character thoughtfully as you can, it's not going to stop the response of the ignorant. Writing seeking to get everyone to understand what you were trying to do… Sisyphean effort. It's better to focus on knowing that YOU wrote something good, that YOU did not write the stereotype that those people are determined to see.

POINT #3: WHY is something a stereotype?

While there are lists of stereotypes against Black people in media and life that can be found, I would appreciate if people stopped approaching it as just a list of things you can check off to avoid. You can know what the stereotypes are, sure, but if you don't understand WHY they're a problem and how they play into perception of us, you'll either end up writing a flat character trying to avoid that list, or you're going to write other things related to that stereotype because "oh its not item #1"... and it'll still be racist.

For example: if you wrote a "sassy Black woman" that does a z formation neck rotation just because a store manager asked her something… that's probably stereotype. If you thought of a character that needed to be "loudmouthed", "sassy", and "strong" and a dark-skinned black woman was automatically what fit the profile in your mind, ding ding ding! THAT'S where you need to catch your racist biases.

But a dark-skinned Black woman character cursing out a store manager because she's had a really bad, stressful day and their attitude towards her pushed her over the edge may be in the wrong, but she's not an "angry Black woman". She's a Black woman that's angry! And if you wrote the day she had to be as bad as would drive anyone to overstimulation and anxiety, the blow up will make sense! The development and writing behind her led to this logical point (which connects to point #1!)

I'm not going to provide a truly exhaustive list of Black stereotypes in media because that would ACTUALLY be worth a college credited class and I do this for free lmao. But I am going to provide some classic examples that can get y'all started on your own research.

POINT #4: WATCH BLACK NARRATIVES!

As always, I'm gonna push supporting Black creators, because that's the best way to see the range of what you'd like. You want to see Black villains? We got those! Black heroes? Black antiheroes? Assholes, lovers, comedians, depressed, criminals, kings, and more? They exist! You can get inspired by watching those movies and reading those books, see how WE depict us!

I've seen mixed reviews on it, BUT- I personally really enjoyed Swarm, because it was one of the first times I'd ever seen that "unhinged obsessed murderous Black fan girl" concept. Tumblr usually loves that shit lmao. Even the "bites you bites you bites you [thing I love]" thing was there. And she liked girls, too. Just saying. I thought it was a fun idea that I'd love to see more of. Y'all gotta give us a chance to be in these roles, to tell these tales. We can do it too, and you'd enjoy it if you tried to understand it!

POINT#5: You are NOT Black!

This is obvious lmao, but if you're not Black, there's no need to pretend. There's no need to think "oh well I have to get a 100% perfect depiction of the Black person's mind". That's… That's gonna look cringe, at its best. You don't have to do that in order to avoid stereotypes. You're not going to be able to catch every nuance because it's not your lived experience, nor is it the societally enforced culture. Just… Do what you can, and if you feel like it's coming off hokey… Maybe consider if you want to continue this way lol. If you know of any Black beta readers or sensitivity reviewers, that'd be a good time to check in!

For example, if your Black character is talking about "what's good my homie" and there's absolutely no reason for him to be speaking that way other than to indicate that he's Black… 😬 I can't stop you but… Are you sure?

An egregious example of a TERRIBLE way to write a Black character is the "What If: Miles Morales/Thor" comic. I want to emphasize the lack of good Black character design involved in some of these PROFESSIONAL art spaces, because that MARVEL comic PASSED QA!! That comic went past NUMEROUS sets of eyes and was APPROVED!! IT GOT RELEASED!! NO ONE STOPPED IT!!

I'm sorry, it was just so racist-ly bad that it was hilarious. Like you couldn't make that shit up.

Anyway, unfortunately that's how some of y'all sound trying to write AAVE. I promise that we speak the Queen's English too lmao. If you're worried you won't get it right, just use the standard form of English. It's fine! Personally, I'd much rather you do that than try to 'decode AAVE' if you don't know how to use it.

My point is, if you're actively "forcing" yourself to "think Black"… maybe you need to stand down and reconsider your approach lmao. This is why understanding the stereotypes and social environment behind them will help you write better, because you can incorporate that Blackness- without having to verbally "emphasize how Black this is"- into their character, motivations, and actions.

Conclusion

We need to reconsider how we approach the concepts of stereotypes when writing our Black characters. The goal is not to cross off a checklist of things to avoid per se, but to understand WHY we have to develop our Black characters well enough to avoid incorporating them into our writing. Give your Black characters substance- we're human beings! We have motivations and fears and desires! We're not perfect, but we're not inherently flawed because of our race. That's what makes the difference!

And as always, and really in particular for this topic, it's the thought that counts, but the action that delivers!

#creatingblackcharacters #character design #black characters #black character design #black culture

[darkficsyouneveraskedfor]

Winter's King 14

No tag lists. Do not send asks or DMs about updates. Review my pinned post for guidelines, masterlist, etc.

Warnings: this fic will include dark content such as noncon/dubcon, cheating, violence, and possible untagged elements. My warnings are not exhaustive, enter at your own risk.

This is a dark!fic and explicit. 18+ only. Your media consumption is your own responsibility. Warnings have been given. DO NOT PROCEED if these matters upset you.

Summary: You are a maid to the Duke of Debray, a lord of the Summer Kingdom. That is, until the king of Winter appears with his particular air of coldness. (Medieval AU)

Characters: Geralt of Rivia

Note: Another work week :(

As per usual, I humbly request your thoughts! Reblogs are always appreciated and welcomed, not only do I see them easier but it lets other people see my work. I will do my best to answer all I can. I’m trying to get better at keeping up so thanks everyone for staying with me.

Your feedback will help in this and future works (and WiPs, I haven’t forgotten those!) Please do not just put ‘more’. I will block you.

I love you all immensely. Take care. 💖

Not long after the king’s departure, Lord Jaskier excuses himself to see to his horse. Queen Jazlene sends him off with a similar quip about serious matters. You don’t quite understand her. She should be concerned with the weeks of travel ahead of her, not only of the time, but of the climate. 

She finishes the bottle on her own. Much of it went to her cup. You think of warning her but it isn’t your place. You can only watch her head wobble as that hazy look softens her features. On her last gulp, a droplet trickles down her chin. You suspect she might be as unhappy as her husband claimed of himself the previous night. They make a rather sad pairing. 

It’s early still. Perhaps once they are settled, it won’t be so tense. They will have a chance to know each other better without the stresses of a war or the road ahead. 

Your thoughts stray and your vision fogs as you stare at a blue tapestry. Jazlene continues to babble and suddenly, the clink of her cup jolts you from your trance. You look at her as she slumps against the table. Her shoulders are slack, her arms bent around her head as it droops onto the wood. You can see her breath as she hunches weakly in her chair. 

“Your highness?” You call to her. You sway on your feet as you watch her. Come on, move. “Your highness?” You take a step toward her, “Lady Jazlene?” 

She groans and slips to the side. You rush around without a thought to catch her. She garbles drunkenly as you hold her in her arms, one leg still on the seat as her other hangs limply. She’s heavier than you would expect. 

“Your highness?” You squeak as you struggle to keep her off the ground. You can’t drop the queen. 

Her head lolls as her lashes flutter. She is certainly not conscious. The acrid scent of wine rises from her lips. You try to hike her higher, slinging her arm around your shoulder as you grunt. She’s not that big, you’re just weak. You can carry a cask or a chest, but a person is a much different matter. 

You wrap your arms around her and haul her around the table. Her slippers drag and you clatter into the chairs and nearly trip on the edge of the rug. Your leg muscles thrum with the effort and your back racks. You look around. The bedchamber is too far. 

You turn and little by little, step by step, drag her to the couch. Her feet loudly scrape across the floor. You angle her around with another laboured grunt and as you do, the hinges whine and the left door opens. You look up as the king enters and your lips part in surprise. You’ve been caught. Rather, the queen has. 

He stares at you and eases shut the door. He comes around as your arms quake. He wordlessly takes his wife from your grasp and lays her across the sofa. You put a pillow under her head and back up, rubbing your upper arms. 

“Your highness, she was not feeling well,” you say. 

“She has drunk herself into a stupor,” he snarls as he backs up, crossing his arms as he glares down at her. “Do not lie, especially on her behalf. It does not become you.” 

“Your highness, I apologise. I only worry for her--” 

“You shouldn’t,” he intones, “she doesn’t worry for you. Or me. Or anyone but herself.” He turns and goes to the table. He rights the overturned cup and you reproach yourself for not doing so first. “But I do appreciate you attending to her. I’d rather not have found her upon the floor.” 

“Your highness,” you bow your head. 

He’s quiet. You’re unsure what to do next. Should you leave him with Jazlene or stay to tend to her? He will need sleep for the ride. 

“Little maid, you will send to have a bath drawn. There will be little chance to wash upon the road,” he commands. 

“As you wish, your highness.” 

“Mm, if only,” he murmurs as she sits and grabs the empty bottle, sneering at its hollowness. 

You set off to have water brought to his chamber. You assist the other servants in carrying the vessels of steaming water. All the while, the king ruminates at the table. He picks at his index finger and his cheek ticks. When at last the tub is full, you go to trail out after the castle servants. 

“Little maid, I require assistance,” he says. 

You remain and the doors close in the tension. You watch the king, your fingers twined together as you cautiously approach. He glowers at his fingers and huffs. 

“You have small hands,” he rests his palm open on the table, “please, I would have use of them.” 

Curious, you move towards him. He turns to you and holds out his large hand. He pokes his index fingers up and hisses. 

“I got it on the door. A splinter,” he explains. 

You see the dark spot, just the minuscule tip of it poking above his rough skin. The skin around it is inflamed, both from the sliver and his fussing. You bring your hands to cradle his single one and lean to have a closer look. You keep one hand under his and slip the other down the side of his palm. 

You brush your fingertips over the lines of his knuckles. He’s quiet as he lets you gently squeeze. You glance up beneath your lashes. 

“It might hurt, your highness. Apologies.” 

His cheek twitches, “I’ve had worse than a maid’s touch.” 

You squeeze until his flesh his taut. You pinch the tip of the splinter with your other fingers, using your nails to get a grip of it. You pull slowly. Very slowly, terrified of losing hold and having it go deeper. The wooden sliver slides out and before you can examine it, it falls to the floor, disappearing into the fabric of the rug. 

The king sighs, “better.” He brings his other hand over yours and covers your small ones with his, “many thanks, little maid.” 

He lets you go, his calloused skin brushing your sleeves, and he hums grimly. He bends his head forward and his white waves shift on his shoulders. He pushes his hair back and raises his head again. His eyes almost glow as he looks at you. 

“I should fetch some water for the queen in case she stirs--” 

“Later,” he dismisses, “might I ask another favour of such delicate hands?” 

You dip your chin down, “I serve you and the queen, your highness.” 

“Mm, yes, you recall, the knot in my shoulder, where I carry my sword,” he points along his shoulder, “if it isn’t trouble, I might have you loosen it before I must ride anon.” 

“Your highness,” you acquiesce, curling your fingers into your palms. You remember that first night you met him, as he sat in the steaming tub and had you touch him. You sweat at the memory. 

“It would be best before I soak,” he reaches to untie the laces of his tunic. 

You watch him, helpless. As with the queen, you can only heed his whims. At least he is gentler in his mastery. He pulls his tunic above his head and strips it away completely. He lets it hang over one leg and squares his shoulders as he sits back in the chair. 

You go around him and he moves his hair to his other shoulder. Your hands tremble slightly before you touch him. His muscles are thick and his skin taught across everyone. His arms are rounded with bulk and his neck is bullish in girth. He carries so much strength and power as if it is nothing. 

You squeeze the muscles gently with one hand, pressing the other behind it. You knead carefully, gradually putting more behind it, responding to the soft breaths and low grunts rising from the king. You hit a spot with some resistance and he growls. 

“There,” he grits as he drops his head forward. “Harder.” 

You push your thumb against the little pearl of tension you feel along his shoulder. He exhales deeply and lets out a wolfish snarl. He grips his thigh as you work his flesh. Your hands move without much thought. Lady Rezlyn often requested to have her feet done, a much less ideal task. 

“Mm, treasure...” he breathes though his words aren’t entirely clear. 

Another noise rises from him, sharper than before. You stop, frightened. 

“Your highness, have I hurt you?” You utter. 

Before you can retract your hand, he has a hold of you. He lifts his head and hangs it back, his hair spilling down. He looks up at you with his bright eyes as he clings to your hand. He presses it flat and moves it over his shoulder. He drags it down against his chest where you can feel his heartbeat. 

You’re caught in his gaze and his grasp. You just stand there, entranced by his golden irises. Each time you see them, they are more brilliant than the last. Your own chest tightens and binds up your breath. 

“You can never hurt me,” he rasps. You gulp as he lightens his hold and pets your hand. He closes his eyes and winces. “Little maid...” he sits forward and gently moves your hand away from his chest, “you must go now. You must face the road with us and you will require rest.” He lets you go completely and stands. “I trust my wife will have many a demand to keep you busy.” 

“Yes, your highness,” you murmur. 

“Now,” he insists. “You must go now.” 

He crosses the chamber and stops in the door to his bedchamber. You quickly flit over to the doors that lead out to the corridor. You pause and glance over as you sense him move. He stares at you, his eyes licking with flames. His chest rises and falls, trimmed in thick hair that trails down his hard stomach. 

“Go...” 

You obey and heave open the door. The soldiers on the other side snort. It is late, they must’ve dozed. You don’t think much of that as you harry down the corridor, not looking back. The king’s timber nips at your ears. The way he spoke; ‘go’. It was more than just a word; it was a warning. 

⚔️

You rise with the castle, quickly falling into the tumult of the impending departure. When you arrive at the king’s chambers that morning, you are sent away. You find Jazlene in her own. He must have taken her back before the sun. 

She is groggy and sombre as you help her dress. The pain in her skull leaks out in pathetic moans. You offer her lemons water and a cool cloth for her head. You see the difference as she accepts but she remains weak. It will be difficult for her to ride. 

Horses fill the courtyard and the luggage carts crowd around the stables and rear of the castle. The scene reminds you of Debray. You only hope Queen Jazlene does not cause a similar scene. You don’t believe she can. 

You accompany her to the front of the train. The king is not there. The queen clutches her throat as if she might be sick as the smell of the horses is stirred by their whipping tails. She grumbles and calls for a water skin. You find one and she shooes you away. 

“Enough of you,” she snips.  

You stay close, keeping watch should she signal for anything else. She can barely lift her head to do more than drink thirstily. Lords and ladies as good as ignore the queen as she mutters to her horse. 

“Eh, mouse, there y’are,” Bryce’s voice undercuts your pity. “I’ve been looking for ya.” 

You face him and the weight slips from your shoulders, “you have?” 

“What are you insinuating?” He challenges, “Daisy’s missing ya.” 

“Oh,” your brows raise, “well, it just so happens I miss her too.” 

“We’ll be off soon. You should come claim your place with the luggage.” 

“Should,” you agree. 

You follow him through the press of bodies. You get further down, away from the pages and soldiers, see Daisy lazily hoofing at the ground. She chews on a sparse bit of grass in the dust. As you near, you notice that her holster is thicker than it was. She is attached to a small cart. 

“What is this?” You ask as you stop short. 

“It’s yours, mouse,” Bryce says staunchly, “isn’t right you riding with the chests. Not for so far as we need to go.” 

“You... you did this for me?” You ask. "But... what about--” 

“Found a spare horse. He’s a bit less friendly than our beloved but he’ll do fine enough,” he explains, “’sides, Daisy needs a respite. She don’t needa be carrying around my hefty behind much longer.” 

“Oh, my,” you put your hand to your cheek and go to the cart, “Sir Bryce, you are a true knight.” 

“Don’t you get sappy with me,” he tuts as he follows. “Look inside, will ya?” 

You look inside the cart. There’s a long cushion and a pack. It’s a lot compared to what you came with; nothing. Bryce reaches in and tugs something from beneath the cushion. You watch the fur ripple out as he reveals the cloak. It’s thick and long and hooded. He holds it up. 

“When we get to the Hinterlands, you’ll be needing this,” he says. 

You touch the fur, it’s soft. You blink and feel it between your fingers. Your eyes sting. 

“Sir,” you bat your lashes, “it is too much for me.” 

“It isn’t very much, you are just too humble, mouse,” he folds and holds it out to you. “Now, don’t you be telling anyone this was my doin’. I got a reputation to uphold.” 

“Oh,” you clamp your lips shut as you try to hold back your emotion. 

A smile breaks through and you bare your teeth. Your cheeks hurt from the joy bursting forth. You hug the cloak and rock, looking around. As you do, you falter at a familiar face.  

The king leads a dark horse along the edge of the yard. He is looking at you, or so it seems. You let your expression slip and tamp down your glee. You bow your head in King Geralt’s direction. 

When you look up again, he is gone. 

#geralt of rivia #dark geralt #dark!geralt #geralt of rivia x reader #fic #dark fic #dark!fic #series #au #medieval au #the witcher #winter's king

[sadokasochism]

I am destroyed over the whole god/worshipper dynamic and have no idea how to adequately put it into words.

I mentioned in another post that Mizi could not fathom Sua ACTUALLY dying, or comprehend what death really meant, and attributed this to her relatively comfortable and sheltered life as the pet of Shine. She was not taught to conceptualise death as a loss, and she never faced any opposition to that world view. From what we know, she might have never really known true, lasting pain or loss before the end of Round 1.

However, her reaction could also be due to her placing Sua on a pedestal as her personal god and universe. She viewed Sua as her absolute everything, and why would any faithful worshipper believe their god could be killed? Only, while Sua was everything to HER, that perception did not carry over to their captors. Mizi's love and devotion was not enough to save Sua. Forces stronger than them both took her away like she was nothing.

How must Mizi have felt, having her perception of Sua as the centre of the universe shattered that way? Coming to the violent realisation that Sua was just another human, and that humans are indeed that vulnerable and disposable? That Sua could now only exist in memories and in the visions that haunt her? That Sua is not a god, but a ghost?

Now we look at Till's perception of Mizi. Again, in an earlier post I mentioned the tragedy of Till falling for someone who did not have a reason to leave. He had a lot of blind faith in Mizi, and it could be said that he idealised her as a paragon.

It's not hard to see how he reached this point. The poor kid had not been shown a lot of kindness in his life, and so meeting someone who was genuinely good and so full of joy must have had a huge impact on him.

However, his faith is still a blind one, but in a different way to Mizi's blind faith in Sua. He is happy to endure any amount of horrible treatment and does not expect anyone to help him. He doesn't resent Mizi for being so close to their captors, for her dreams stopping at Alien Stage. He doesn't resent her after he gives up on his chance at freedom and is subjected to who knows how many more years of pain and torment at the hands of their captors (Not that Mizi is at fault, Till made his own decision that Mizi likely never even knew about).

He sees Mizi's innocence and ignorance to the cruelty of their reality as something wonderful instead of a character flaw that prevents her from saving herself or her loved ones.

Sua has the same issue, seeking comfort and bliss within Mizi's brightness instead of acknowledging the cruel reality of their world. Maybe she felt sharing her perspective with Mizi would dim Mizi's bright spirit, and so she was more than content to wait out the clock with her god.

Maybe Sua felt that meeting Mizi, loving her and being loved by her in return, was nothing short of a miracle after the life she had lived before Anakt Garden. Maybe she felt in light of that, aspiring for something like freedom or a long, long life of happiness with the person she loved the most was asking far too much. The time she got with Mizi was already a miracle, why expect or demand anything more?

If Sua was afraid of Mizi losing her brightness, no wonder she was so affected by Ivan's lecture about becoming a source of trauma for Mizi after her death.

Ivan's view of Till as his god is a bit different. He is similar in that he doesnt seem to demand his devotion be reciprocated, he just wants his god to acknowledge him as a person, as someone that is at least PART of Till's universe, if he can't be all of it.

He is also very willing to become a martyr for his god while expecting nothing in return but Till continuing to live. He acknowledges Till as vulnerable and falable in a way that Till doesn't with Mizi, and Mizi didn't with Sua. He knows damn well that while Till is the centre of HIS universe, their captors certainly do not hold Till in that same regard. He knows that love and devotion in a vacuum does not save anyone.

Which is why he was always the one to free Till, to try and escape with him, and why he pulled the stunt he did in Round 6. Ivan knew that actually making an impact in this world required personal risk and sacrifice, because their captors don't give a fuck if you're in love or if that other pet-human they're about to kill means everything to you.

Till knew this too, but his idealised version of Mizi is too perfect to be broken and beaten down by this world the same way the rest of them have been. So he's still shattered by Round 5, seeing how far Mizi has fallen and then not knowing if she's alive or dead, but knowing for sure she is far out of reach. I wonder, did he regret not running away with Ivan at that point? Did he wonder what all those years of suffering were for, if he was just going to end up losing Mizi anyway? If this world was able to break her too, no matter what he did?

Mizi is gone and changed forever, and nothing he did could stop it. His love and devotion and sacrifice wasn't enough. He failed his god.

In Round 6, Ivan is faced with the same thing. His god has lost his fighting spirit, is changed forever, and Ivan's love and devotion wasn't enough to save him. The last thing he can give is his life, and hope that will be enough. Just like Sua. But he was never Till's god, was never even part of his universe, he probably won't even leave a ghost behind. So, the choice is obvious, really.

They're all so desperate for hope and connection in this lonely, painful existence that they make a person their entire universe, and then are repeatedly crushed when they are shown again and again that their soul-consuming love for one another is seemingly meaningless in a world that views them as infinitely disposable.

#alien stage #alien stage mizi #alien stage sua #alien stage ivan #alien stage till #alnst #alnst mizi #alnst sua #alnst ivan #alnst till #mizisua #mizitill #ivantill #basically i will never know peace again

[pinkeoni]

During his emotionally charged speech in the van, Will says one particularly potent line.

"When you're different... You feel like... a mistake."

This line is highlighted visually by the camera shifting positions to outside of the van, a shot that is only used one other time to punctuate the end of the scene. This line holds extra weight and the show wants you to know it.

I already made an analysis on the word mistake and what that means for Will, but I want to look at the word different, which feels emphasized in the delivery of the line as well.

"When you're [pause for effect] different..."

It's popular headcanon among st fandom that "everyone in Hawkins is gay!" which sometimes bleeds from into their belief of real canon. Sexuality headcanon lists suddenly are seen with an air of truth to them, and a number of fanon queer ships are accompanied with evidence of their supposed endgame status.

I realize that this is kind of a... weird post to make. I'm not really making this to tell people to stop doing something, this is more of just a rattling off of some opinions I've had for awhile.

I do wanna start off with the obligatory: Do whatever the hell you want. I'm not here to stop you from doing something or tell you that you are wrong for thinking that a character is gay or for shipping something. You are allowed to ship whoever you want, think whatever you want about any character, any ship I don't like I have filtered. But I'm also allowed to not like these ships, or disagree with how others view certain characters. Just as others are allowed to have and express their opinion, I'm also allowed to have and state my opinions on the opinion website.

I think the important thing regarding Will being different is the fact that he is different. As my good friend @karenchildress once put it, if everyone were queer, it would cheapen the message the show is trying to give. Sure, the show displays a variety of ways of being different, but being gay is, among other things Will has been through re: being taken into the Upside Down, is Will's way of being different in Hawkins.

And of course Robin is gay as well, and while there is some crossover, the lived experiences of a gay man is different from that of a lesbian woman, which the show does touch on. Will's story is part of an extended AIDS metaphor, and Robin struggles to gain the attention of women in a world that seems to revolve around the attention of men.

It might be nice to have a moment between Will and Robin, although that alone won't solve Will's problem, i.e. his belief that being different makes him a mistake. Cause that's the thing: the resolution is that being different is a good thing.

If everyone character were queer, this would cheapen the message. Suddenly the resolution isn't that being different is a good thing, but that he isn't different after all.

So then, are queer stories meant to have only token characters?

I think it depends on the type of story, and what it's trying to say. Heartstopper has an eclectic queer cast, but it's also a show that embraces finding community and other people like you. Sex Education has a variety of different sexual identities, but it's also a show that aims to explore a lot of different perspectives.

And there are also queer stories where the queer character's disposition, and their struggle because of that, is a big part of the story. I believe this is what this show is trying to do— highlight Will's difference and how that pertains to his personal struggle and the resolution of that.

One argument that I hear against Will with powers is the idea that making him more different would be bad for his character, because he hates being different. But the thing is, Will is going to learn that his differences are a good thing, which may include any possible powers.

Of course Will isn't the only one with powers, and he also isn't the only gay one. El, Henry, and Kali all have powers, and Robin, Vickie, and Mike (and maybe Henry? I haven't seen TFS myself so I'm not commenting on that) are all gay. So while he's not alone, these things are still a rarity. It's not a case of a headcanon list with mostly everyone gay and some token straights.

"Characters are not straight by default."

This sentiment isn't unique to the st fandom and also didn't originate within this fandom, but it is something that I hear often. And it's... not really true, although it kind of depends on the piece of media we are talking about. It might be easy to say this about a show made in the 2020's, although this same sentiment is hard to state about, well, most shows made before the 2020s. And even then, it depends on what the show is going for.

People being not straight by default is a true statement in real life. You shouldn't assume a sexuality for anyone, gay, straight or what have you. But characters are made by people, and people have different biases on how these characters should be written. Calling the Duffers "two straight men" would go against what I just said, although I don't think that the show was written with everyone being gay in mind. Aside from the 4 (maybe 5) I listed, the other characters are not written to be queer. They just aren't.

All of the queer characters have arcs that feature their queerness. Will's queerness has been mentioned since season one. Robin's romance becomes part of her plot in season 4, and Vickie is introduced as her love interest. Romance has always been an important facet of Mike's story since season one, and his failure in a straight romance is highlighted in seasons three and four. Chekhov's painting of season 4 seems to solidify a gay Mike.

Elmax and Ronance as endgame options not only have no lead up but are also mean spirited towards Lucas and Vickie. Elmax gets together, breaking up Lumax, which has been built up since season two, and Lucas is supposed to be okay with this because????? Ronance get's together, effectively writing off a queer character that the show had introduced, and she can't even fulfill the reason she exists in the first place? Rockie is not the most well developed relationship out there, but it's the one that the show has decided to go for. Maybe Ronance could work, in an alternate universe where the show actually wrote that in.

For those that argue that both Max and Nancy are queer I simply... disagree. And you can disagree with me too, we'll both just agree to disagree. I'm not against headcanons, which are usually harmless, but also usually driven by the desires of the headcanon-er and less so the canon of the show. Which again, is fine, but it's also these headcanons which are being used to drive an argument for actual show canon. Usually the argument for any character being queer that wasn't already listed in canon rests solely on vibes, not any concrete evidence that may suggest actual attraction to the same sex.

More substantial evidence usually comes when someone applies a queer lens to a certain character, but an interpretation can be different from authorial intent. And sometimes, the viewer may be so focused on the metaphorical, that they fail to see the literal.

I do think that you could easily apply a queer lens to El's story. Her story is about, in her words, "not belonging," in society, having to remain in hiding, and deviating from feminine norms. I can easily see how you can derive a queer message from this, but all of the traits listed above are a result of her having powers and being raised in a lab, not being attracted to the same sex. Metaphor alone cannot prove that she likes girls.

Going back to Nancy, Nancy's romantic options are between Jonathan and Steve, although the show seems to make it clear that it's going with Jonathan in the end, what with Jancy holding hands at the end of season 4. Steve get's brought up in conversation between the two, alluding two some unresolved tension that's likely to be brought up in season 5, and Robin is... at the high school with Vickie. That is the end of the season establishing the arcs and romances for the final season.

"Gay people didn't exist in the 80's."

That's an argument on the opposite end of things that just isn't true, although I've also heard the counter for this argument, that gay people did in fact exist in the 80's, as evidence that everyone is gay. I'm not really here to argue whether or not gay people existed in the 80's (they did) I'm just here to argue what I think the canon of the show is presenting.

That being said, the show taking place in the 80's is still significant. It may not be a hyperrealistic depiction of the 80's, but the show does seem to understand the idea that at that time, it was very difficult for gay people come out and to start relationships. It's the reason that Robin can't just go up to Vickie and ask her out, and it's the reason that Will can't just say that the painting is from him. It's the reason why Mike hasn't quite yet left his relationship with El and accepted himself. It's the reason why Rockie has to discreetly flirt through peanut butter sandwiches. A character who hasn't had queerness built into their plot, or a relationship that has no buildup, isn't suddenly going to become canon in the last season.

I was talking about this once with a friend who used the show Only Murders in the Building as an example. In the shows second season, Selena Gomez's character is revealed to be bisexual and dates a character that Cara Delevingne plays for most of the season. The show doesn't build up to her character being bisexual, she doesn't come out as such, the other characters don't make a big deal out of it, she just is. So why can this show do something like that but Stranger Things can't?

Well, Only Murders is a show that takes place in present day, and is a light-hearted comedy (albeit with murder). A character suddenly being bisexual with no set up makes sense for the tone that the show has established and when it takes place. Stranger Things takes place in the 80's and establishes within it's first season and maintains it throughout that gay people get killed and are seen as social pariahs.

It's not that I don't understand where the desire to have more characters be queer comes from, especially characters that people already like and relate to. I don't think it's harmful to think that these characters are queer, I'm making an argument purely with regard to authorial intent and the actual outcome of the show. Again, feel free to disagree with me and continue to do whatever you want, these are just some thoughts that I have had on my mind for a while and wanted to put out.

#well this has been sitting in the drafts for a while #sorry to focus on the female characters #i would write something about steve but i also just. dont even tough that side with a ten foot poll #anyways #dont feel obligated to read all of this this is a post for me than anyone else #stranger things #conclusion is a little flimsy didnt really know what else to add or how to wrap it up tbh

[there-was-never-a-door-there]

Woops I Accidentally Character Studied Michael Shelley...

I actually did this a while ago, but all of you are being subjected to it now as well

HERE WE GO!!

I think Michael was the person who always wanted to be an extrovert and had the social skills to be one (he may have even considered himself an extrovert, who knows)- always bubbly, happy, didn’t mind talking to people- but he lacked a certain sense of self that most extroverts have. We don’t know much about his home life, but I feel like he must have come from some sort of environment where he was always told to do this and this and this by people without them earning his trust in return, so we’re left with this person who doesn’t know the proper way to really connect with people and question them when he feels like he’s been wronged  and who is, in short, easy to manipulate. He was so used to relying on people his whole life that he didn’t have to get used to the idea of actually making a whole lot of decisions for himself. 

Okay okay and because I sold my soul to gerrymichael, you get the part two to this as well (featuring a bit of Gerry character study as well)

Gerry is a good contrast to this because he’s a person who is similar enough in that he’s trapped in this calling that started with Mary Keay, but is altogether still a more independent person than Michael in most ways because he’s been trying so long to break out of his mom’s sphere of influence.  I think that, were they to meet in canon, they would probably start out quite a bit at odds just because they were so different from eachother and so they might not have actually been initially inclined to be friends, but I think that Michael was probably a little bit lonely. He was purposely kept in the dark about a lot of things at the institute, and I think he may have been a bit drawn to Gerry because he was another loner in the institute staff. Eventually they would hang out and I think once they started to open up to each other, Michael would say things and Gerry would be like “Eyo??? That’s sort of not cool of your coworkers? You can stand up for yourself, you know that, right?” And they would just have a lot of conversations like that which would slowly make Michael think more and more and see exactly how isolated he’s being kept from the archive staff and it leads to a new sense of identity that lets him become more of his own person before he and Gertrude go to Sannikovya SO THAT HE CAN REALISE HOW HE'S BEING USED AND MANAGE TO STOP THE GREAT TWISTING WITH GERTRUDE WITHOUT SACRIFICING HIMSELF AND GOING THROUGH THE DOOR

#Big Feelings Time #micheal shelley #gerry keay #the magnus archives #tma #tma podcast #tma michael #tma gerry #doorkeay

[the-witchhunter]

So a lot of what I’m about to say has to do with my preference for character driven storytelling and is pretty much just me putting down my thoughts. Feel free to leave your thoughts on this but don’t take this too seriously

I think a lot of the side characters from Danny Phantom are hard to incorporate into a DP x DC crossover, especially on their own

Because most of them are pretty normal teenagers and are harder to fit into a superhero story. They tend to be somewhat flat and their interesting traits tend to be how the relate to Danny or each other

Like, I’m not inherently interested in Paulina just being in DC because she’s a pretty shallow popular girl stereotype. There’s not a lot to her that makes her an interesting addition on her own to the setting, which is probably why a lot of people default to essentially make being from amity Park a superpower. I don’t think it adds a lot personally, but that’s a completely different rant

Dash being in DC on his own isn’t that interesting because he’s the archetype of a jock and a bully. So to compensate you see people make him insanely competent like the rest of Amity Park, or actually give him a superpower.

But the thing is, their actual character gets neglected to make that happen, which is kind of disappointing

I just think it would be nice to see who they are as a person matter more. Paulina, spoiled former popular girl now living in the real world on her own for the first time? Coming to terms with her popularity no longer mattering? Or chasing that high by trying to get famous because she needs that external validation

Dash, jock and former bully. He’s living a life where the fact he played high school football doesn’t matter, he doesn’t get the specialized treatment that it used to give him. Or he’s playing at a higher level and where he was really good before he now is dealing with the fact that everyone else is just as talented. He’s no longer THE star quarterback. Or he’s unpacking his baggage regarding his former bullying. Internalized homophobia and coming to terms with his own sexuality? Actively trying to change for the better? Seeing his old behaviors in others and trying to do the right thing?

I just think who they are should impact the story if they’re involved. If you could change the name and I wouldn’t be able to tell who it is, then why should it be this character? What about the character makes them different in this role than inserting any other character? How does who they are affect their situation for better or for worse?

Let’s take an example: Paulina becoming a reporter in metropolis. Regardless of how good she might be at the job, what character traits does she have that might affect how she does. Well, first, she was popular, that’s her big thing. She knows how to interact with people, make them like her when it suits her interests. This probably means she turns on the charm when doing interviews but is maybe a little bitchy the rest of the time. Based on her personality in the show she would probably gravitate to the society pages, wanting to cover stories involving the rich and famous, galas and all that.

See, in this example, she can still be good at her job but her character traits affect how she does things. She’s a more complicated character, and she might not handle things the same way Lois Lane does, but she can still use her abilities to get the job done through charm and manipulation. This could also lead to conflict because she can be rude to people she doesn’t need anything from, which if she does that to the wrong person, putting on the charm and batting her eyes at them isn’t going to work

Again this is largely based on my preference for character based storytelling. Characters and who they are matter and are what drives the plot. This is in contrast to plot based storytelling which is events happen to the character without their thoughts and decisions impacting the story. Plot based storytelling is an older style which you see a lot in old legends and fairytales, where things just kind of happen to the character. It’s not inherently better or worse but modern taste overall leans more towards character driven stories

#dp x dc #dpxdc #ramble #had some thoughts #idk what do you guys think?

[princesssarisa]

Reading advice for writers on how and how not to write Jewish characters, and looking back on my '90s childhood, I think there were at least two shows that had pretty good representation.

First of all, Rugrats.

Yes, Tommy Pickles' family is interfaith, and they celebrate Christmas and Easter. But it never comes across as just an excuse to make Tommy "goyische in all but name." His Jewish grandparents are prominent, funny, likable supporting characters. The original show had a Passover special and a Hanukkah special, and more recently, the CGI reboot had a Purim special. Nor, if I remember correctly, does the family practice any Christianity apart from the holidays. Instead of being Christians with just a few token Jewish trappings, this interfaith family is basically Jewish except that they celebrate Christmas and Easter in secular ways. And apparently (though I've only read about it), the sequel series All Grown Up has the 11-year-old Tommy explicitly identify as Jewish, not half-Jewish... as he should, since his mother is the Jewish parent.

Also, coming from an interfaith family myself, I loved the fact that Tommy was "like me." And I love the mere fact that, even within an interfaith context, the show has the protagonist himself be Jewish rather than a supporting character. Especially because the supporting cast includes Chuckie Finster, a red-haired, glasses-wearing, nebbishy, neurotic boy – yet he's not Jewish, while protagonist Tommy, who has none of those traits, is.

Then there was The Puzzle Place, a PBS puppet show that revolved around six friends of different ethnicities, which included a Jewish girl, Jody. I think it did pretty well where she was concerned.

The show's holiday special pointedly averted the "Jewish character celebrates Christmas with their friends because it's fun" trope. Besides teaching her friends about Hanukkah, Jody also made it clear that she didn't celebrate Christmas and didn't want to, and she resisted her Norwegian-American friend Ben's attempts to "help her" join in the Christmas festivities. Another episode, revolving around different kinds of bread in different cultures, took place at Passover and had Jody unable to eat the fry bread that Apache boy Skye brought for everyone to try. A lesser show might have had her break down and have some in the end, but she didn't, she just agreed to try some the next time he brought it. She also explained Passover to the other kids, gave them all matzo to taste, and even sang the hamotzi before they ate it. In another episode, where the theme was "growing up," she told her friends about b'nai mitzvah, and in another, which was about dealing with death, her dad talked about sitting shiva. Yet her Jewishness didn't define her either; other episodes where she was the protagonist dealt with universal issues, like facing a bully or coming to terms with her parents' divorce.

These are things you don't see in every kids' show.

#judaism #jewish #children's shows #television #'90s nostalgia #rugrats #the puzzle place #nickelodeon #pbs #cartoon #puppet show #representation

[dykealloy]

Rec list please ✍️🏻

(with tropes and just a smidge of reason why the media is recommended <- both very optional of course)

oh boy. okay. Confession time, I've watched a ridiculous number of shows out of east Asia so this is a good opportunity to share some faves from recent memory. If there's going to be one running through-line with these recs it's that I love character-driven narratives which explore interesting interpersonal relationships (socio-cultural commentary is a plus).

In no ranked order, here's my top ten:

Hamster running the emotional gamut wheel (well-written stories about grief, closure and family)

Move to Heaven (2021) Korea, 10 episodes, Netflix Summary: Han Geu-ru is an autistic 20-year-old who works for his father’s business “Move To Heaven”, a company that specializes in crime scene cleanup, where they collect and arrange items left by the deceased and deliver them to the bereaved family. When Geu-ru's father dies, his guardianship passes to his uncle, ex-convict and underground MMA fighter Cho Sang-gu. Per the father's will, Sang-gu must care for and work with Geu-ru for three months to gain full guardianship and claim the inheritance. Eying money, Sang-gu agrees to the conditions and moves in.

This show knows exactly what it is and executes with excellent writing and characterisation. While it does have an overarching narrative, Move to Heaven is structured so that you're exploring a different person's story each episode, so it has a lot of flexibility to explore themes of grief and closure through different lives and relationships, and when I tell you this show can hit emotional beats... (<- may or may not have cried through most episodes on my first watch-through. Emotional terrorism). These stories are really beautifully portrayed and though there are effective comedic beats, there's this clear authenticity in not needing to undercut or distance oneself from the vulnerability of the subject matter.

Geu-ru and his uncle (Sang-gu) add a lot of needed levity, with Geu-ru's need for consistent, structured, methodical routines constantly clashing with Sang-gu's chaotic and combative approach to life. Sang-gu's character arc (though predictable) is just so satisfying. It's kinda hilarious seeing Geu-ru (and his father by extension) inadvertently poke more and more holes in Sang-gu's initial plan of "take the money and run" the deeper he incorporates himself into the space and purpose that his brother once took up, and it's very heartwarming to see these polar opposites slowly develop a respect and appreciation for one another.

Tropes: reluctant to responsible parental figure, tear-jerker

Oh No! Here Comes Trouble (2023) Taiwan, 12 episodes, GTV and iQIYI Summary: Pu Yi-yong was a typical 17-year-old student with a passion for drawing and a hereditary talent for calligraphy. After he wakes up from a bus accident that claimed his father's life and left him in a coma for two years, a 19-year-old Yi-yong must now find his place in the world again. This becomes more complicated when spirits begin approaching him and asking for his help.

This show actually has a lot of similarities to Move to Heaven e.g. exploring different side-stories each episode, focus on victims forgotten by society (the lonely, the homeless, the outcasts and the minorities), themes of grief and closure, polar opposite characters learning to work together, breaking me emotionally at some point. But Oh No! Here Comes Trouble differs in tone (distinct directing style), quirky humour (Taiwanese comedic style is just different and I love it in this show) and presentation (urban fantasy/mystery).

Yi-yong might be one of my all time favourite characters in media. From the outset he presents as this classic, one-dimensional, grumpy delinquent teen (e.g. resting-bitch-face syndrome, scrappy mullet, academically behind, no social grace and a tendency to accidentally hit people in the face with softballs). As fun as that is, the more you watch, the more this show challenges these assumptions. Yi-yong's mum (also an A+ character, god I love her) is a hairdresser, and often uses Yi-yong as her stylistic guinea pig. Yi-yong's not super intelligent, but he's compassionate (albeit at times reluctantly so). He really listens when people talk to him, whether they're trying to comfort him, give him advice, or asking him for assistance (though he often questions and expresses frustrations about his own ability to help other people). There's a humble gentleness to him.

Yi-yong was already struggling to juggle his dreams of becoming a comic artist with the practicalities of his life before he fell into a coma, then he woke up two years later, having completely missed the perceived "pivotal juncture" associated with the transition from youth to adulthood. Time moved on, and so have his peers, leaving an almost 20-year-old Yi-yong lost at sea with no paddle, no map and grieving the loss of his father. And now he has supernatural beings approaching him and insisting that he is the key to settling their unfinished business. To Yi-yong (and to popular east-asian social standards), Yi-yong is a loser. He's academically unintelligent, has no clear aspirations or discipline or future prospects, his family is far from wealthy, he's got zero social status, smarts or rank. Yi-yong is just as much of a forgotten outcast to society as these spirits are.

He does eventually get assistance in the form of Chen Chuying - a junior police officer (helping substantially with the mystery investigation side of things) and Cao Guangyan - former one-sided rival schoolmate and current med student who coincidentally moves next door (initially maintains the outsider perspective of Yi-yong as a hooligan until they get to know each other a little better, by which point Guangyan is already helping Yi-yong get back on his feet) who form a very well-rounded, loveable cast.

I wish I could talk more about this show, I am very fond of it. Please do watch it and if anyone wants to discuss it my dms are open.

Tropes: ragtag trio of idiots, urban fantasy, mystery, tear-jerker, reluctant hero

Get your pussy up get your money up (life is giving lemons and survival is the name of the game)

Honourable mentions here: Yeon Sang-ho popped off with Train to Busan in 2016 and South Korea has been throwing bangers into one of my favourite genre pools ever since. If you're interested in more zombie series I would strongly recommend checking out All of Us are Dead (2022), Happiness (2021), Sweet Home (2020) and Kingdom (2019).

A Shop for Killers (2024) Korea, 8 episodes, Netflix Summary: Jeong Ji-An tragically loses her parents as a young girl. Her reserved and mysterious estranged uncle, Jeong Jinman, acts as her sole guardian and care-taker, raising her with tough love and a survivalist mindset until she leaves for university. One day, Jung Ji-An hears that her uncle has suddenly passed away, and returns home, where she learns the truth behind her uncle's business and by extension, her past.

Ji-An is locked inside a building with no communication with the outside world, nowhere to go, and with assassins after her head (not ideal). Unbeknownst to Ji-An though, her late uncle Jinman prepared a thorough defense system for this very event, setting her up with home-terf advantage and a very dangerous fortress against this army.

Ji-An and Jinman's story is told mainly through flashbacks as Ji-An attempts to survive the raid on their home. Their dynamic is definitely a repeat of the stoic, initially cold father-figure type "I am neither your mum or your dad, and I can never be" to the orphan child that we've been seeing more recently of late. I'm not mad about it. It's a good formula. I won't go into the type of person Jinman is, or the nature of his work/business. Going in blind and slowly figuring this out with Ji-An was a big plus in terms of the viewing experience for me.

Tropes: reluctant parental figure, home alone antics

D.P. (2021) Korea, 12 episodes, Netflix Summary: Ahn Junho is enlisted to serve in the South Korean Army as part of his national service obligations. He eventually goes to the Army's Military Police. While getting used to life in the MP, Junho's street smarts lands him in the D.P. (Deserter Pursuit) unit. Junho is assigned with Corporeal Han Hoyeol to capture deserters, revealing the painful reality endured by each enlistee during their compulsory duty.

imo D.P.'s is at its most enjoyable when Junho and Hoyeol are working as detectives with limited time and resources. Hoyeol's presence especially adds needed levity. He's like the show's own eccentric little court jester (at least until season 2, where he becomes the show's own tortured little court jester). You don't know how much you're missing Hanyeol until he shows up and you're finally given some space to breathe.

This show's gotten a lot of praise for its realistic social commentary around the vicious cycle of bullying, hazing practices, corruption and abuse within the South Korean military. It's well written and fast-paced, and it definitely doesn't pull its punches. I probably wouldn't recommend this show were it not for the quality of its writing, its ability to balance the depressing subject matter with pockets of dark comedy and everyone's favourite dynamic duo Junho and Han Hoyeol. All the content warnings for this one.

Tropes: ptsd, abuse, brotherhood, idk man straight up not having a good time

Weak Hero Class (2022) Korea, 8 episodes, Viki Summary: Straight-A student and loner Yoon Sieun utilizes his wits and tools to defend himself from a boys school full of shit-heads. He slowly warms up to Ahn Sooho, the school's strongest fighter, and Oh Beomseuk, the new transfer Student.

Sieun is here to answer the age-old philosophical question: "Aren't you tired of being nice? Don't you just want to go apeshit?" Even though Sieun is physically lacking, he's very capable of baring his teeth and using his smarts to fight like hell. It's so cathartic to finally see a short, weak, bullied protagonist willing to go violently feral upon provocation.

This show's tone can get pretty dark and surprisingly violent. The true core behind why a lot of people love this show is Sieun and Sooho's friendship. Sieun starts off as a grumpy, glaring, withdrawn hermit with no interest in anything that isn't studying (honestly idk how Sieun keeps finding himself in these situations like. All the kid ever wanted was to hit the books). I won't spoil too much, but watching as Sooho slowly peels away that protective shell Sieun encases around himself is a thing of beauty. I strongly recommend you give the first episode a go (free on youtube).

Tropes: angst, bromance, badass bookworm, adults are useless, abusive parents

Detectives smashing you over the head repeatedly with gay subtext (not explicitly gay but if you have a brain and any semblance of a gaydar that thing is going to be going off like a geiger counter next to the elephant foot)

The Devil judge (2021) Korea, 16 episodes, Netflix and Viki Summary: Set in a dystopian version of present-day South Korea, the world is bereft of law and order and the court justice process has become like a reality tv show. Head Trial Judge Kang Yohan mercilessly punishes the guilty and corrupt, earning him the "Devil Judge" monicker. As bitter rivalry takes shape between Yohan and the highly ambitious Jung Sun-ah, who has risen from poverty to become a corporate social responsibility foundation director. Into this turbulent world enter two childhood friends on a mission for true justice and determined to discover the secret Yohan is hiding: rookie judge Kim Gaon and detective Yoon Su-hyun.

The Devil Judge tackles the concept of the anti-hero (battling evil with evil) and questions why these figures are idolized by the public. It also challenges the naive faith in the rule of law and whether or not the established systems should be upheld or not. The screenwriter has however made it very clear that he focused way more on the relationship between the characters than conveying his own message and boy oh boy is that reflected in whatever Yohan and Gaon have got going on (serious come-hither eyes, gratuitous physical touch, themes of power, justice and corruption, Yohan pressing Gaon up against the nearest hard surface on at least four separate occasions, etc.).

Kang Yohan, the titular anti-hero/main protagonist operates within a failed state and a corrupted judiciary. To a certain extent he knows the self-destructive path he walks is doomed to fail, but to right the system and take revenge, he's on the lookout for a someone that can out him as the Devil and become the messiah that Yohan himself cannot be. It does come off as very "anime" at times (theatrical presentation, tragic backstories, bad writing when it comes to women, naive characters and overly dramatic tone) but hey, if you have very few qualms with that, chances are you're going to have a blast.

Also the OST for this show absolutely fucks. It has no right being this good. Jung Se Rin really popped off. I have Enemy of Truth as a staple in a lot of my playlists.

Tropes: idealist vs jerkass pragmatist, anti-hero/vigilante, whump

The Worst of Evil (2023) Korea, 12 episodes Summary: Set in the 1990s, a former DJ starts selling a new powerful drug. Since the police know little about its origin, rural police officer Park Junmo is assigned to go undercover and infiltrate the criminal empire responsible for the drug trade between Korea, Japan, and China. Junmo later discovers that his wife, Yoo Euijung, also a detective, has volunteered to participate in this dangerous mission and seems to have a past with the underground drug king (and Junmo's boss), Jung Gicheul. The deeper Junmo entrenches himself as Gicheul's subordinate, the more unrecognisable he becomes to those closest to him.

Junmo could have let Gicheul die or slip away like several times in a row, indicates he has zero idea why he does this, then says the line verbatim "I look up to him and I like him and my body follows my heart". What am I supposed to take away from this. This show has everything. Early 90s homoerotic cigarette lighting, sodomy, incredible cinematography, betrayal, close-ups of Junmo's bloody face squished up against Gicheul's thigh. There's some scenes where Junmo is looking at both his wife and Gicheul framed in the same shot like the goddamn camera is daring you to question who he is more jealous of. My biggest complaint is that there was quite literally no need for a wife-stealing plot - the most compelling, messiest gay situationship was right there for the taking.

In episode 9 post-gang war hallway-slaughter, a blood-soaked Junmo hops up onto a table on all fours with a knife between his teeth, locks eyes with Gicheul then proceeds to slash a man's achilles tendon and if you listen closely enough you'll hear me in the background screaming YOU HAVE BECOME HIS DOG. 10/10 watch this show.

Tropes: mafia, undercover, bodyguard, make him worse, devotion and loyalty gone bad gone nuclear, maybe if they fucked nasty about it we wouldnt be in this mess

Beyond evil (2021) would also go here and has similar vibes to the above two, but I personally don't have much to say about it. Unhinged slutty old man, gay stuff going on over there, etc, etc. Citrinekay sums it up nicely here. Guardian (2018) would probably also go here. Definitely check these out if you enjoy/like the sound of these shows.

Lighthearted fun romance (I am not escaping the lesbian fujoshi accusations)

Cherry Magic (2020) Japan, 12 episodes Summary: Adachi is a salaryman with low confidence and a tendency for self-deprecation, resulting in him often acting awkward around others, not being sure how to assert himself in the workplace, and constantly comparing himself to the company's golden boy - Kurosawa. Things become further complicated when Adachi finds out after his thirtieth birthday that he has suddenly gained the magical power to hear people's thoughts if he touches them. Adachi struggles with his newfound touch telepathy when he accidentally discovers Kurosawa is in love with him.

Cherry Magic! Thirty Years of Virginity Can Make You a Wizard!? (Yes that is the full title, Japan you are killing me) is very sweet and wholesome and the humour hits and I believe in Kurosawa Yuichi supremacy. I know self-deprecating characters can be a downer for some people but Adachi comes off as very relatable and seeing him slowly gain more confidence in himself and his abilities is heartwarming. Great serotonin-booster. If you find this show's premise interesting there's a high likelihood you will enjoy it.

I didn't care so much for the second couple but if you're like me it's easy to skip through these scenes (you won't be missing anything).

Tropes: office romance, telepathy, pining

Semantic Error (2022) Korea, 8 episodes, Viki and Netflix (region-dependent) Summary: Cho Sangwoo is the epitome of an inflexible and strict rule-abiding person. When talented graphic design major Jaeyoung discovers Sangwoo is the cause for his delayed university graduation, he sets out to take revenge (by becoming Sangwoo's biggest, brightest daily annoyance). Jaeyoung finds himself in hot water when he inadvertently develops a crush, and junior computer science major Sangwoo is about to encounter some serious errors in his usual programming.

This is a classic polar opposites attract story, with Jaeyoung the loud, extroverted, brash foil to Sangwoo's reserved, withdrawn, morally black-and-white, logic-first persona. As much fun as it is to see Sangwoo's ordered world thrown into chaos, it's equally enjoyable to witness Jaeyoung jump from being obsessively committed to annoying Sangwoo, to being whipped for him (and the subsequent difficulties this causes for Jaeyoung - a popular, attractive, talented, bi artist used to getting his way - in trying to pursue a highly irritated and emotionally closed-off Sangwoo, who is being challenged with a side of himself he hasn't had to grapple with up until now). Also Jaeyoung has an incredibly hot lesbian best friend which was great. for me specifically.

An entertaining, cohesive story with great actors who have fantastic chemistry. What more can you ask for?

Tropes: enemies to lovers, opposites attract, university, pulling pigtails

Old Fashion Cupcake (2022) Japan, 5 episodes Summary: At the critical juncture of a mid-life crisis, Nozue, a 39-year-old office worker, is stuck in the dull, mundane grind of wake, work, sleep. But due to his age, he's convinced he's well past the point he can take risks by trying something new. As such, he continues to decline promotions at his job and romantic advances from potential partners. He confides one day in his 29-year-old subordinate, Togawa, making an off-hand comment about a desire to be like a young girl - capable of feeling excitement and joy in life again. In an attempt to inspire him to move forward, Togawa suggests an "anti-aging experiment" and the two of them go on a journey together to help Nozue feel young again.

First things first - a large portion of Togawa's proposed "ant-aging technique" involves frequenting dessert cafes and restaurants that are catered towards a younger female demographic and fuck me the food in this show always looks so goddamn good.

The boss/employee thing might turn people away from giving this a shot but what I really love about this show is that despite being Nozue's subordinate (and younger than him - which is a bigger deal in Japan), Togawa is extremely blunt and unafraid to tell Nozue exactly what he thinks (so long as Togawa believes it will ultimately benefit Nozue in the long run), and it's very clear that he does this because he has a strong sense of respect for Nozue (and because spoilers - Togawa is so down bad for his boss like okay boy DAMN. Go get your esoteric old man). This show is also great at conveying emotion and inner conflict without dialogue (I've enjoyed coming back for a re-watch and picking up on little nuisances in Togawa and Nozue's behaviour that I missed the first time around).

Overall this is a very cute, very wholesome coming of age/queerness story that reminds you that it's never too late to pursue what interests you, try something new, and enjoy life while you're at it.

Tropes: fingers in his mouth friday, pining, age gap, office romance, food as a love language

That's it! If you want more recs from a genre hit up my inbox, I had a fun time pulling this together and have many more in the chamber where that came from.

#long post #yes I didn't add the untamed because if you haven't already seen or heard of that show you are. living under a rock #i didn't realise how difficult it is to communicate specifically why you like a show until now #move to heaven #oh no! here comes trouble #a shop for killers #d.p. #weak hero class 1 #the devil judge #the worst of evil #cherry magic! thirty years of virginity can make you a wizard?! #semantic error #old fashion cupcake #drama recommendation #kdrama #asian drama #show recommendations #drama recs #ask

[allastoredeer]

I just had to agree, that a huge Alastor fight scene is really all I want for season 2!

During "Stayed Gone", Valentino mentions a time that Alastor almost beat Vox, which implies that he narrowly lost in a fight between them.

He was badly injured in the fight with Adam, and had to retreat.

By the rule of three, it would be so poetic and amazing, if we got a fight scene where he doesn't back down, but continues to fight with everything he has, and emerges the unquestioned victor, wiping the smiles off the Vee's faces for good.

Bonus points if he actually accepts help from his found family, in the form of backup and helping him heal afterwards. He's so stuck on being a lone wolf (well, deer...), that him slowly learning to trust others would be such delicious character growth!

Actually, the way I interpreted Valentino saying that Alastor "almost beat Vox," is that during their fight Alastor was about to beat him. Like, if it continued, Vox was 100% going to lose. But the battle didn't see an actual end, with an actual victor, because, in my headcanon/theory, Vox was forced to retreat.

If Vox won, even narrowly, I don't think he would've been nearly as defensive or annoyed at Valentino for bringing it up. If the fight ended with Alastor retreating (or even losing), Vox would've milked the shit out of that. He would never let Alastor live that down. Hell, if the fight was recorded in any way, he'd be playing that shit on loop.

I think with Vox losing, it'd make him simultaneously eager for a rematch, but also nervous to fight Alastor head-on again considering he nearly lost (which might also explain why they never came face-to-face in season one. They only interacted from a distance, through their different mediums), and why he was SO happy when Alastor lost during the Extermination. He was living vicariously through Adam during that fight (Adams victory was HIS victory) because Alastor finally got a taste of the humiliation and defeat Vox felt all those years ago (and STILL feels, even now).

And considering all of that, I will go FERAL if there's a fight with all the Vees versus Alastor. I want to see what they can do. There are different ways to be powerful out side of strength and magical ability (see Rosie who's not physically or magically as strong as the other Overlords), so I want to see what Valentino and Velvette can do in a fight or on an intellectual level. The brains and the brawn (and whatever Valentino is.) I would laugh so hard if Valentino is actually the muscle of the Vee's. He's got very few braincells, but he can lift 2x his own weight, all they got to do is point him in the right direction. He's all muscle.

And I want that fight to be a close one too. In fact, if Alastor LOSES in that fight, my god, would that be such an angsty, complicated, even more humbling experience for him. Vox would be fucking THRIVING. He would be reveling. He finally beat the Radio Demon. He finally beat Alastor (and the complicated emotions. GOD the emotions that they'll both have during and after that)

But I also don't want Alastor to lose T.T He's my fav, and he already been so thoroughly humbled once, I think I'd collapse if he lost again. BUT if he were on the cusp of losing, got his second wind, and ultimately came out the victory, I would be screaming, jumping out of my seat, frothing at the mouth. I fucking LOVE that shit.

And super, serious 100% extra bonus points he gets help from his found family in the form of back-up or patching him up afterward. I think that would be amazing character growth for him. I WANT IT SO BAD ANON WHY DID YOU MAKE MY OBESSION AND YEARNING GROW I AM NOT A VERY BIG PERSON YOU'RE LITERALLY GOING TO MAKE ME EXPLODE WITH ALL THESE EMOTIONS

#ALASTOR CHARACTER GROWTH #I'm so excited to see his arc through season 2 #I can't wait to find out his past relationship with Vox #its confirmed to be “sad and complicated” by Vivenne Medrano and I WANT THE DETAILS SO BAD #guys its going to hurt #its going to hurt so much #im not prepared but Im so eager #hazbin hotel #alastor #hazbin alastor #hazbin hotel alastor #the radio demon #hazbin hotel vox #vox hazbin hotel #vox the tv demon #the vees #vees #hazbin vox #hazbin velvette #hazbin hotel velvette #hazbin hotel valentino #valentino #asks #anon #anonymous

[givehimthemedicine]

El's protectiveness and friendships in the lab

wanted to take a minute to appreciate that El's protectiveness isn't a character trait that only emerges post-lab. she's always been that way [assuming, for this post, that NINA stuff more or less happened]; it just couldn't always present in a way that looks badass on a poster.

El and Eighteen

only crumbs here, but if I have to point out a lab kid that El is friendlier with than the others, it's Eighteen.

El holding Eighteen's hand is the only affectionate act I've ever noticed between any of the lab kids, and offering that comfort to her littlest sister is probably as "protective" as El can afford to be (esp as an eight year old with the least power and social standing of anyone).

when the kids in general laugh at El for failing at the light game, Eighteen is not one of the kids shown doing so.

Eighteen is the first dead child El is shown to be upset about. it's not that she looks more distressed about her than the others, but it's odd that she saw Ten dead on the floor next to Brenner a second before this and didn't really react. (maybe she couldn't tell Ten was dead from the doorway? idk)

maybe an El/Eighteen friendship is cornplating or whatever the youths are calling it, but bearing in mind that we're never actually told that El/Eight had some super close friendship, maybe theirs looked something like this.

side note - are friendships even permitted in the lab?

letting the kids form friendships could be dangerous, as Brenner, couldn't it? risks them forming alliances against you? this is why I was asking the other day if socializing seems discouraged in the RR. like, even the bullies, who were "friends," never chatted openly in there unless the cameras were off. maybe any lab friendships have to be hush hush by nature.

anyway idk there's just something about us going "🤯 same numbers!!!" upon seeing the 001 / 011 tattoos, and then 008 + 018 being the only other kids El is hinted at being friendly with... why are we reusing the same pattern? 001 / 008 / 011 / 018 just happen to be every combination of those three numbers within the number of available children.

especially with El "being 8" (as in, years old) at this time. it's giving Henry, 12 / mother of 5. idk where I'm going with that but I'm squinting. Eighteen, you're not some bizarro Little Eight who has an inverted friendship with Big El, right?

El lashing out in the lab

we're shown repeatedly that El hates seeing people get hurt, but multiple times onscreen (and you know innumerable times off) she witnesses severe abuse to her siblings, and we never see her act in their defense like post-lab El would. of course, that's because she realistically can't. we know trying to help anyone in the lab accomplishes little except getting both people in trouble. but I was thinking about how we DO see El lash out for her own sake in 1983. so what's the takeaway? El cares more about protecting herself than others? nah. let's look at the other guard killing scene (again. assuming this really happened):

when similarly cornered in 1979, El's immediate response is silent surrender.

why is her behavior so different? because she's weak? too scared / well controlled? too nice to kill? all those factors have already been established as non-issues in this moment. (she does have her powers here; the circle game proved that Brenner can't control El and knows it; killing when cornered is canonically within her nature)

you might think having a staff member on her side would make her more defiant, but instead she's more compliant here than in '83 (either time. even in the non-guard-killing flashback, El screams and struggles the whole way.)

El and One

he's the difference. she doesn't know he's her brother or has powers yet, but he has presented himself as a fellow prisoner rather than someone in a position of authority. she's also already seen him get punished because of her.

as far as El knows right here, if she lashes out - whether she then escapes successfully or not - she'd be bringing SEVERE punishment onto a nice guy who can't defend himself or escape.

she has a chance at freedom, the power to kill, and the escape route all planned out, but she doesn't do it. the thing that's not in her nature is abandoning a friend to God-knows-what punishment on her behalf.

so while One killing the guards is an act of protection to El, it's also a massive act of protection to One that El is ready to throw out the whole plan right here. don't miss it just because it's not the classic El-screamy-hand thing.

she's sacrificing her chance at freedom in hopes of slightly mitigating his punishment. (they're both doomed to very bad punishment upon capture right here, but if she escapes I think he'd get punished even worse. so she's choosing to share in pretty bad punishment over him being punished extremely severely and her not at all.)

even aside from punishment, she knows she'll be returning to an even worse home life than the one she believed necessitated her immediate escape (Brenner apparently arranging for her to be killed).

so here, can she afford to act out not only because she's acting alone, but because she's an only child, so to speak? there's no one else who could potentially suffer as a result of her actions. no other siblings to use as leverage. no one to protect.

whatever consequences Brenner carried El off to after killing those orderlies, she bore it alone.

I can sorta read this as protective of the other kids in general - not that she did it, but that she didn't until now.

am I saying Brenner might have randomly punished other kids as a result of something El did?

have you met the guy? definitely would've threatened it, might've actually done it. manipulation by whatever means necessary.

when you work in a building full of superpowered people who hate you, you gotta control them psychologically, because physical control isn't something you can maintain for long. it's imperative that they're more afraid of the consequences of kicking your ass than they are of whatever torture you're putting them through. emotional manipulation using friends and innocents as pawns is a classic move. (another reason the kids might want to keep lab friendships secret even if they're allowed.)

that's not theory - we've seen Brenner use this tactic onscreen, telling El that he'll have Owens killed if she tries to get to him. he knows he can't physically control her, so he exerts psychological control by placing Owens' blood on El's hands to get her to cooperate.

the phrase "blood on one's hands" means being responsible for deaths, not having literally, personally committed murder. this imagery is used onscreen to denote El's sense of guilt about the massacre well before she comes to the conclusion that she actually did it. (this could be symbolism that El's mind organically dreamed up instead of engineered fuckery, but who knows. we have no textual explanation yet for how her hands would be that bloody).

and together with Brenner very textually using the kids against each other in other ways - having them literally duel each other in the circle game, but also the "driving them to do exactly what he wants" stuff - I don't think it's unreasonable to figure that fear of harm to the other kids was a manipulation tactic used in the lab.

that definitely includes One - lines like "I'm not going with you / if he finds me he will find you" "I wanted to help you, but I only made things worse" smack of a guy kept in line by fear of something happening to the kids.

and the Brenner-orchestrating-El's-murder story smells like a psyop. is this just Brenner wanting One to think harm would come to El as a consequence of his actions? (she became "uncontrollable" as a result of his coaching). El is too valuable an asset to actually kill. who would know better than One that the treatment for being uncontrollable is soteria, not death? assuming One is being truthful, why would he not see through that. idek what I think is going on here anymore

anyway. MKUltra is ALL about manipulation but I'll talk more about that in my other post

times El protects her friends the same way she protected One

practically every move El makes is about protecting her friends but I want to point out a few times that are specifically reminiscent of her protection of One, where she's ready to give up her freedom to protect her friends even at risk of the worst case scenario (going back to the lab):

sacrificing herself to protect the party from the demogorgon ("no more") <- is that line in reference to the 6 people the demogorgon has snatched, or is that a massacre reference given how incredibly parallel these scenes are. I'm not sure whether "goodbye Mike" meant she thought she'd die or just get so wiped out that she'd be easily recaptured by the lab

leaving Kali and "freedom" to return to Hawkins and protect her friends, where she volunteers to go back into the lab to close the gate

leaving Cali and "freedom" to return to the lab to get her powers back to protect her friends

final thought: I just had a chuckle with myself at the fact that iirc it's Mike and Nancy whose lives El has individually, directly saved the most times.

[honorable mention for Max because I don't know how to quantify 4x9. is that like one massive save?]

like, Mike, okay, but why the Nancy emphasis when she and El have basically zero onscreen relationship. (actually I have a lot to say about El and Nancy coming up soon that might add context)

idk.. lab sibling guilt smth smth El protecting Nancy "she'll be like your new sister" and Mike "will you be like my brother" Creeler. you gotta love it

#another chunk off the analysis. I promise it's coming #givehimthemedicineanalysis #putting 'El saves Holly Wheeler's life' on my s5 bingo card

[transformer-analysis]

Transformer Prime Theory: The Optics

It’s interesting how, in TFP, the characters all have a variety of optics sizes and shapes, instead of everyone having plain solid colours like in G1 and most other continuities. And I personally believe there is some more biological reasons why some of these optics look the way they are (some big, some small, some solid colours and others not, and some having rings and others not).

TW: starvation mention.

THEORY #1:

The size of the optics is determined by how well fed and healthy the transformer is.

Firstly, we can see that most Transformers with big optics are Decepticons, who we always know have more Energon mines and supplies than the Autobots.

Secondly. Megatron has a big optic that take over the entire frame, and he is totally someone who would have a feast himself first before feeding his subjects. On the contrary Optimus have one of the smallest optic in the show, probably because, unlike Megatron, he would only eat himself when he knows his subjects are well fed. (Poor Optimus)

Thirdly, Breakdown and Bulkhead also have some of the biggest optics in their teams. Breakdown is one of the few in the show whose optics are complete solid colors, and, although Bulkhead’s optics are not solid colours, or completely take over the frame, they are still much bigger than most other Autobots. This is probably because they are both the muscles of the team so they must have been fed more so that they can be stronger and fight better. (Cliffjumper might have been one, too, because he also got a huge optic, but we never hang around him enough to know for sure)

Fourthly: Bumblebee also got big optics, probably because he is the youngest Autobot, and is probably still growing in a way, so everyone would want to make sure he got enough nutrients to grow up big and healthy.

Fifthly: Skyquake and Dreadwing also got solid coloured pupils, because they were also kind of muscles, and also because they were both loyal and high ranked so of course, they will also get a lot of supplies.

Sixly: Wheeljack and Arachnid also have op to call that fill the frame. And tbh Wheeljack is the only Autobot who got optics that filled the frame. And both of them had been rogue for a while. This is probably because, since those two work on their own, and when they find Energon, they don’t have to share with anyone, they took care of themselves fine.

Seventhly: I think this is the best proof of all. So throughout the show Starscream’s optics are always quite big and round (though it is not always obvious in bright lightings).

(“Partner”, Season 1 Episode 20)

However, in the Orion Episode, while Starscream was sneaking into the Nemisis to steal energons, his optics suddenly fill the whole frame

(“Orion Pax Part One”, Season 2, Episode 2)

This is likely because, since Starscream had gone rogue at this point, and we know that in “Rock Bottom” (Season One Episode 19) Starscream has been hiding energons for himself, Starscream hasn’t yet learned how to manage supplies sustainably on his own, and quickly drained his resources that he’s hide for himself before. Thus, more energons in the eyes. That’s probably also why he has taken the risk to go back to the Nemisis to steal Energon cause he was out of it already. He was living feast or famine at this point.

Now, there are some bugs in this theory, such as why Knockout have such a small pupil despite not having any reasons to starve. However, knowing Knockout and his obsession with his appearance, I believe he would totally put himself on a diet to look even more fabulous. I don’t think Transformers can really gain weight from Energons, though, at least not in the way we think, but Knockout can also just love the look of a small optic.

One question you might have for the theory, “But it has been going around that Ratchet starve himself to save the supplies for the others, but his optics are big?” Now. Ratchet, I believe, is a different situation, which leaves us to theory #2.

THEORY #2:

The ring around the optic signify how intensely the optic was used.

Firstly, like mentioned above, Ratchet have a special optic: his centeral pupil itself is pretty small, similiar size with Optimus’s, but it got a big ring around it, making it look big. Now I think the ring have nothing to do with how well fed the Transformer is, like the theory above, it is there to supply more Energon to the function of the optic, and making it sharper basically. Knockout also have one, probably for the same reason as Ratchet.

Secondly: Bumblebee also have one. Understandable. He is the scout, he need to look afar a lot. His ring, though, looks differently than Ratchet’s, probably because he uses his optics to look at big things afar, instead of little details up close, like Ratchet.

Thirdly: if you look closely you can see that Optimus got these colorless, metal ring around his optic, too, which no one else have, but it doesn’t have Energon in them. This is probably because he probably used to have them, as Orion Pax, who was an archives working in front of computers all the time. But over the years of not using it in the same way as much as the Prime, Energons left the ring and left the area, leaving the empty ring behind.

Now, there goes my theories and how I think the optics works, kind of. There is still a lot that I am still working on and might make another post off in the future, such as why some of them had a white ring/circle in their optics (I don’t think white rings work the same as blue rings, cause Bulkhead have a white ring but he doesn’t have any reasons to need good vision more than others.) and why their optics are different colors.

I hoped you enjoy this

#transformers #tfp #tfp theory #Transformer headcanon #Hc #headcanon #tfp headcanons #transformer theories #Theories #show theories #Tf theory #tfp arachnid #tfp ratchet #tfp starscream #tfp megatron #tfp optimus prime #tfp knockout #tfp wheeljack

[cripplecharacters]

Hi! This is a sort of weird question, but I’m writing a sci fi /fantasy book with two disabled main characters:

1. Cove is twelve years old and has something along the lines of Williams syndrome (possibly that, possibly Down syndrome—still deciding). He’s mildly intellectually disabled and has low muscle tone + an unspecified heart problem (which is stable but he still gets regular checkups for it). His power is turning into a giant at will. He might have PTSD for reasons that are potentially triggering, so I won’t go into details ^^’ He really likes the ocean and spicy food, and hates people staring at him or judging him

2. Lucas is sixteen and uses a wheelchair full time due to cerebral palsy. His hands tend to shake a lot too. His power is turning into a Sphynx cat. He’s a trans guy. Idk what he would like or dislike yet tbh, but I picture him dressing in black clothes a lot

My question is this—what are some ways these characters’ powers could like interact with their disabilities? So far I have that overusing his giant power could possibly put strain on Cove’s heart. and if Lucas wants to move around independently in his cat form, he’d probably need one of those animal wheelchairs for his back legs?

Also— is there anything else I need to consider while I write this story?

I’m not trying to get you to do all the brainstorming for me btw! I hope it doesn’t seem like that ^^’ I’m just looking for other people’s thoughts and input-

Hi!

I think that the powers you gave them are very cool! Often with disabled superpowered characters there's the trope of always having the ability be fundamentally connected with their disability. Someone shapeshifting into a cat is awesome!

The concept of Cove's transformation putting pressure on his heart is very realistic (if you can say that about shapeshifting, lol)! Both Down and Williams Syndrome come with cardiac problems, so you won't need to change that if you decide to switch the exact disability. I'm thinking that maybe he could try to slowly turn giant, rather than instantaneously? I imagine that turning back to being normal-sized could also cause some issues. I'm unsure if that's a part of your story, but I think that having his family worry about him transforming because of his heart would be realistic as well. Wouldn't really classify it as infantilization because he's twelve, and I know that a lot of parents of children with DS are extremely cautious around the cardiovascular problems (not sure about Williams Syndrome here, but I think it would make sense as well)! You mentioned PTSD, and while I don't see anything wrong here from what you said, I would just urge you to not have some weird "PTSD flashback = turns giant and extremely violent" (violent being the key word here) kind of scene. (If you have PTSD yourself then feel free to do whatever you want of course). But I think that him becoming bigger when he feels threatened as a defense mechanism of sorts would make sense.

For Lucas, I think that the idea of shapeshifting from a wheelchair user to a wheelchair using cat goes incredibly hard. As for the ways that it could interact with his cerebral palsy: if he has issues with his arms then he would use the wheelchair a bit differently. In the kitty wheelchair the whole energy comes from the forelimbs, so if his hands shake then he would be much more wobbly as a cat than as a human. I'm not sure whether cerebral palsy in kitties is a thing, but you can look up cats with cerebellar hypoplasia. It's not the same thing but causes some similar symptoms! For example, the lack of balance that Lucas could have due to shaky limbs.

In my opinion your story sounds great! If you have any more questions with more specific details, feel free to send another ask :)

Sorry for the late answer! I hope this helps!

mod Sasza

#mod sasza #potato-head-kids #cerebral palsy representation #intellectual disability representation #fantasy species #wheelchairs #ptsd representation

[wolfscarr]

Helluva Broken Narrative and the most useless character..

Disclaimer: Not saying you can't enjoy this show folks. Enjoy it all you want, this is just a rant about the lack of a cohesive narrative!

I really was completely dead on posting, but I just can't get this out of my head.

I feel people should be acknowledging this far more than it has been, this is extremely important. This goes beyond just episode pacing, this goes beyond the characters....this is something that without it? There is no real show, which is....

Helluva Boss has a BROKEN NARRATIVE.

Some fans wanna claim it has this 'complex' writing and I'm sitting here going like "really? Where?"

It doesn't sorry and know why? Because Season 2 of this show, basically broke the narrative that Season 1 was building.

These past posts of mine, will show you why the narrative is broken.

Now can they continue on with the story they are telling? Yes of course they can, but it won't fix the fact that it's not coherent to Season 1, that it's not needed.

Wanna know who the most useless character in the show is now? If you guessed Stolas, you're correct! In the meaning of making Stolas this guy who did nothing wrong and who's sad....they took away his character purpose.

Stolas has ZERO purpose being within the show now, given how things have played out.

But you might say

"Well he's needed to give Blitz the Crystal and end the deal!"

Except....no, he wasn't. They could have just delivered the crystal to I.M.P. They have Blitz’ number, just call him, get a servant to send it etc.

Remembering my posts above, where you can have I.M.P. killing in Hell as a Season 1 thing?

Maybe they're just getting started with their company? So Blitz wants to supplement with killing in Hell by killing those up top so he goes to see about getting an Asmodean Crystal?

See let's backtrack here folks, the episode Oops it was mainly about Blitz and Fizz reconciling right? Which they do at the end of the episode. Now follow this, if we take into account the above, Blitz' dialogue could be.

Blitz: "Fizz look, I know what happened to you was horrible. I don't...expect you to forgive me, but I'm struggling to support myself, my daughter and my employees with my company. I....if you can just think on it, perhaps I could get one of those Asmodean Crystals?"

The scene ends and Fizz goes back to Ozzie, while along the way he's thinking about Blitz' words and how he was saved by him where in the end, Fizz agrees to send Blitz a Crystal because he's earned it from saving his very life.

Or here's another scenario, Blitz has a Crystal from the start(which he took from Verosika when they were dating), but as things get far more hectic up on Earth with more dangers. The Crystal ends up shattering after I.M.P. gets back to Hell after a job, thus Blitz goes to actually confront his past and reconcile with Fizz in order to try and get a new one.

See how easy it is now, to just remove Stolas entirely? They took away a character's purpose of being in the show....that to me, is completely disappointing. Characters, especially those that are suppose to be IMPORTANT, should have a purpose...without that? You may as well just delete them entirely.

Blitz could have had 2 whole Seasons with relating to the past and those that he hurt, that he TRULY hurt(Verosika, Fizz and Barbie) that would actually matter to him as a character. But instead, all these characters are instead shoved to the wayside, for a character who doesn't matter anymore and only actually matters because the writing is FORCING him to matter.

You can write the narrative in so many different ways with what Season 2 gives us, that completely destroys what Season 1 told us. Are we now expected to just....IGNORE AN ENTIRE SEASON?

They can do this whole "sad Stolas is sad and Blitz is hurt and Stolas is going to give him a crystal." Thing all the way to 'try' and fix things, but it'll fix nothing....because the deal between them was retroactively made completely pointless.

The show will continue obviously, but in the back of the minds....it will be a broken narrative and Season 1 is basically buried 6 feet under. As a writer, this really annoys me....because they had how long between Seasons to nail this down? How long have we all waited just in-between episodes? This shouldn't have happened.

Yes, is storytelling hard? Obviously, none of my stories are perfect....but at least the narrative is coherent from beginning to end.

Anyway...I just...had to get this out of my head, because it was really frustrating and I want it to be acknowledged more. The narrative is important folks, if it's broken...that's not a good thing.

I'm still watching this show....if only because I'm knee deep in it now and I still somewhat actually like the characters, but what I don't like...is this broken narrative that is still hanging around with a pointless character that doesn't matter to the show anymore.

Narratives, coherent narratives are important to a story, without it? You don't have characters and you don't have a story.

#helluva boss #helluva critique #helluva boss critical #helluva critical #helluva boss criticism #vivziepop critical #Narratives are the MOST IMPORTANT THING! #helluva boss season 2 #helluva boss season two #helluva boss blitz #anti stolas

[alllgator-blood]

okkk wait this is the anon that sent an ask about autistic narinder and leshy hc 😅 i retract my statement they're all autistic 🤯🤯🤯🤯

I WAS LITERALLY IN THE MIDDLE OF ANSWERING THAT ASK TO SAY "I FEEL LIKE THEY'RE ALL AUTISTIC" BEFORE THIS ONE GOT SENT IN, I was two sentences in so your comedic timing was impeccable actually

I know there's like no evidence in-game to back my claims so this is purely a vibe check (and also me being unable to write for neurotypical characters) but yeah no I 100% feel like all the bishops have autism for some reason. They definitely express it in different ways and I was actually thinking about that in the car ride back home tonight??

SEMI-DETAILED HC EXPLANATIONS BELOW THE CUT

For leshy, I feel like since he's the youngest...when he came along, everyone was like "yep. We don't even need to get this one tested" after seeing him in his natural element. Which sounds cruel but that's just personal experience after people in my family started getting diagnosed and we started noticing things about each other better LMAO. I kinda actually designed my iteration of him to be like a big stim toy, I did that shitpost sketch in the last post but even the first time I drew him I was like "this dude is made out of orbs that make satisfying noises when they click together", so if I had to categorize the way his neurodivergency manifests, it's definitely "I NEED TO MOVE AROUND!! RIGHT FUCKING NOW!! MAYBE SCREAM A LITTLE IDK IT JUST FEELS RIGHT!!"

Heket is for sure the one that fights the most against people labelling her with it, just because she's like I'M SO NORMAL GUYS. LOOK HOW NORMAL I AM. LOOK HOW WELL I CAN ADAPT TO CHANGE AND LOOK AT ME NOT FREAK OUT AT ALL WHEN I'M OUT OF MY ELEMENT!! She's the new leader of the family so she does her best to hold it together but if you make plans with her, she's gonna be in Waiting Mode as soon as the plans are made and might tear you limb from limb if you flake or reschedule. Something my therapist told me recently is that me getting absurdly upset over injustices (small or big) is likely directly related to being autistic, so if heket feels like something is wrong she will absolutely be vocal about it. If someone says something mean to her, they are her fucking arch nemesis from that point on. The block button is NOT enough she wants them DEAD

For narinder, I feel like he maybe bonded a lot with shamura over the fact both of them feel pretty disconnected from everyone else? The way his autism manifests is probably the feeling that he's on a completely different wavelength than everyone else, and can't experience empathy the same way his siblings can. He'll like have conversations with people but it feels like someone just talking at him, and him having to mentally choose the dialogue options that make the conversation end the quickest. He probably feels like a completely separate species from everyone else on more levels than just "I am a cat and you are not". I know this doesn't line up with my narinder art so far but I have a distinct characterization of him pre-schism that's completely different from post-schism. I feel like he also resented the other siblings for having the same condition as him but presenting so differently, he felt like he got the short end of the stick.

Kallamar........is a FREAk ABOUT TEXTURES. Bro will actually throw up if he has to eat or touch something gross. He would probably excuse himself to go hurl if he sees leshy combining everything on his plate and shovelling it into his face. I'M actually about to hurl just thinking about it. I have to have lotion on at all times or I freak out when I touch things with my hands, and I feel like kallamar needs to have that famous Cephalopod Mucus Layer in order to exist in his body without wanting to implode. Maybe even a special oil he formulates himself? I also feel like he probably has the most freakouts and has been left crying inconsolably + hyperventilating on the floor over something seemingly stupid MANY times, but shamura is understanding enough to be patient with him and not try to grab him or repeat phrases at him over and over.

LASTLY, SHAMURA DOESN'T THINK THEY HAVE AUTISM. They're like "I love my Neurodivergent Family :) can't relate tho" but all the siblings have unanimously agreed they have something going on up there, even before the TBI. I think they're very book smart, and have little file cabinets of their brain of stuff like "arthropod husbandry" and "dreamcatcher making techniques" but are totally clueless to how other people operate. They don't really know *why* people do the things they do; in my prequel AU thing, they gain most of their social knowledge through people watching rather than like...being normal and just knowing how to behave. Out of all the siblings, they've probably been told the classic phrase "but you don't look autistic!" the most LMAO

Also shamura 100000% has misophonia and that's the reason I didn't have them sitting at the table with the other siblings in the voidpunk comic I did of them. They love their family to death but they have to make the conscious decision to not shake baby leshy every time he loudly chokes down his dinner, so they just sit out meals and eat on their own time. If shamura was real I would build them a shrine and sacrifice my noise cancelling headphones cause idk if they have sound reduction methods in cotl world <3

I know autism kinda encompasses ALL of these traits and isn't something that can be categorized into "this one hates noises, this one needs to follow a schedule..." but I also don't want to just point at one bishop and go "YOU. YOU WILL BE MY VESSEL" because I'd never get to write all that I have in mind if only one character had it. There's definitely overlaps in symptoms between them but I just wrote down what I felt would be the most notable to that specific character. I've been wanting to do a comic about their special interests or the times they just like sync up and have a brain blast jimmy neutron moment, cause usually they're all over the place. I have literally never said the word "autism" so many times in my life I think I gotta cut it here, THIS IS SO LONG. I REALLY DID WANT TO TALK ABOUT THIS THOUGH SO THANK YOU FOR THIS ASK GENUINELY. IDK IF YOU EXPECTED A SMALL ESSAY ON THIS BUT I WROTE ONE ANYWAY

#HEADCANON DUMP #LET'S FUCKING GOOOOO

[grandline-fics]

The Little Things

DESCRIPTION: The little things they love with you 

WARNINGS: just fluff

CHARACTERS: Law, Kid, Killer

WORDS: 734

A/N: Something small and slightly different that came to mind. Hope you all like it and have a good day. Thank you as always for reading

*REQUESTS ARE OPEN*

MASTERLIST | PROMPT LIST

———————

LAW

It might seem a little vain but Law loves how drawn you are to his tattoos. He loves how when he walks hand in hand with you, your thumb will always rub lightly against the inked pattern of his skin. You’re almost unconscious of it and he’s always silently expecting it and without fail you do it while looking around the new sights of the island the crew are exploring. It doesn’t stop at that though. When you’re sitting or lounging beside him in your more relaxed moments on the sub, depending on your position you have to have your hand on his arm or his chest with your fingers following the lines without even needing to be looking at them. Law finds it amusing how through muscle memory alone your hands just know the pathway of the ink perfectly. 

Law loves how you accept his obsession with needing to work longer hours to a point. After becoming a couple you both reached an understanding that on the nights he’s drawn into his journals he has to read aloud in bed and even if you don’t fully understand the medical and other scientific terminologies, the sound of his voice will always lull you over to sleep. Finally when Law feels his eyes begin to grow heavy, he pulls you close and loves to lay his head close to your chest, his most treasured sound of your steady and strong heartbeat comforts him and is the final thing he needs to fall into a peaceful and restful sleep. 

KID

Kid’s a simple man, one of the things he loves with you is when you help with his appearance. While he remains relaxed and perched on the edge of the bed you stand between his legs, perfectly slotted and almost pressed against his chest as you carefully apply his eyeliner and lipstick with a careful and steady hand. Kid loves the simple yet intimate moment each and every morning, trusting you completely while also getting to indulge in having his hand firmly against your hip, the appearance of keeping you steady when really you both know he can’t help but have his hands on you. Kid loves the complete focus in your eyes as you do this task, taking it seriously. He only closes his eyes when you’ve finished by pressing a gentle kiss against the scar.

More than anything Kid loves how at ease and adaptable you are in his larger than life presence. Despite him being the taller and louder in the pair you compliment him so well that it’s effortless. He doesn’t need to quiet who he is, you just accept him and match his energy in your own way. Whether he’s brawling in a bar or working on something in his workshop, you’re there as his constant support. He loves how easily you slotted into his life and made him realise just how much he needed someone like you to stabilise his chaotic nature without taming it. 

KILLER

With Killer he loves the ability to communicate with you without needing to say much if anything at all. You’re both so comfortable and in sync with one another that you know what the other needs. One such thing being you always know when Killer needs the space to breathe and relieve the building pressure against his head. He wears his mask for a reason but constantly wearing it does cause a tightness and pain. You always know when Killer is reaching his limit and find a way to sneak him away, letting him pull off his mask and lay his head down in your lap and immediately feel your fingers sink into his hair and massage the tension away from his skull. 

Killer loves having you with him in the kitchen. The two of you cook together in perfect harmony while also working together on making new recipes. Anything that Killer comes up with you’re always the first to taste test, giving him the only opinion he values while knowing that you will be completely honest and will offer helpful criticism or suggestions that will always help him improve his cooking. Killer also loves how you’re also as protective of the space as he is, always quick to kick out any of the crew when they try to sneak food before it’s ready, especially when it’s Kid that needs to be reprimanded. 

#one piece #one piece imagines #one piece x reader #law x reader #trafalgar law x reader #kid x reader #kid x you #killer x you #killer x reader #one piece scenario #one piece fic #one piece x you #one piece fanfiction #trafalgar law x you #trafalgar law #one piece law #trafalgar one piece #trafalgar d law x reader #trafalgardwaterlaw #trafalgar d water law #eustass kid x reader #eustass x reader #eustass kid x you #eustass captain kidd #eustass kid #one piece eustass #one piece killer #killer one piece #massacre soldier killer #massacre soldier one piece

[haven-of-dusk]

Semi-random scene analysis time. I honestly always liked this scene, and it took me a bit to figure out why, but I think I got it.

First off, just aesthetically, *chef's kiss*. The mussed up helmet hair looks adorable on all three of them, the outfits are on point, I'm literally just now noticing that I think the Steiners have matching backpacks (their commitment to the bit is insane and wonderful), it's all great.

Second...it's just funny. And charming. Ethan and Aiden ping-ponging the conversation between each other for a second without even letting Scott get a word in is fun, and the delivery of "This is about you being the target of demonic ninjas." "You mean the demonic ninjas who pulled swords out of their chests and kicked our asses?" "Yeah! Those demonic ninjas!" was pitch perfect. I feel like Charlie and Max don't get enough credit for how well they bounce off each other because it's assumed they would be good at it, when in actuallity I've met more than one set of identical twins who SUCK at that.

Lastly, it might be me reading too much into things, but I do think this scene is a great example of characterization through limited dialgoue and action. A line that stands out to me is "Since this is our first experience with demonic ninjas, we're thinking we should play it safe." The use of the plural pronoun is very telling to me, because I'd be willing to bet even thinking of protecting Scott was Ethan's idea, and yet he always uses the 'we' pronoun because he and Aiden are an inseperable team.

It's something I feel S3 really did right: distinctifying Ethan and Aiden into their own people without sacrificing their bond to each other. I feel like a lot of fiction that introduces twins as minor characters just makes them a unit without much distinction between them (hell, Harry Potter did it twice, for instance), but despite the Steiners literally having a merged form, the show made an effort to show how they're very different, yet still complementary people. They could be simplified to the brains and the brawn, but even that straightforward premise tells us a lot about how they've survived as long as they have and presumably a contributor to Deucalion recruiting them. It also makes Aiden's death all the more heartbreaking the more you realize how important they were to each other.

I'm getting a little off-topic here, but the point is that simple interactions like this can darastically shape a character and I feel as though that's underappreciated. Especially when it comes to already underrated characters like the Steiners.

On a last, less serious note, I appreciate that the three werewolves with miraculous healing abilities all still practice proper motorcycle safety and wear helmets, gloves, and long sleeves. Unironically love that for them.

#teen wolf #scott mccall #aiden steiner #ethan steiner #scene analysis? #sort of?