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peanut-with-wifi-access · 13 hours

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What's up with MK?

[a theory crafted thru pure over analysis and attachment to minor characters/scenes]

{thank you to @trix-with-wifi-access for listening to my rants and assisting in my insanity}

spoilers for Lego Monkie Kid, s5 trailer not directly included tho.

If any of this is unintelligible, blame the fact it's like 6am and I'm only writing all of this outta a sudden burst of motivation.

I don't think MK is okay

Yeah, stating obvious aren't I? Well, I don't mean mentally. Ofc he's not mentally okay. I mean physically (or magically at this point tbh)

I think there's something Wrong with whatever MK is. But b4 I dive too deep into that, let's set up some bases.

MK's monkie statue. We all know that's his. He showed to Pigsy's doorstep covered in clay, which considering Nüwa, this statue is 100% made of.

The thing I wish to point out is that it's broken. Nearly in half. Something went wrong here.

We know we can't trust a word outta Subohdi's mouth, considering that not only does he claim MK's statue was remade from the fragments of Wukong's egg (which was made of stone, not clay) and even says himself that he doesn't know what's up with MK.

Anyway. As you likely recall, right after all of this, The Ink Curse throws Subohdi out of the way and appears directly to MK.

The little statue disappears, and the curse emerges from an ink puddle stemming partly from the rock.

And it appears looking like Monkie!MK.

The Curse (fuck it I'm tired of typing that. This is why we have fan names—) Mozhi doesn't appear like this to anyone else, other than manifesting as past Wukong to mock him alone. Wukong, also a monkie.

but it only does that after it's been directly provoked and attacked. MK didn't do anything, and Mozhi still appeared. In a mockery of what he truly is.

Mozhi appears in the form of an animal. In the form of everything MK's denying. It switches back and forth between "we" and "you". I also wish to mention MK's slip up with "we help people"

For some reason, Mozhi feels the need to directly confront MK, to the point of even attacking him with his own powers (and... Well I'll save that for another post actually).

Why?

Why did Mozhi decide that MK being in denial of what he is was so bad it needed to appear and beat the truth into him?

"This is your fate, your friends will turn on you, seeing you for the monster you will become. They will destroy you, Harbinger Of Chaos"

"Then prove us wrong."

is it just me, or did this seem like a last minute Warning? To be careful of what you will become, or you will be destroyed by your own friends?

Prove us wrong. Us. MK believes it. MK believes that his friends will inevitably turn on him. He doesn't just need to prove Mozhi wrong. He has to prove himself wrong.

Harbinger Of Chaos. We're all so tired of hearing that title, aren't we? Everyone in fandom talks about it non-stop. But I have seen very few mention something rather important.

Chaos is yin. The darkness with the speck of light.

and of course, yin cannot exist without yang.

Chaos cannot exist without Order.

I think that's what happened to the statue. Chaos lost it's Order, dark lost it's light, and now everything is eternally doomed. Unless said Order is found of course, but I'll get into that eventually.

What would the power of chaos do to make up for the lack of order? Well, it'd try to find something to fill the void. To fix that broken half. Anything will do, it just needs more power. It's too weak, it cannot survive like this. Without order.

... I'll just say it. I'm 99% sure MK's actual Mystic Monkie Power™ is Mimicking. The desperate attempt of chaos to fix what's broken without the necessary tools.

Would make thematic sense too. Chaos is unpredictable, Clay is easy to mold, etc etc.

But what does this really have to do with anything? Well, let's tie all those orange threads together, hm?

MK is not as strong as Wukong or even Macaque, two of the other 4 Mystic Monkies. Oh he's certainly strong (need I remind you of what he did to Azure) but simply not as undyingly OP as the SundialDuo/ShadowPeach.

He's weakened by whatever happened to his statue. Whatever ripped Order from Chaos.

MK's clay statue is broken almost in half, and he's only approximately half as strong as he really should be.

I think MK is only one half of a Mystic Monkie that was supposed to truly embody Yin/Yang. Something happened, and the statue that was supposed to become that monkie was broken.

MK winds up with most of what he needs to survive and stay stable (as shown by his statue being about 60% intact) but he's not as strong as he should be, and is left scrambling for anything that can give him even a scrap of the power he's supposed to have.

What happened to the other half? What happened to Order? Well, that leads into another theory... But let's just say I have my suspicions involving a barely-a-character that I got too attached to.

after all, what's more orderly than memories?

Ignoring that, focusing back on MK. My prediction for s5 is him finding out about this from Nüwa. After all, my theory is that she broke the statue.

... Ah, forgot to mention that. Allow me to elaborate.

I think Nüwa was genuinely excited to create something new. Something powerful. A Mystic Monkie! Finally!

But why was she allowed to do this? Because there was one less Mystic Monkie. With Macaque dead for who even knows how long, there was a long time where there were only 3 of the original 4 Mystic Monkies.

Nüwa took this opportunity and ran with it, getting permission from whoever to create a replacement, since Mac didn't seem to be coming back.

But come back he did! And having 5 Mystic Monkies running around would be such a pain to keep track of, especially considering what happened with Wukong!

So, Nüwa was either commanded to break the statue, or did it herself. Destroy what she had created so that nothing like Wukong would ever happen again

Oh but how attached she got, to a little statue not even brought to life yet. So much potential. So much power. Made of the same Clay she carefully crafted her original, precious humans out of. She always loved to create, but was never allowed to bring what she made to life again.

... Well, this time they only said not to have another Mystic Monkie running around... Nobody said she couldn't bend the rules a bit.

With that, the statue was broken. Her precious clay, her yin, her little Chaos. She put him with the humans. They'd take good care of another clay like them! She doesn't even remember what she did with yang, the Order, the—... the other half. She was too focused on watching her precious Chaos.

Even going down to the mortal realm herself, to keep a closer eye on him. She was there when the sky broke, when Chaos went too far, so she'll be there to assist. To tell her perfect Clay where her stones are, so that he can fix this mess, just as she had years ago.

Five stones.

Four monkies, one half.

—·–-–·—

TL;DR

MK is only one half of a Mystic Monkie (clay, chaos, yin) bc Nüwa's an overly attached idiot and Mac died so this all technically Wukong's fault lmao.

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mdhwrites · 1 day

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I’ve been watching Amphibia while studying. I should definitely do a rewatch during the summer, but it’s occurred to me that Amphibia’s strengths are criminally underrated.

Amphibia feels like a more focused show than TOH. It has its flaws ofc especially in Season 3, but Amphibia’s cast comes across as a lot more developed than TOH’s cast. I mean, Andrias got a dedicated flashback episode and Belos didn’t???

Amphibia’s execution of the found family trope is one of the best things I’ve seen in animation. In contrast, I always felt that King, Lilith, Eda, and the Hexside crew are plot devices to get Luz where she needs to go. Eda has some depth but generally speaking TOH never “got into their heads,” unlike with the Plantars, Sasha, Marcy, Grime, and Andrias.

And I gotta praise Amphibia’s ending!!! I wish more kids cartoons embraced the idea of permanent, bittersweet change. The idea of letting things go but not forgetting them.

So while I agree Amphibia is more focused, I actually don't think that's what the bigger difference is between TOH and Amphibia that I think needs to be highlighted. No, instead, I'm interrogate something you said: Does Belos not get a dedicated backstory episode? For that matter... Does he potentially get MORE time spent on backstory than Andrias?

Andrias literally only gets The Core and the King. He actually gets VERY little screentime, mostly because the effects of his cruelty are more important than what he does himself. So for backstory, he gets 11 minutes. MAYBE you could stretch to like 12 or 13 if you want to include hints to Lief but that's all post her time with him. So 11 minutes because Andrias only gets one segment, not two.

What does Belos get?

Well... I think everyone just forgets about Elsewhere Elsewhen. That IS backstory. That is previous characterization. It's not a flashback but it is still interacting with a Belos earlier in the timeline, like a backstory exposition dump or a flashback does. And interacting with Philip is the main purpose of the A plot of the episode, even if it takes a bit to get to him and then he dips out before the end.

As the author of the journal though, he also counts for backstory whenever passages of the journal are told to us. It's unreliable but it is still previous characterization. So stuff like Eclipse Lake and the end of Looking Glass Ruins adds a little here and there.

Then of course... What the fuck do you call Hollow Mind if not a dedicated backstory episode to Belos? The majority of the run time is literally go through his brain, and his memories, to show his rise to power. His backstory. And while there is technically a B plot, it doesn't take up much time so probably at least a third of the episode is spent on this and these are 22 minute episodes. If just two thirds get spent on backstory, that's more than Andrias gets.

So why doesn't it feel like that? Why does it feel like we get a VERY complete version of Andrias' backstory, despite seeing cumulatively three days in a row of his life, while it feels like we were never told Belos'?

Efficiency. Amphibia is a VERY efficient work. It crams a LOT into its run times. It's part of why the episodes are so satisfying because they actually manage to tell complete stories with morals, sometimes their own A and B plots in an 11 minute segment and actually move the characters forward a full step within the span of that time. It does this while also being hilarious and action packed, much more than TOH or, honestly, a lot of cartoons. Not every episode segment counts for this but ESPECIALLY the important ones do and The Core and the King should be taught in classes for how to get across a character's motivations and backstory in a nuanced, breezy way while also being DENSE. AS. FUCK.

In eleven minutes, we get a clear idea of the utopia that Andrias used to live in, the cost of that utopia, the pressures upon him as a prince, how deep his relationships are with two other characters, Lief gets some genuinely good characterization that helps explain her choice, a logical progression of events that matches with the sillier side of Andrias we know of, an escalation and then a climax. We can VERY clearly see what Andrias lost, what he is trying to get back, and why he would want it back on multiple levels, both societal, familial and even personal, that will motivate into being a MONSTER for a thousand years. All while still being a lot of fun and having some really great jokes. It introduces so many elements but it never feels bogged down by any of this. Instead, it chose the PERFECT moment to get across everything it needed to and left very few questions that you as an audience couldn't figure out yourselves. This also all while being explicit about much of the motivation and what not instead of relying on background details.

Which TOH can't claim for Belos. In Elsewhere Elsewhen, we see that Philip hates witches, that his journal is unreliable and that he has ALWAYS been an asshole and a manipulator. That's befitting who he will be but doesn't actually tell us jack shit. It also includes I guess how he met the Collector but that's moving plot, not expanding on your villain. Because the journal is unreliable, it tells us very little to nothing about him except for some reason he donated his journal to the people he fucking despised. Then Hollow Mind shows how he came to power... But not who he is. Not his motivation, what he actually wants to accomplish besides murder, etc. like that. The paintings in the background tell you far more just by being far more suggestive of what he's been through.

TOH is fucking awful when it comes to density. Most episodes, not even just Belos, have the problem of only taking half steps. Each of Belos' parts are those half steps. Revealing only one or two elements when it easily could have shown more to be more satisfying. As an example: Amphibia has a GREAT episode between Ivy and her mom about rebellion, the consequences of fighting what your parent wants for you, why they might do the things they do, etc. like that. In 11 minutes, we get a genuinely complex relationship between Ivy and her mom who haven't had much talk about each other or their relationship up until now. Meanwhile, TOH decides to focus on Luz being expelled for the episode about Amity and Odalia, meaning Amity is in like... Three, maybe five minutes of that episode? A full minute of that being the intro to the episode where she's just showing off the abomaton?

Because it isn't actually focused on Amity, the relationship between Amity and Odalia isn't actually explored. Because they can't explore that, they also need to now make Odalia cartoonishly villainous so as to fit the fact that Luz also spends very little time with her due to making the conflict be about Hexside so we have to waste some time with a stock standard montage of Luz, Willow and Gus trying to get back in. And by the end, what is the resolution between Amity and Odalia? "Get in my way again and I will kick your fucking ass."

Much deep. Very brave.

There's TONS of stuff like this where Amphibia is genuinely the work trying to do more interesting, more meaningful and deeper things than TOH and managing to do it in literally half the time. If not even less. That breakneck pace is part of what makes Amphibia feel like a kids show but it's also what makes it just more enjoyable to watch.

Which actually makes TOH fit in better with our current era of streaming television. TOH is constantly baiting you for the payoffs it promises. It keeps swearing that its elements are deeper than they appear so make sure to tune in next week because this SURELY can't be all there is to, right?

Unfortunately, that is all there is to it. And once you realize that and look at the show with that sort of lens, it starts falling apart. It's part of why TOH should be thankful it was shortened. It lets people more easily claim that it just needed another season. Another fourteen episodes. That TOTALLY would have solved all the problems with episodes that happened even before the shortening.

That is extremely rarely how this works everyone. Sorry.

======+++++======

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

#Emperor Belos #king andrias #toh critical #the owl house criticism #Amphibia

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clarichoupie · 1 year

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Repeat after me: Supermassive games can't solve your mental issues. It should not be your coping mechanism or your escape from reality.

...Good.

Now who wants to read fanfiction and talk for hours about non-existent couples?! ^^♡

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creatingblackcharacters · 2 months

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Lesson 1: "White Man Painted Black"?

Okay, I recognize that this is a strong foot to step off on! But! If you learn nothing else from this series, if you decide for whatever reason to forsake me: this is the ONE perspective I'd like you to take away!

You may have heard this quote before, when Black fans deride a character design as 'a white man with the brown bucket tool'. On its face, it means exactly what was said. But specifically, what it means is that we recognize that whomever designed the character drew the way they normally draw for a 'default' character in their mind- default usually meaning White/Eurocentric features- and they added a shade of brown within the line art to make that character now 'Black'.

Now if you're feeling defensive, wait just a moment! This discomfort is not inherently a bad thing!

I'm going to use both a 'real world' example first, to show you what your Black fans and peers are seeing, and perhaps you will also understand our discomfort!

(if anyone was curious, my folder for this lesson is titled 'brad' lmao and you'll see why)

(I'll have y'all know that I actually worked very hard to make Blackface Brad look mildly presentable lmao I'm sorry, I'm wheezing, I can hardly breathe looking at him 🤣)

You see how, despite knowing where this was going, and using one of the darkest shades of brown in my Skin Tones arsenal, you still know that that's Brad Pitt? That nothing about his hair texture, his lips, his nose, or really anything other than the palette change... changed? And you can still see that?

It's incredibly hurtful to be told that that's supposed to be you. You know it's not, you know why it's not, but rather than hearing how it makes you feel unseen and what they could do to be better (since they wanted to draw a Black character!), the artist lashes out at you.

And as an artist, you might have worked VERY HARD to do this! That might be a real handsome guy you drew!! But... is he really Black? Did you walk into it with the intention, that you were drawing a Black Character, or did you draw a character that just happened to be Black? It seems like a silly thing, but it matters!

Okay. I just finished laughing over Brad. Now let's get into some more perspective changes:

Now, imagine you drew a character. You want to make her Black, so you change the hair and skin colors. All right! You have your Black character... right?

Changed ONE feature about her? (You should obviously change more than one feature, but let's just go with the simplified example.)

What if, instead of just changing her palette, we changed her:

Hair?

There isn't nearly enough time in the world, let alone in this little scribble and blurb, for me to describe the IMPORTANCE of Black hair in Black character design. There are so many ways to do curls, afros, braids, twists, locs, SO MANY HAIRSTYLES!! Get used to searching in the 3C-4C hair textures!!!! I plan on doing an entire lesson or two on hair alone, but suffice it to say, Hair Texture is thee BIGGEST giveaway that you 'painted a white person Black'- from cartoon styles to realistic! It reveals itself in your writing as well- just based on how your character takes care of their hair, how your describe the texture, how other people might perceive it... it lets me know just how much research was done. Because we can have straight hair! But again, that's a conversation for a whole 'nother lesson so- come back later 👀?

Lips?

I love our lips, I really do. There's a long history of shaming Black women in particular for the way our lips look. So when I see them done in all their glory, it makes me very happy. Two-toned lips vary in shade and intensity, so make sure you're using references if you want to be 'realistic', but it doesn't have to be that hard. Even a little subtle shift like this in the design/story description lets me know that a creator was thinking about me.

Nose?

One thing I've noticed ever since I starting drawing is that... people in a lot of mangas/manhwas barely have noses! I admit, out of all the features on the face, the nose isn't the most important. I think they should be, especially when you want to emphasize that your characters look different! People have different types of noses! I especially want to gear this towards those with a goal of drawing realistic portraits and the like- there, the nose is ANOTHER dead giveaway. There are Black people with aquiline and straight noses- we aren't a monolith- but is that why you drew it? Consider why you went for that nose specifically. That's part of the intent, in all this!

Now, you might be looking at me and going "Ice... this is just character design". To which my answer is: Yes! It is! It feels so basic, and yet if you ask your Black friends/peers how often they've come across this feeling of not being properly drawn/written, from fanart to professionally produced works, it's unfortunately common despite how simple of a concept it is.

I hope that you can walk away from my first lil lesson with new eyes. Remember, it's the thought that counts, but the action that delivers!

#creatingblackcharacters #black characters #black artists #black writers #black art #character design

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submalevolentgrace · 1 year

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Hi! I'm very interested in attempting to write a disabled character (not for this blog, I assure, for an book I'm writing) in which the story doesn't fetishize/objectify her prosthetic limb. I'm in many writing circles and have been for a long while, but I've never seen this issue brought to light which I realise is a very important one. I have much to change in my thought process, and thank you for bringing this issue to attention.

I'm curious, and I apologise if this has been asked before, but what sort of design could you see for a functional prosthetic that doesn't go for a plainly aesthetic appearance, or is soully to please others? I do note that you said prosthetics are generally... not that helpful. So is there a way that it could be? Or do you think it would always generally be better to not use a prosthetic, as its mostly for aesthetic purposes, as you said?

I apologise if this ask is too outright or anything, and I don't mean to intrude. Thank you for your time and have a beautiful day!

okay, i want to answer this as in depth as possible, because whenever i talk about having a prosthesis, someone will always tag some variation of "#writing reference" and i do wonder what message they're taking away, and i want to get as much of my experience out as possible to maybe help shape how this is all portrayed in the future. and yeah… this is gonna be one of those rambly smg posts that the expand feature was invented for, so i'll start with the very abridged TL;DR:

if you're writing a character with an upper limb prosthesis; don't. arm amputees are unicorn level rare even compared to leg amputees, and i've never interacted with or even heard of an upper limb amputee that regularly uses a prosthesis, let alone relies on one. fiction has lied to you for the sake of cool aesthetics, don't repeat the cycle. more in depth writing advice including nuance and "but i waaaant to" will follow.

that said, grab your donning parachute and let's get started...

context for everyone involved: i am an upper limb amputee that rants a lot about how prostheses suck, i lost my right hand roughly five years ago at roughly the age of 30 after a very rough decline in health… it was pretty rough. this question is being asked in the context of a previous rant post of mine, and i checked that the ask is about an upper limb prosthesis in particular.

the situation regarding the usefulness of lower limb prostheses is totally different; i am definitely no expert, but by all accounts, prosthetic legs are incredibly useful for many people. getting a good leg can be absolutely life changing and more or less necessary for day to day life for some; mostly because infrastructure and society is just so fucking hostile to wheelchair users. being able to walk - at the cost of pressure sores and rashes and increased residual limb pain - is a preferable option to many people than being unable to fit through a doorway or in a bathroom stall or find out that the key to unlock the only elevator is in the admin office up three flights of stairs (true story).

but upper limb prostheses… see, the thing is, hands are incredibly complex organs that rely on a lot of immediate haptic feedback to work at all. hand dexterity is all about control, you need fine granular movements of the digits yes, but you also need the subtle sensations of pressure and proprioception in order to adjust your movements on the fly. i speak from experience, in the years leading up to the full loss of my hand, i was slowly losing function of it, usually swinging between numbness that made it clumsy at best, or screaming overstimulation from moving it at all resulting in unpredictable spasms… and let me tell you, a half working hand is infuriating to try and deal with. you can never know if you have a good grip on something or if it's slipping because of the wrong amount of pressure, and there's only so many smashed bottles of pickles on the floor before you give up using it all together… so amputation wasn't a great loss there, i had time to adapt.

a prosthetic hand of any kind has all of those issues and more. they're heavy and bulky, the cosmetic faux fingers or gripping claw have crude movement at best, and there's zero feedback (put a pin in this). 100% of the time you're using a prosthetic hand you have to keep your eyes on the grip and visually guesstimate whether or not the thing you're carrying is held tight enough but not too tight, that is if your "heavy duty" prosthesis can even support the weight without the servos disengaging or the wrist attachment socket just busting loose. i dropped a whippersnipper on my foot last week when my socket couldn't take the weight and i think that was the final straw in me desperately trying to prove to myself that there is a single task my prosthesis actually helps with.

this is usually where fully two handed people start talking about bleeding edge DARPA tech, and how we just need to invest more,research more, develop more. better tech, more tech, neural integration, more more more. okay i promise the writing advice is coming! for starters on tech, my experience is already with a mid-to-high end ottobock terminal device: i've got a myoelectric nerve-signal operated proportional control heavy duty greifer; about the only upgrade left for me to get would be a rotating wrist joint if i could coflex. it's not military, it's not "rockclimber that owns a prosthetic company", but it's quality tech. it still fucking sucks. secondly, that high level military tech exists primary for PR purposes so they can say they treat their discarded casualties well, "we can rebuild him, we have the technology" style. every war vet i've read about or heard from that's been gifted that high level tech also abandons it for the same reasons; it's imprecise, there's no feedback (or the haptic interface has to be fully recalibrated every time they put it on), but mostly they're more capable without one.

okay, the transhumanist ableds say (i should know, i used to be one), what if we did more ~research and development~ and got that neural feedback working? then we could have fireproof superhumanly strong robot arms to fix up everyone! here's where i take out that pin we put up before and i tell you that a class of prosthetic arms/hands already exists that has perfect proportional control, fine motor control, and physics perfect pressure feedback piped directly into the patients' existing sensory systems! they're called body-powered prostheses, and they were invented in like the 1600s. you strap a whole bunch of stuff to your arm and shoulders shoulders, and control the operation of the terminal device and elbow through cable tension by flexing your shoulders. they do take a considerable amount of training to operate - though hell i spent 18 months training to use my myo - but based on everything i've read, body-powered prostheses are the best option if you're an upper limb amputee and absolutely need a second hand for some reason.

but they don't look cool and futuristic, and according to my prosthetist, most people give up on using them too. we all give up on our prostheses, no matter the type. my rehab OT was impressed i lasted the 18 months of my training. towards the end, they even asked if the clinic director could drop in to one of my sessions to see my progress; he expressed genuine amazement at me casually using my bulky robot claw to use a brush and dustpan, and made an offhanded (hah) comment about what someone can achieve "if they stick it out to the end", implying it was somewhat of a rarity for me to have done so. several years on, and yesterday i wedged the dustpan between my ankles to sweep up into it, awkward but exponentially less effort than putting my dusty robot arm on. which, by the way, is a whole thing. look up some videos, they're all awful to don. i don't actually know the official technical name of what my clinic calls a "parachute" but it's a bitch to use! have you ever tried to pull back with your arm whilst also pushing it forwards at the same time, and simultaneously lean in to and away from an external force pulling on you? that's how you get a myo socket on.

bare with me, i promise writing advice is coming, and i promise it's more than the tl;dr. but. remember when i said a half working hand is infuriating to deal with? any prosthesis, from fancy myo tech to pirate-era body powered, will only ever be half as good as a working hand, and being juuuust within capability to do something but not quite able to is maddening! but you know what works way better than a half working hand? no hand at all. using whatever residual/vestigial limb you have - whatever "stump" you have, i hate that word - is pretty much always better than trying to use a prosthesis. i can use the inside of my elbow to grip and carry things, i can use the nub of my arm to apply pressure to hold things, open doors, use a computer mouse, turn on taps and lights, if i put a glove over it i can use it to prep for cooking. i have full proprioception and pressure feedback with skin contact, i don't think i've ever dropped and broken anything from my elbow, unlike countless things slipped from my greifer - which, by the way, absolutely will start clenching as tight as it can if i get even slightly too sweaty around the electrodes, which has both broken things i'm holding and also injured me, because surprise surprise but servo operated robot claws have pinch points on them right near the "emergency disengage" lever for some reason!

but i am exponentially more capable without it on than with it. no, i'm not fully independent, i rely on housemates and loved ones to help me out with some tasks that simply just need two handed dexterity, but none of those tasks are things a prosthesis makes me able to do anyway. i used to imagine my prosthesis would be like a bra; a bit awkward and uncomfortable, but i'd wear it throughout the day because it's helpful and take it off in the evening to decompress. in reality it's actually exactly like a bra: an absolute bitch to put on one handed, unbearably uncomfortable because it never sits right, ugly af unless you're a millionaire, and absolutely useless except for the fact that i get gawked at and judged by strangers if i leave the house without it on.

and if you really want to discover how far "no hand is better than a half working hand" goes, brace yourself, and look up the patient's stories (not medical system stories) of people that have had hand transplants. the first man to receive one hated it, he was promised a return to normal function, and what he got was a nightmare worse than being one handed; he wanted it removed again but the doctors refused because it would undermine their grand achievement of the first hand transplant. the doctors and society wanted him to be fixed, they wanted him to be normal, they wanted him to be abled. they failed. they made him less able to do things, denied his autonomy, and left him with someone else's hand slowly rotting on him, prioritising the idea of "scientific progress" and "two hands good" over the physical health, mental health, and ability to function of this man.

he's not alone; every story from the patients' perspective about hand transplants that i've read goes this way, including a woman who was born quad limb different and was promised hands would improve her life, pressured into a double hand transplant, only to find herself after the surgery essentially experiencing disability for the first time ever, because she had lived her whole life getting by just fine with her 'underdeveloped' limbs, but half working hands are worse than useless. you can try to find these stories yourself, but i'm not going looking for sources on any of these cases, because if you look back through enough of my posts you'll get a glimpse of the horrors and abuses that i too was put through by doctors who prioritised trying to "fix" me at any cost, rather than providing me the best quality of life, and in turn traumatised me and left me more broken than any loss of limb on its own could. dear goddess, i promise the writing advice is coming.

so. why do upper limb prostheses exist at all? if they're so terrible and useless, what is their function? i want to borrow something someone else left in the tags of a previous rant here, from someone who i believe works in prosthetics and/or rehab, cleaned up and anonymised at their request:

"upper limb functions are wildly more complex than: 1) bear weight static, and 2) bear weight moving. but every single upper limb amputee i know has a fancy expensive prosthetic just gathering dust in the closet because there is literally nothing it can do like a few years of adjustment and if needed non-dominant hand retraining can't do. the existence of forquarter prosthetics to begin with is just kind of silly and useless and entirely to make OTHER people feel comfortable, especially considering they universally are UNcomfortable for the amputee. i hate the notion that as soon as you get the amputation the prosthetic is The Thing That Will Fix You And Make You Feel Normal again because it universally isn't! but every forequarter person i know had like this ideal of Being Fixed By Magic Prosthetic that they were then obviously wildly disappointed by and had to do yet another grieving process with, versus if the dominant narrative were just one of: yeah. it'll take time, there is no magic fix."

and i think that really nails down what the actual purpose of upper limb prostheses is: they're not for the user, they're for the sake of other people. and not just their comfort when looking at our bodies, although based on the pressure for both amputees and people born limb different to get functionless cosmetic plastic hands, there is a lot of that. but it's not just that.

i fully believe that the reason prosthetic hands exists is to comfort the fears of the two handed. "don't worry", they say, "we can fix you again. you don't have to fear becoming Disabled, you don't have to worry about adapting or your life changing. we can make you Normal™ again."

you would not believe the number of people that have approached me to shower me with pity, to tell me how horrific my life is, how they can't imagine it. people have told me, apropos of nothing, that they'd kill themselves if they lost a hand. indirectly, that my life isn't worth living. unless, of course, i happen to be wearing my cool as fuck looking robot prosthesis! then they tell me how wonderful it is, how lucky i am, how glad they are that we have the technology to fix me. that's what a prosthetic hand says, what all the happy fishing photos on limbs4life posters at the rehab clinic say: don't worry, we can fix you. that's what the bleeding edge DARPA flexi-whatever fully articulated neuro-feedback hands say: don't worry if you get IED'd while hunting civilians for us to drone bomb, if you get hurt, we will fix you, we will fix the fuck out of you, we will motherfucking adam jensen you into a cool as fuck cyborg that your son will idolise; come on boys, don't you wanna enlist just for the chance at being as cool as this? join the bomb squad for a ticket to the upgrade lottery.

and so we arrive at fiction. as much as his dialogue options protest, adam jensen loves his robot arms, they punch through walls, turn into fucking swords! they make him the most special man in the world. what would he do without them? learn to cope? grieve? practice acceptance? take up poetry? just, be disabled? there's no power fantasy for ableds in that.

in fact, can you think of a single fictional character that's an upper limb amputee that's, well, just an amputee? they all have robot arms. not realistic prostheses, not medical devices; robot arms. sleek or bulky, top of the line or broken down self built, steampunk or nanomachines or magitech automail; they're never without them. never just an amputee. never born limb different either! there's always that element of tragedy to overcome, always suffering and misery porn, always focus on the pain and the helplessness without the absolutely vital robot arm that makes them Normal and Whole. the closest amputee example i can think of is furiosa from mad max, who iirc fucking punches max in the face with her residual limb like a motherfucking badass! i can barely lean on mine wrong and she punches a guy! but she still apparently needs a dieselpunk robot hand to drive a truck, something you can do one handed so easily most drivers don't even notice they're doing it! please don't, by the way

and so many disabled fans love to point to robot armed characters as disability representation; the winter soldier, luke skywalker, edward elric, misty knight, that genderswapped furry girl from ratchet and clank, jet cowboybebop, finn the human, and yes, adam jensen…. these are all characters that someone disabled i know has told me they love because they "represent disabled bodies"…. and i know nobody wants to hear this, because i've been screamed at for saying it before, but… they do not. they are not disabled, functionally or within fiction. they are either perfectly able bodied Normal people with chrome paint on an arm, or tortured misery porn we are supposed to pity and feel lucky we're not them. sometimes both!

also you ever notice how it's basically always arms? lower limb amputations are orders of magnitude more common than upper, my prosthetist said i was probably only the 4th or 5th upper limb she'd worked with in her career, with literally hundreds of lower limb fits. but fiction doesn't seem to reflect that, huh? or any other part of the reality of disability. it's always cool as fuck robot arms, never cool as fuck wheelchairs or crutches or dialysis machines or colostomy bags. a fair few "i was blind but now i can see with Robot Eyes and also infrared and xray" around, which again, plays into that "we can fix you and make you cooler" propaganda.

by the way, up above when i was describing body powered arms, if you wondered to yourself why i went with a myoelectric one instead when i clearly believe body powered is better… yeah. i am not immune to propaganda! i too wanted to be cool as fuck. i spent years with deteriorating function in my hand for reasons that are still unknown, was misdiagnosed and medically neglected to the point that removing my hand seemed to be the only option left to offer some relief, and even that was a clusterfuck that left me worse than ever… of course i wanted to believe in the power and prestige of a cool robot arm that fiction promised me.

but fiction promises fantastical lies. and so.

we get to the writing advice portion of the novella that is this post. you asked for advice on how to write a disabled character with an upper limb prosthesis. you've read the tl;dr, you've read everything above i assume, you know i don't want you to do it. the obvious twist is that it's been writing advice all along, me trying to share my perspective on what it's like being an amp with a robot arm and how shitty it is, implying how almost any fully realised and realistic character that's missing an upper limb would give up on a prosthesis at all. you can already tell that every value judgement in me says "don't give her a prosthesis, no matter how functional or cool you make it. don't try to make the tech better to justify it, just let her be one armed, one handed. just let her be disabled, but not helpless. let her show off her elbow or underarm carry strength. let her love interest appreciate how soft and squishy her residual limb is in a moment of tenderness. let her natural disabled body be respected and valued."

but that's a personal value judgement from me, and you are the author of your own work. i know it's trite to say, but you are! even the act of deferring to someone with lived experience in the hope of doing a better job at representation is a value judgement, a good choice in my opinion, but one you needn't necessarily take. maybe you do want to write a character that has a cool as fuck unrealistic robot arm as a power fantasy, or a comfort blanket… i did.

i've been slowly writing my own probably terrible scifi epic for over a decade now, and when my arm was giving me hell back then, i'd take great comfort in this fantasy of my protagonist with her chunky robot arm, the terrible traumatic suffering of her loss, overcoming, the power and ability her advanced prosthesis gives her over others, that she alone has access to, because others are not willing to make the sacrifices required. inspiration porn. awful stuff to me now, but empowering to me then. as i grew and gained direct experience, i slowly reimagined her, rewrote her, ship of theseus'd her into an entirely new character; a reflection of me now, bitter at the whole thing, spiteful that her natural flesh arm evokes fear and distrust, but unwilling to suffer the pain and frustration of her unnatural prosthesis just to make others comfortable and respect her as "whole", however artificial that whole is. and as with the ship of theseus being two ships, once i realised the transformation, i re-added the old protagonist back in whole cloth as a separate character; proud of her robot arm and its power, but in new context, as a foil and antagonist, an in-universe military prosthesis propaganda figure to reflect how i now feel characters like her exist to us, the readers.

i'm not just sharing that as egotistical self promotion, but to highlight that, even if i sit here begging you all up and down not to write characters with robot arms for how bad and unrealistic they are; there's still something genuine and true that their inclusion can say. the great thing about the story that you're writing is that only you can write it, as they say. but i whole heartedly believe that to write to your best, you have to be aware of what you're writing and why. as tempting as it is to feel these characters form naturally in us and therefore we're averse to changing traits about them that feel organic and self evident; as authors we have omnipotent control over the text, every trait and detail is a reflection on us, so we'd sure as hell better understand why we're choosing to write a character with this trait. because anything you write without being aware of intent will take on its own meaning in the space between.

and on that note, if i don't say this, i'm leaving it to be inferred: i definitely don't want to appear to come down on the side of saying "you cannot write an amputee unless you are one", because we are rarer than single young bisexual unicorns! and it would be a tragedy if anyone read through all this and then turned away in fear, deciding to never write an amputee character (with or without robot arm) because they feel they can't do it justice… believe me, no matter what anyone says, some hack writer somewhere is going to keep writing adam jensens and winter soldiers. don't let them be the only voices in fiction! just try to do your best.

so my ultimate advice on the topic of writing a character with a prosthetic limb is to ask yourself one question in two different frameworks, and meditate on what you feel the answer is:

why does she have a prosthesis?

from a doylelist perspective as the kids say, as an author with omnipotent control, why are you choosing to write about this topic? why are you choosing to give this trait to this character? what does it say about how you view ability and disability, what makes a person normal, and what our society values? will you let her be in her natural body? or will you give her a prosthesis, force her to wear it by authorial fiat, or author her a meaningful reason to choose to? if yes, be sure you know; why did you give her a prosthesis?

and from a wastonian perspective, diegetically, inside the story, why does she choose to wear a prosthesis? what does it say about her inner character, and how she interacts with the world? how does she feel about doing it, is she prideful and loves the attention she gets, or does she resent whatever necessitates its use? how do people in this world view ability and disability, what does this society value? and above all, whatever the answer to these questions, whether or not she uses a prosthesis or is badass without one, how does she deal with the eternal freezing cold that every amputee ever feels constantly in their residual limb and why does nobody make a heat pack that fits over a nub without drafty gaps???

i can't outright tell you how to write a good upper limb amputee, but if you at least know why you're writing one and for what purpose, you're on track to write the best character that you can. that's the best advice i can give… other than, like, this whole rambly mess.

and, as a reward for reading this far, please have a very blurry cryptid photo of my cat doing his old man sit:

#prosthesis #prosthetic #disability #ableism

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thebibliosphere · 9 months

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Hm. I'm rereading something I wrote, and I can't decide if it's going to be infuriating for some readers, or if there will be more going "OH, same!"

Given that my readership is largely in the Autistic 🤝ADHD vampire fan club (Vlad), I'm hoping it'll be the latter, but it's still making me hesitate because it's not how people expect sex scenes to read.

Everything's usually boiled down to a laser-focused precision of sensations and evocative, heated language -- and that does eventually happen with this. You just have to get past Vlad's brain wandering around for a bit because while Nathan's doing a good job of getting his attention in the moment, he's not being consistent, and it's giving Vlad's brain time to wander. Like noticing that Nathan squints a bit when he reads. ("(Hyperopia, Vlad’s brain supplied helpfully before he could smother it.)") Or just generally having full-on conversations in his head in the downtimes between stimulation -- and by downtime, I mean the split second it takes for Nathan to grab something from the nightstand.

Another part of me worries people will think I'm playing to stereotypes or I'm hamming it up to be "quirky," but given my brain is the epitome of the "hyper 8-year-old boy who can't sit still shiny disorder" despite being a 36yo cis woman, I've pretty much resigned myself to some people calling Vlad a stereotype anyway.

A larger part of me just... kind of really wants to see this kind of thing in a sex scene. I want to see my own thought patterns and acknowledge that even when you're getting hot and heavy with someone -- arguably an act that should consume all of your attention -- you'll still find your mind wandering. You'll notice something out the corner of your eye and go, "fucking shit, laundry, do not forget, do not forget" (and then you'll forget), or you'll be about to go down on someone, and the dick joke your friend told you three months ago will pop into your head and suddenly you're snickering with no tactful way to explain it.

(This is another thing that I always think is sorely lacking in sex scenes. No one's messy. No one's laughing like an idiot because they just thumped their head into the headboard, or a joke just popped into their head. Or someone's body made a fart sound because there's lube in places and things are thrusting. Like, maybe it's me, maybe I'm weird, but I think those are the moments you can build real romance out of. Not necessarily erotica, because those things (supposedly) aren't sexy, but there's so much emotion you can show with partners who are able to laugh with each other in those moments. You can show so much love and reverence through the mundane it hurts.)

It'd just be nice, for once, to have the character be absolved of the guilt that often happens in those moments because you're supposed to be focusing on what is happening, and your idiot brain just won't shut up.

Ultimately, it doesn't matter too much. It's a short story I'm hoping to fling out at some point (as soon as my idiot brain shuts up and lets me finish it). But it feels more important than it actually is because it feels like I'm exposing a major part of my psyche. Like pinning down all the ugly parts of my brain that can't ever actually be pinned down, no matter how much I try.

idk. Words. Things. Stuff. I'm going to try and finish this and then see what I want to do with it.

#long post #writing #adhd writer #rambling with joy #my kingdom for some ADHD meds

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somerandomdudelmao · 9 months

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I think the thing I keep coming back to is not the enormity of their love it's the mmmm. Consistency maybe? I'm not sure that's the right word.

It's the way it manifests, right? Because of course they love each other, they're family, they're each others whole heart. Of course Mikey will sacrifice his youth to burn the kraang out of Casey. Of course Raph would give the generator at his heart to keep Leo and Mikey and Casey safe. Of course Leo would stay behind with Mikey in a ruined world. Of course Donnie would walk onto a battlefield half dead and fight the kraang off for his brothers. Of course Casey would break the laws of the universe to bring the four of them back.

Of course they would. Because they're each other's whole world. There's no ask that's too large. There's no task too impossible. There's no fight that's too dangerous. Of course they'd hand out these actions, these definitive declarations of love.

Because what other choice is there? When the options are do it or let your family suffer the answer is obvious. The answer is easy.

And those are wonderful ploy points, they're wonderful dynamics and moments and declarations. But they're not what I keep coming back to.

I keep coming back to Leo giving Mikey his hoodie when Mikey wants comfort. To Casey wrapping baby Leo in blankets. To April finding the Jupiter Jim movie and bringing it to watch with Donnie. To Donnie making Mikey young again. To Leo giving Casey piggyback rides, and swinging him around for fun. To Mikey letting Leo's scarf and tassels float with magic. To Donnie letting Casey lay on him. To Raph commiserating with Leo that Casey doesn't remember him. To Mikey comforting Raph when he lost his eye.

To Donnie showing Casey the rain.

Because when you love someone it's easy to give everything for them. To sacrifice yourself, your safety, your life. When the problem is "do something or watch them suffer, watch them die" there's no question to be asked. There's no alternative action to be taken.

But it's harder to remember to do the hundreds of insignificant things that are the actually important bits. The things that you dont have to do. Because no one will die if Mikey doesn't get Leo's hoodie. No one will be in danger if Leo's scarf doesn't blow in magical wind. No one would worry if Casey never saw the rain.

But they're love isn't just about saving each other or protecting each other. It's not about the sacrifice, it never has been.

It's about waking up each day, and spending each moment caring for someone so deeply that you take the time to find your old hoodie wherever it thrown last. Trusting someone so wholly that you share the ways you feel, even when you know there's nothing to be done about it.

Because in the end Casey wouldn't have known to miss the rain. He couldn't have cared either way about it. But Donnie wanted Casey to experience what he viewed as a small joy.

And I think that's what I've been circling for the last 500 or so words. The small joy. And the constant, consistent, never ending effort of creating that small joy for the ones you love. For comforting them. For making them smile.

And what I come back to, over and over, is that the huge moments, where it's all or nothing, when it's time to put everything on the line for those you love, means absolutely nothing unless it's backed by hundreds of thousands of moments where you sacrifice nothing more than a bit of time, or a bit of effort, or a bit of convenience. If you haven't spent your whole life doing the things that aren't a given, and aren't necessary.

Ohhh, it does things to my brain.

One thing I keep reminding myself of throughout the creation of a comic is consistency. I often want to twist some situation so that it's something new and surprising for the characters. You know, in terms of emotions and dynamics.

When Raph bot came home alive and Leo cried. A little voice inside me was saying "what if this is the first time Casey sees Leo cry? Show his reaction! Show how surprised he is!"

Or when Mikey levitates someone. "Come on, draw a surprised face. Levitation is surprising!"

All those little family moments. I keep reminding myself that they are not a group of strangers who become family. They are family. The family family. The familiest family ever jfjfbfhdksk

So instead of

"oh wow did he do that??"

it's

"well of course he did that."

It's about caring and giving and loving to the point where it's something naturally subconscious.

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xiao-come-home · 5 months

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Argenti relationship headcanons;

┏━━━✦❘༻༺❘✦━━━┓

✰ Characters: Argenti x reader.

✰ Words: ~1k.

✰ SFW ; gn!reader, no mentions of pronouns. fluff.

Warnings: might be slightly sug/gestive here and there. i tried but he's too hot :pensive: written with jp voice in mind

A/N: I'm honestly so surprised there's so little Argenti content that IM OFFENDED. i need MORE OF HIM BEING CUTE AND LOVING ME. i cant pull him now but i next time he wont escape me

┗━━━✦❘༻༺❘✦━━━┛

Argenti:

He absolutely wakes up looking like a princess. Sun rays illuminating his face so beautifully, his chest slowly rising up and down (and his um, chest muscles being also blessed by the sun rays if you get me), his lips parted ever so slightly, hair sprawled out, but still looking untouched by the nights sleep.

His long eyelashes flutter open, and his emerald eyes scan the room drowsily; once the knight sets his eyes on you, he smiles to himself and turns to his side to face you.

He admires you sleeping, for... quite some time. Even if your hair is not perfect at all, or there's a drool running down your face - he's mesmerized. and I truly mean it, he's trying to calm down the butterflies in his stomach. Argenti can't help but cup your cheek and caress it gently with his thumb; his sleepy smile growing even wider when he feels you stir in your sleep.

even though it's never in his intentions to awaken you (he actually kinda wishes you kept sleeping so he could still admire you lol), he takes advantage of that and begins to place warm and slow kisses on your face to wake you up. his hair shields you from the harsh sunlight, faintly tickling you here and there.

hear me out, it surely looks nice from your angle, but his back muscles..

depending on your mood, these kisses may trail somewhere else. i mean.. can you imagine him between your thighs. because i can and it's not making me feel well.

"my brightest rose, good morning. seeing your magnificent eyes once again fills me with happiness and energy for the upcoming day." wipes off your drool sexily

he sleeps SHIRTLESS (you told him you were cold. he pretended to believe it).

random dances across all the planets at (seemingly) random times. he doesn't care whether you can dance or not, but he'll be honored to teach you if you wish. argenti would absolutely get you to dance whenever you feel down just to make you laugh; wrong moves don't matter - it'd probably hurt you more if you stepped on his armor...

listen. he doesn't care if it's cringe, but he will hold a rose between his teeth and dance with you, if that's what makes you laugh.

has probably thought once or twice if you're the truest manifestation of Idrila. He's never been so mesmerized by someone's beauty, so... maybe? ... *rubs hands and smirks*

does NOT give a single sheet if he's in public or not - but he always, ALWAYS kisses you like it's your last kiss. They're so passionate, intimate, and sensual, that it makes people flustered at the sight of you. He pulls you close by your waist, swiftly switching his hands to cup your cheeks; the knight puts his forehead against yours and whispers a few silly words before finally connecting your lips together. The kiss, although as simple as it could be, leaves you hungry for more - it takes a while for him to finally part, but just enough to refill the air in your lungs.

now, it wouldn't be as awkward to other people if it took you a few minutes, but argenti TAKES HIS TIME. he has to kiss you (or makeout at this point lol) until your lips are swollen from his kisses. then he moves on to his duties like nothing happened.

he truly wants you to hold him by his waist when you two kiss, or at least have your hands on his chest. he'll put them on the desired place by himself if you don't do it. what a dork.

touch is just so, so important to him. he has a hard time getting rejected, no matter if it's a hug or kiss, it makes him feel unwanted. he won't show it outside much, but he might be less... dramatic and excited than usual.

he SO SHOWS OFF FOR YOU it's almost reckless sometimes. "My lady, fear not, as I am here to protect your beauty until my very end!" Argenti kisses your knuckles before parting to defeat the enemy with ease.

Calculated how to fall just enough to dramatically appear on his knees and put his hand on his heart before you, "Beloved, the evil has been obliterated with the power of love my heart stores for your beautiful soul!"

He KNOWS his cheesy lines either make you cringe (with love), laugh or you're just an adorable soul who genuinely likes lines like these, he RAMPS them up like crazy.

just throwing it out there so we're clear: to argenti, consent is a must, regardless of the activity. no consent, he's moving on. thinks consent is se/xy. HE'S THE EMBODIMENT OF CONSENT.

his hair probably smells really nice. a faint smell of strawberry, perhaps..

the beauty knight usually wants you to stay out of battles, but holy sheet if he sees you kick someone's ass so good, he's impressed and proud. probably needs a bathroom break also..

"oh, how much do i wish that was me instead..." - argenti probably

actually wouldn't mind to have friendly spares with you from time to time - it's a good opportunity for both to test your skills. or maybe give argenti an opportunity to straddle you... that's also an option.

remembers every date that's important for you. in return, he doesn't really care about his, but might tear up when you show up with a gift.

he'd actually love to help you dress up! nothing sexual involved, just pure intimacy of helping his beloved. his moves are precise, careful not to harm you in any way with his armor; he relishes in the feeling of your skin being so tender compared to his.

#BARK BARK GRRRR WOOF #honkai star rail #honkai star rail x reader #hsr x reader #hsr argenti #argenti #argenti x reader #.headcanon #sorry for the long break again </3

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gay-jesus-probably · 11 months

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Let me just preface this by saying everyone is allowed to have their own opinions, TOTK is a really fun game, and I'm glad that other people have been able to enjoy the story as well.

...But I'm being dead serious with my complaints about the narrative being 100% imperialist propaganda. And I'm getting really tired of people replying to those posts by saying it can't be imperialist propaganda, because imperialism is bad and the game says that Hyrule is the good guys.

Like, guys. That's not the argument you think it is. Yes, I am aware that the game tells us Ganondorf is a flat, one dimensional character with no ambitions, interests or motivations beyond destroying the entire world for the hell of it, and also it's totally not racist because he's green, not brown like literally every other member of his race. Unfortunately literally all of these things are kind of the entire goddamn problem.

See, the thing is, everyone trying to make these arguments is accepting the game at face value. Hyrule is the perfect and almighty nation chosen by the demigod Zonai, and whose royal family has the right to rule due to their divine heritage. The other races exist to serve the glory of Hyrule, and they're happy to do it. Ganondorf is pure evil and must be stopped at any costs.

But that's not how anything works. The story informing me that Hyrule is the ultimate good that has done nothing wrong is the whole goddamn reason why I don't trust Hyrule at all. There's always more of a reason than that. And the game fucking suggests there was more going on! Ganondorf mentions Rauru has repeatedly 'invited' the Gerudo to become Rauru's subjects, and let's be clear here, it doesn't matter how peaceful those 'invitations' were, when the guy who owns every single magical nuclear missile in the world repeatedly demands you surrender to him, there's always going to be an implied threat of 'do it or get magically nuked'. Just that power difference alone shows us exactly why Ganon would feel threatened enough to invade. It's because Rauru was holding a gun to his head, and Ganon was expected to just trust that he'd never pull the trigger.

And yes, even if it wasn't intentional Hyrule was always threatening to wipe out the other nations, considering the entire royal family walked around openly wearing their magical nukes as cute accessories. If they couldn't be safely hidden away, there wouldn't be four other secret stones sitting untouched in a vault until the last second.

But that's never acknowledged. Of course Hyrule is the only nation with the right to the secret stones; even if other races get to touch them, they can only have them if they swear eternal blind loyalty and servitude to the glory of King Rauru and Princess Zelda. Ganon wanting to have one magical nuclear bomb out of a stockpile of eight of them is proof that he's dangerous and evil. I mean my god, what if he just walked around all day wearing a magical nuke and using its power for his own benefit, that would be terrifying. It's only okay when Hylian royalty does it.

And you can't argue that Ganon betrayed his own people, considering we don't get to know fucking anything about his relationship with his people. He's shows as the leader of the Gerudo, we're told he's a hero to his people, he has soldiers that loyally follow him into battle... and then oh nevermind, they all hate him and will spend eternity trying to atone for sharing a race with him. How did the entire race do a complete 180 in the span of at most a few months? Who cares, what's important is that now they accept they exist to serve Hyrule so they get to be the good guys now and we don't need to know why they were following Ganondorf, or why they stopped following him.

Basically my point is that yeah, I fucking know how the game insists everything went down. That's the entire reason I think it's imperialist propaganda, because the entire story feels like Hylian propaganda to conceal and justify some horrific atrocities that caused all of this. I literally do not believe that I'm getting the story through reliable narrators, especially considering that the only people allowed to actually tell me the story are all the characters that have the most reasons to be heavily biased in favour of Hyrule.

When the game shows me protagonists that have a massive amount of power and control over the entire world, then says the bad guy doesn't like that system just because he's evil, and literally nothing and nobody in the game says anything to oppose that take, I have some questions about what the fuck the story isn't telling me. And I'd really appreciate it if people would stop trying to argue with me just by telling me to stop asking those questions.

#tears of the kingdom spoilers #tears of the kingdom #ganondorf #can you tell that i'm annoyed by these people bcause i'm annoyed #...nothing personal if you are taking the story at face value btw #its just that i'm trying to dig into the story to talk about it #and it's frustrating to have people telling me i'm wrong because i'm analyzing the game #like guys... if someone doing a little bit of analysis is all it takes to dismantle the entire story #then it's not a well written story

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idesofrevolution · 5 months

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Precursor

"Jesus, Danny I don't know what the fuck to do about it, okay? He just fuckin' got me out of no where." Click, clack. Click, clack. The tapping of his fingers on the mouse and keyboard were the only sounds echoing in the dark room aside from his shouts. "Well, I how the fuck should I know? I told you I wasn't good at this game! You're the one who kept begging me to play it, and it's bullshit dude!" For a game that was supposed to be this fun phenomenon, 'Precursor' was proving to be quite a bit lesser than Greg anticipated. Danny had begged him for weeks to join the game and do a couple of rounds with him, if only to get him hooked. For Greg, a video game was like Civilization or Cities Skylines... building something great with strategy and creativity. To him, this was a boring shoot 'em up that had a steep learning curve, and it was grating on his nerves. "Well, dude I told you I didn't know how to play this stupid game but you wouldn't take no for an answer!"

Another red screen and the words 'Exterminated' were sprawled across the screen. Greg slammed his fists down onto the desk, spilling his Red Bull all over his lap. He threw his head back in yet another defeat, his seventh in the span of an hour. Looking down at his phone, the late hour had all but caused him even further grief.

"You know what, dude? This game fucking sucks. I don't know why you wanted me to play with you." Danny, surely kicking ass on the battlefront from somewhere behind his screen in Oklahoma hundreds of miles away, was less than enthused. "Ya know what, fine. I will do the fucking noob lobby, okay? I swear to God, though, if this shit doesn't get fun in ten minutes I'm loggin' off." Greg disconnected from his online pal and reentered back into the main menu. He sighed, how the fuck could anyone without a trigger-happy index finger and a desire to think about their options for more than a split second find this game fun? To him, it was all reflexes and no brain power. Clicking through the main menu, he searched for the "Noob" lobby in the available servers. He scrolled for an agonizing ten seconds of full lobbies before he gave up.

"Man, fuck this." He was a single moment away from clicking that exit button before his elbow slipped on some of the Red Bull that had spilled onto the desktop. His wrist banged onto the keys, leaving a string of gibberish into the searchbar. He grabbed one of his clean socks from the floor and sopped up the syrupy water and tossed it behind him over his shoulder. Whatever. Turning back to his screen, to his utter astonishment, the search for 'pjdkluyoikms' had come up with a single hit: 3/9 players in the lobby. Greg looked down at his phone again, 3:30 in the morning grimaced back at him. He'd have to be up in 4 hours if he'd kept the job he quit a few days prior, but with unemployment looming over his head the hours didn't seem so important to him. The game was known for being a time void, sucking in every available minute it's players had to use.

"Fuck it." He clicked join, and waited as the lobby began to load. For a second, his monitor became severely pixelated, but quickly returned to normal. Before long, he was met with the game mode selection and a couple of voices chatting amongst the static. Bruiser, Scout, Sniper, Runner, Bomber... He didn't know how to use a single one of these characters and in the back of his mind, he wasn't keen on being embarrassed yet again for another hour of failures.

"Who's this?" One of the voices from the ether bellowed out from his headphones, and for whatever reason his skin flushed with goosebumps. "Yo, new guy, did you mean to come here? It's a private server."

"Ahh, shit. I'm sorry, my friend made me buy this game and I don't know what I'm doing. I'll find another, my bad!" Greg scampered to try and just choose a character so he could exit out of the menu, but a second voice gave him immediate pause. It was unlike the other players he'd met so far, in that he wasn't a complete dick right off the bat.

"Nahh, it's cool! We could use a runner this round if you're down? We can take it easy, right boys?" His voice was smooth, chill, if not a bit high pitched in a tenor timbre. The guy could have a career in anime protagonist voice acting if he'd put his mind to it, Greg was quickly put at ease with just a single word.

"You think he can keep up?" the third voice, husky and deep questioned.

"We've played with worse, bro. Remember Clive before Mick got to him? We lost four rounds before Mick got it to stick! He won't fuck up, will ya new guy?" Greg nervously chuckled, knowing full well he'd be terrible in the beginning either way.

"Uhhhh, give me a round or two to get the hang of it... I'm sure I can do it. Nothing better to do anyway."

"That's the spirit! See? He's gonna be great. I'll get him up to snuff." A fall of silence came over the server, Greg shifted in his seat. "Alright, newbie. Just choose runner and I got your back. I used to main runner, so I can show you the ropes." Taking a deep breath, Greg clicked on the avatar for Runner, and hit accept. He entered the lobby, seeing the three players had already chosen their avatars. 1: lostdestiny (scout), 2: EdgeRunner (bruiser), 3: ironclad (bomber), and now 4: Greg (runner).

ironclad: I take it you're Greg, then?

Greg: What gave it away?

The three others chuckled, and the loadbar began to fill. Greg could feel the anxiety and anticipation grow within him. He was about to faceplant AGAIN, and in front of these strangers. At least it wouldn't be long until he'd be kicked anyway.

EdgeRunner: Aight, listen up man. I can't be a babysitter, but I'll be following you. Just do what I tell you to do and you'll be fine. You got this, man. Yeah?

Greg: Uh, yeah man. I'll do my best.

lostdestiny: Don't worry guys, he's gonna do his best.

EdgeRunner: Pipe down, will ya, Des? Fuck. Alright, here we go. Lay low and let them come out on their own.

The four of them were dumped onto the map, this one seemed to be some dirty Cyberpunk city in the rain. Sooner rather than later, it'd be a warzone. Greg sat gobsmacked, frozen in place as the others ran for cover.

ironclad: Yo, get to cover, they'll be here any fuckin' second!

Greg: Whuh.... What do I do, where do I go?

EdgeRunner: Turn to your left, there's a hidden door in the bodega. Hold shift and run. Go!

Greg did as he was told, holding down the shift bar and going toward the store on the corner of the street. He was unprepared for just how quickly he would get there, running straight into the wall to the left of the door. Runner indeed. Rounding the doorway, he snuck down the aisles, and up to the door. He burst in, plowing through stacked boxes and into the racks of the storeroom.

EdgeRunner: Aight, you can let go of the shift, bud.

lostdestiny: Fuck, we're so screwed. We lose out on this one it's on you Edge, and I'm not coughin' up a single coin.

EdgeRunner: Des, hit your fuckin' vape and keep your eyes peeled. I'll worry about the new kid. Greg, hang tight. Wait for me to give you a signal, then you run to the hotel down the street. Got it?

Greg chuckled to himself, he'd stumbled into quite the little gang. These guys were far from noobs, they were good if not professionals. From behind the closed door, he sat idly, waiting with bated breath for Edge to give him the unmentioned word. Over his headphones, he could hear the trio plotting as if they were soldiers planning their attack.

EdgeRunner: Iron, be position. They're gonna come barreling down that alley like a fuckin' stampede, so nuke 'em until I can get there. Des, they in sight yet?

lostdestiny: Just like you said, boss man. Comin' in hot.

EdgeRunner: Perfect. Greg. There's a glowing purple crate in the corner. Open it and pick up whatever is in it, and do it quick.

Greg fumbled over the keys, searching the dark room until he saw the glowing purple box hidden beneath a pile of trash. Clicking on it, the box opened, shucking all the garbage atop it onto the floor. Inside sat a strange green vial.

Greg: Its... It's a glass syringe? Glowing green stuff inside.

EdgeRunner: That's what you're looking for. Bag it and get ready to run.

Greg slipped it into his bag. The syringe showed up as 'upgrade' in the inventory, but no other information was provided. Usually, at least, there was some sort of witty description for the items in-game. Might be modded, he thought to himself, not that he would know anyway. He positioned himself by the door, holding his breath.

ironclad: Fireworks.

EdgeRunner: Now, Greg. Go!

His left pinky firmly planted on the shift key, Greg burst out of the door, through the store and into the street. Outside, a barrage of AI cop grunts were surrounding the building across the way. Pillars of smoke and fire erupted from bombs being dropped from the roof, a massive lug of muscle being the culprit with Ironclad's red tag hovering above him. From within the crowd, an explosion of grunts flew through the air, and dead in the center of the action was EdgeRunner, a maxxed out avatar oozing athleticism and strength with a nearly full level bar floating above him. Fuck, who were these guys?

EdgeRunner: Don't fuckin' freeze on us, Greg. Run!

Taking the hint, Greg bolted down the street, weaving past smoke bombs and gunfire until he made it to the hotel's revolving door, shattering the glass as he crashed through. Inside, three grunts stood behind the front desk, quickly pulling out absurdly massive guns.

Greg: Edge, there's guys in here, they got big ass motherfucking guns too.

EdgeRunner: Fuck, okay. Hold control, shift, and Y. Then run to the elevator. Do it before they peg ya!

Greg: Fuck!

EdgeRunner: Iron, toss a few into the hotel. Help the kid out.

ironclad: On it.

Greg could hear the whistling in the air of the incoming bombs flying toward the lobby. He held down the keys and ran toward the elevators as instructed. Though, as he did, waves of colors surrounded his avatar, deflecting the bullets as they flew before the explosions behind him came bursting in. As the elevator doors closed in front of him, he saw the XP points flowing into his bar from the dead grunts. The elevator began to climb.

EdgeRunner: Woooooooooo baby! That's what I call a bait n switch! Kid, you're a natural.

lostdestiny: Beginner's luck.

EdgeRunner: It's gonna be a second before that elevator gets to the top level. Regroup at the hotel, they'll be swarming him. Des, you're on the 99th floor, right?

lostdestiny: Best view in the city.

EdgeRunner: Keep watch, we'll be there in a second. New guy will be on your floor in a couple of minutes. Greg, let's do a one-on-one, yeah?

On the screen, a side window popped up in the bottom corner. Incoming call: EdgeRunner 1 on 1. Fuck, was this guy trying to video chat?

Greg: Uhhhh, I didn't know you could cam...

EdgeRunner: What, you ain't jackin' off are ya? C'mon lemme see.

Greg waited for a moment, nervous beyond words. Watch it be some 60 year old gaming in his mom's basement, was this really the kind of guy he'd want to game with anyway? The curiosity had only crept up since he stumbled into the server, it's not as if they were meeting in real life or anything. It's a screen. He nodded to himself, as if to give himself permission, and clicked on the accept button. In the corner box, EdgeRunner himself popped into focus.

Not what he expected whatsoever. He wasn't much older than Greg, maybe late twenties, early thirties. That was a relief. His room was shrouded in a blue hue, pairing nicely with his ID tag color in game. He was covered in ink from the forehead down, with white hair and a nice pair of pecs cropped just out of view. Again, far from what he expected to see.

"What's up, Greggo?" He smirked, as if studying Greg from behind his lens.

"Yeah... In an elevator. On my computer." Edge laughed, taking his eye contact away to refocus on his game.

"Playin' pretty fuckin' well so far. You sure you never played before now?" Greg found himself blushing a tad bit at this hunk of a man, alarmingly similar to the stud avatar he portrayed online. "Might have to keep you around if you keep up at this rate." The ping of the elevator reaching the 99th floor brought him right back into the world, as the doors opened to a tall, lanky guy with his back to him.

"Des, I presume?"

lostdestiny: Who the fuck else would it be? Mommie? Get to the loot at the end of the hall, fifth door on the right.

"Des isn't the sweetest fruit in the basket. Don't mind him. But get to the room as quick as you can, bud." Holding down the shift key yet again, though now as if it were second nature to him, he bolted down the hall, dodging the mines which littered the floor. "Yeah, don't be up in your feelings about it, but the upgrade is for you, kid. If I were you, I'd take it now while you can. Get you on our level quicker, if ya catch my drift." Greg didn't think twice. He opened the inventory, clicked on the vial, and hit use. His avatar quickly pulled out the syringe from off screen, jamming it into his wrist. The liquid quickly flowed into his avatar, but changes were slow. He arrived at the door, opening them to a boardroom overlooking the whole city, bathed in a purple hue.

Greg: What am I looking for exactly?

ironclad: You'll know it when you see it. Find it quick, they're coming up.

As Greg began to search through the shelves and drawers lining the walls, he was too preoccupied to notice the veins of black starting to flow from his fingertips up his limber arms. While he may have been too focused to see, Edge was watching eagerly in the bottom corner with a giant grin forming on his face. His little window closed, leaving Greg in his search.

lostdestiny: Incoming. Edge, would be a really fuckin' great time for you to pull some fuckshit about now!

Explosions rung out in the hallway, and an eruption of bullets soon followed. Greg felt the pressure bearing down on him, he felt heavier, as if the weight of the situation were sitting atop him like boulders. But hidden in the darkness of his room, the black veins crawled higher and higher, across his shoulders and back, creeping up the back of his neck, until he felt a pinch right at the base of his skull. Instant headrush.

The world got blurry in a mere second, his ears started to ring and his muscles began to pulse. Though, in that moment, he felt something else swelling within him: confidence. Control, Shift, C. The boardroom went blue, a glowing yellow aura radiated from behind one of the walls. Greg smiled, bolting to the wall. Alt, D, F7. The shelves shuddered, then slowly retracted into a dark void. The payload sat at the end of a long, dark hallway on a spotlit pedestal. Some crazy mechanical contraption, it seemed. Though he didn't know what it was, he knew inherently that this is what he was looking for. Just as Iron said.

Greg: Bingo.

EdgeRunner: Careful, newbie. Watch the walls.

A single step forward, and red lasers began to shoot left and right. An hour earlier, he'd be pissing himself on an 'exterminated' screen, raging to no one but himself. Though now, as he felt the energy coursing through his body, the corner of his lip shifted upward, his brows furrowed, and he leaned forward. Showtime.

Alt, Shift, F2, Q, L... the keys flew by beneath his fingers as he dodged, rolled, and lept past every sensor. The keyboard could barely keep up as his hands danced across it. It was an invigoration he'd never experienced before, an expertise he'd never felt, a self he'd never known. Every new trap before him was a piece of cake, avoiding them before they'd even triggered. In the span of fifteen seconds, he'd arrived at the pedestal. The Carpe Diem. A major upgrade, far above his current standing, but it would fetch a pretty price for the right punk. The massive implant somehow fit in his inventory, he was thankful he wasn't on a real job, lugging this around would have been a task in and of itself.

Greg: Payload in hand. Ready to get the fuck out of here.

EdgeRunner: Gonna be a messy exit, kid. You up for it?

Greg: Don't have to flirt that nasty with me, Edge. Treat me tender.

He spun around, leaping down the entire hallway in one go. Thank you Shift, T, S. The crew stood at the door to the boardroom, perhaps a hundred grunts firing everything they had not far behind. Greg looked at every corner, and realized quickly what Edge meant. He turned around, looking at the massive glass wall overlooking Sunset City. His massive feet tapped against the wooden floor beneath his desk, itching for the run he was about to embark upon, his body begging for the rush... his muscles aching for the wind on his skin. He smirked. No second thoughts, he burst through the window.

ironclad: Fuck kid! That's one way out I guess!

EdgeRunner: Bail, boys! Let's fly.

Freefalling, Greg felt the cool breeze of his plummet on the lids of his closed eyes. Soon, but not yet. He had a job to finish. Control, Shift, C. His fall became a sprint, every footfall landing softly on the glass below, looking 99 floors straight down to the pavement.

GreWind: WOOOOOOOOOHOOOOOOO!

Exhiliration. Excitement. Freedom. He was free. Coasting on the diagonal glass, he surfed down the building until he came painlessly onto the sidewalk below, followed not too far behind by Des landing in a bush, Iron on his face, and Edge on his own two feet. The quartet sped toward the four bikes parked along the street, making their swift getaway. As Wind wiped the sweat from his brow, leaning back in his chair, letting the ripe waft of pits beam from his arms. Incoming 1 on 1 from EdgeRunner. He of course had to reem in the accolades, smiling as he hit accept. Edge popped up in the corner of the screen, beaming from ear to ear.

"Now that's what the fuck I'm talkin' about! That upgrade did ya good, new kid." Wind smirked, puckering his lips and blowing a kiss to his studly boss man.

"You can show me your appreciation later, babe. Worked up a storm for ya." Wind flexed his arms, licking the sweat from his bicep and running his hand through his bright green hair.

"Heh, yeah, you're gonna fit in just fine. This'll fetch a nice penny from the middleman. Now, whaddya say, Greg? Ready for the real work?" Edge winked and his window closed.

EdgeRunner: Rendezvous at Checkpoint's. Your cuts will be waiting for you.

Stormwind: Aye, aye Captain.

lostdestiny: Shit, you two get a room already.

EdgeRunner: Nah, you're gonna sit and watch me fuck him raw and nasty, Des.

Stormwind: Won't be the last if you're nice, Des.

ironclad: I swear, if newbie is gonna be cumdump, I'm gonna be on whatever job he's on.

Stormwind: Plenty to go around, boys. Better be ready to clean this dick and worship these feet. They run real fast for y'all and they could use a tongue bath, won't even need any poppers. Freebase, baby.

EdgeRunner: See you at Checkpoint's, Wind. Welcome to the team.

#male transformation #body transformation #original #transformation #gay transformation #gamer transformation #punk transformation #punkification #criminal tf #male tf #gay tf #virtual transformation #cyber tf #badass transformation #musk

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cripplecharacters · 2 months

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The Mask Trope, and Disfiguremisia in Media

[large text: The Mask Trope, and Disfiguremisia in Media]

If you followed this blog for more than like a week, you're probably familiar with “the mask trope” or at least with me complaining about it over and over in perpetuity. But why is it bad and why can't this dude shut up about it?

Let's start with who this trope applies to: characters with facial differences. There is some overlap with blind characters as well; think of the blindfold that is forced on a blind character for no reason. Here is a great explanation of it in this context by blindbeta. It's an excellent post in general, even if your character isn't blind or low vision you should read at least the last few paragraphs.

Here's a good ol’ tired link to what a facial difference is, but to put it simply:

If you have a character, who is a burn survivor or has scars, who wears a mask, this is exactly this trope.

The concept applies to other facial differences as well, but scars and burns are 99% of the representation and “representation” we get, so I'll be using these somewhat interchangeably here.

The mask can be exactly what you think, but it refers to any facial covering that doesn't have a medical purpose. So for example, a CPAP mask doesn't count for this trope, but a Magic Porcelain Mask absolutely does. Bandages do as well. If it covers the part of the face that is “different”, it can be a mask in the context used here.

Eye patches are on thin ice because while they do serve a medical purpose in real life, in 99.9% of media they are used for the same purpose as a mask. It's purely aesthetic.

With that out of the way, let's get into why this trope sucks and find its roots. Because every trope is just a symptom of something, really.

Roughly in order of the least to most important reasons...

Why It Sucks

[large text: Why It Sucks]

It's overdone. As in — boring. You made your character visibly different, and now they're no longer that. What is the point? Just don't give them the damn scar if you're going to hide it.

Zero connection with reality. No one does this. I don't even know how to elaborate on this. This doesn't represent anyone because no one does this.

Disability erasure. For the majority of characters with facial differences, their scars or burns somehow don't disable them physically, so the only thing left is the visible part… aaand the mask takes care of it too. Again, what's the point? If you want to make your disabled character abled, then just have them be abled. What is the point of "curing" them other than to make it completely pointless?

Making your readers with facial differences feel straight up bad. I'm gonna be honest! This hurts to see when it's all you get, over and over. Imagine there's this thing that everyone bullied you about, everyone still stares at, that is with you 24/7. Imagine you wanted to see something where people like you aren't treated like a freakshow. Somewhat unrealistic, but imagine that. That kind of world would only exist in fiction, right? So let's look into fiction- oh, none of the positive (or at least not "child-murderer evil") characters look like me. I mean they do, but they don't. They're forced to hide the one thing that connects us. I don't want to hide myself. I don't want to be told over and over that this is what people like me should do. That this is what other people expect so much that it's basically the default way a person with a facial difference can exist. I don't want this.

Perpetuating disfiguremisia.

"Quick" Disfiguremisia Talk

[large text: "Quick" Disfiguremisia Talk]

It's quick when compared to my average facial difference discussion post, bear with me please.

Disfiguremisia; portmanteau of disfigure from “disfigurement” and -misia, Greek for hatred.

Also known as discrimination of those mythical horrifically deformed people.

It shows up in fiction all the time; in-universe and in-narrative. Mask trope is one of the most common* representations of it, and it's also a trope that is gaining traction more and more, both in visual art and writing. This is a trope I particularly hate, because it's a blatant symptom of disfiguremisia. It's not hidden and it doesn't try to be. It's a painful remainder that I do not want nor need.

*most common is easily “evil disfigured villain”, just look at any horror media. But that's for another post, if ever.

When you put your character in a mask, it sends a clear message: in your story, facial differences aren't welcome. The world is hostile. Other characters are hostile. The author is, quite possibly, hostile. Maybe consciously, but almost always not, they just don't think that disfiguremisia means anything because it's the default setting. No one wants to see you because your face makes you gross and unsightly. If you have a burn; good luck, but we think you're too ugly to have a face. Have a scar? Too bad, now you don't. Get hidden.

Everything here is a decision that was made by the author. You are the one who makes the world. You are the person who decides if being disabled is acceptable or not there. The story doesn't have a mind of its own, you chose to make it disfiguremisic.

It doesn't have to be.

Questions to Ask Yourself

[large text: Questions to Ask Yourself]

Since I started talking about facial differences on this blog, I have noticed a very specific trend in how facial differences are treated when compared to other disabilities. A lot of writers and artists are interested in worldbuilding where accessibility is considered, where disabled people are accepted, where neurodivergence is seen as an important part of the human experience, not something “other”. This is amazing, genuinely.

Yet, absolutely no one seems to be interested in a world that is anything but cruel to facial differences. There's no escapist fantasies for us.

You see this over and over, at some point it feels like the same story with different names attached.

The only way a character with a facial difference can exist is to hide it. Otherwise, they are shamed by society. Seen as something gross. I noticed that it really doesn't matter who the character is, facial difference is this great equalizer. Both ancient deities and talking forest cats get treated as the same brand of disgusting thing as long as they're scarred, as long as they had something explode in their face, as long as they've been cursed. They can be accomplished, they can be a badass, they can be the leader of the world, they can kill a dragon, but they cannot, under any circumstances, be allowed to peacefully exist with a facial difference. They have to hide it in the literal sense, or be made to feel that they should. Constantly ashamed, embarrassed that they dare to have a face.

Question one to ask yourself: why is disfiguremisia a part of your story?

I'm part of a few minority groups. I'm an immigrant, I'm disabled, I'm queer. I get enough shit in real life for this so I like to take a break once in a while. I love stories where transphobia isn't a thing. Where xenophobia doesn't come up. But my whole life, I can't seem to find stories that don't spew out disfiguremisia in one way or the other at the first possible opportunity.

Why is disfiguremisia a default part of your worldbuilding? Why can't it be left out? Why in societies with scarred saviors and warriors is there such intense disgust for them? Why can't anyone even just question why this is the state of the world?

Why is disfiguremisia normal in your story?

Question two: do you know enough about disfiguremisia to write about it?

Ask yourself, really. Do you? Writers sometimes ask if or how to portray ableism when they themselves aren't disabled, but no one bothers to wonder if maybe they aren't knowledgeable enough to make half their story about their POV character experiencing disfiguremisia. How much do you know, and from where? Have you read Mikaela Moody or any other advocates’ work around disfiguremisia? Do you understand the way it intersects; with being a trans woman, with being Black? What is your education on this topic?

And for USAmericans... do you know what "Ugly Laws" are, and when they ended?

Question three: what does your story associate with facial difference — and why?

If I had to guess; “shame”, “embarrassment”, “violence”, "disgust", “intimidation”, “trauma”, “guilt”, “evil”, “curse”, “discomfort”, “fear”, or similar would show up.

Why doesn't it associate it with positive concepts? Why not “hope” or “love” or “pride” or “community”? Why not “soft” or “delicate”? Dare I say, “beauty” or “innocence”? Why not “blessing”? “Acceptance”?

Why not “normal”?

Question four: why did you make the character the way they are?

Have you considered that there are other things than “horrifically burned for some moral failing” or “most traumatic scenario put to paper”? Why is it always “a tough character with a history of violence” and never “a Disfigured princess”? Why not “a loving parent” or “a fashionable girl”, instead of “the most unkind person you ever met” and “total badass who doesn’t care about anything - other than how scary their facial difference is to these poor ableds”? Don’t endlessly associate us with brutality and suffering. We aren’t violent or manipulative or physically strong or brash or bloodthirsty by default. We can be soft, and frail and gentle and kind - and we can still be proud and unashamed.

Question five: why is your character just… fine with all this?

Can’t they make a community with other people with facial differences and do something about this? Demand the right to exist as disabled and not have to hide their literal face? Why are they cool with being dehumanized and treated with such hatred? Especially if they fall into the "not so soft and kind" category that I just talked about, it seems obvious to me that they would be incredibly and loudly pissed off about being discriminated against over and over... Why can't your character, who is a subject of disfiguremisia, realize that maybe it's disfiguremisia that's the problem, and try to fix it?

Question six: why is your character wearing a mask?

Usually, there's no reason. Most of the time the author hasn't considered that there even should be one, the character just wears a mask because that's what people with facial differences do in their mind. Most writers aren't interested in this kind of research or even considering it as a thing they should do. The community is unimportant to them, it's not like we are real people who read books. They think they understand, because to them it's not complex, it's not nuanced. It's ugly = bad. Why would you need a reason?

For cases where the reason is stated, I promise, I have heard of every single one. To quote, "to spare others from looking at them". I have read, "content warning: he has burn scars under the mask, he absolutely hates taking it off!", emphasis not mine. Because "he hates the way his skin looks", because "they care for their appearance a lot" (facial differences make you ugly, remember?). My favorite: "only has scars and the mask when he's a villain, not as a hero", just to subtly drive the point home. This isn't the extreme end of the spectrum. Now, imagine being a reader with a facial difference. This is your representation, sitting next to Freddy Krueger and Voldemort.

How do you feel?

F.A.Q. [frequently asked questions]

[large text: F.A.Q. [frequently asked questions]]

As in, answers and “answers” to common arguments or concerns.

“Actually they want to hide their facial difference” - your character doesn’t have free will. You want them to hide it. Again; why.

“They are hiding it to be more inconspicuous!” - I get that there are elves in their world, but there’s no universe where wearing a mask with eye cutouts on the street is less noticeable than having a scar. Facial differences aren’t open wounds sprinkling with blood, in case that's not clear.

“It’s for other people's comfort” - why are other characters disfiguremisic to this extent? Are they forcing all minorities to stay hidden and out of sight too? That’s a horrible society to exist in.

“They are wearing it for Actual Practical Reason” - cool! I hope that this means you have other characters with facial differences that don’t wear it for any reason.

"It's the character's artistic expression" - I sure hope that there are abled characters with the same kind of expression then.

“They’re ashamed of their face” - and they never have any character development that would make that go away? That's just bad writing. Why are they ashamed in the first place? Why is shame the default stance to have about your own face in your story? I get that you think we should be ashamed and do these ridiculous things, but in real life we just live with it.

"Now that you say that it is kinda messed up but I'm too far into the story please help" - here you go.

“[some variation of My Character is evil so it's fine/a killer so it fits/just too disgusting to show their disability” - this is the one of the only cases where I’m fine with disability erasure, actually. Please don’t make them have a facial difference. This is the type of harm that real life activists spend years and decades undoing. Disfiguremisia from horror movies released in the 70s is still relevant. It still affects people today.

"But [in-universe explanation why disfiguremisia is cool and fine actually]" - this changes nothing.

Closing Remarks

[large text: Closing Remarks]

I hope that this post explains my thoughts on facial difference representation better. It's a complicated topic, I get it. I'm also aware that this post might come off as harsh (?) but disfiguremisia shouldn't be treated lightly, it shouldn't be a prop. It's real world discrimination with a big chunk of its origins coming out of popular media.

With the asks that have been sent regarding facial differences, I realized that I probably haven't explained what the actual problems are well enough. It's not about some technical definition, or about weird in-universe explanations. It's about categorizing us as some apparently fundamentally different entity that can't possibly be kind and happy, about disfiguremisia so ingrained into our culture that it's apparently impossible to make a world without it; discrimination so deep that it can't be excised, only worked around. But you can get rid of it. You can just not have it there in the first place. Disfiguremisia isn't a fundamental part of how the world works; getting rid of it won't cause it to collapse. Don't portray discrimination as an integral, unquestionable part of the world that has to stay no matter what; whether it's ableism, transphobia, or Islamophobia or anything else. A world without discrimination can exist. If you can't imagine a world without disfiguremisia in fiction... that's bad. Sad, mostly. To me, at least.

Remember, that your readers aren't going to look at Character with a Scar #14673 and think "now I'm going to research how real life people with facial differences live." They won't, there's no inclination for them to do so. If you don't give them a reason, they won't magically start thinking critically about facial differences and disfiguremisia. People like their biases and they like to think that they understand.

And, even if you're explaining it over and over ;-) (winky face) there will still be people who are going to be actively resistant to giving a shit. To try and get the ones who are capable of caring about us, you, as the author, need to first understand disfiguremisia, study Face Equality, think of me as a human being with human emotions who doesn't want to see people like me treated like garbage in every piece of media I look at. There's a place and time for that media, and if you don't actually understand disfiguremisia, you will only perpetuate it; not "subvert" it, not "comment" on it.

I hope this helps :-) (smile emoji. for good measure)

Mod Sasza

#mod sasza #disfiguremisia #face difference #mask trope #writing trope #writing resource #writing reference #writing resources #writing advice #writeblr #writing tips #long post #burn survivor representation

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planefood · 1 month

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something I don't see talked about a lot in objectum spaces but people have agreed with me when I've brought it up is how difficult it is to draw objects in a way that feels true to its beauty and essence. At least without doing a 1:1 replication of an image. But I don't like doing art that way. My objectum artwork is a constant battle between trying to make art that's creative and enjoyable to me while keeping the same energy of the object I'm portraying in the piece. I've gotten some (mean) criticism in the past for putting my anthropomorphic object drawings in the objectum tag but that's just the easiest way I can convey how an object makes me feel in artwork. It's hard to portray how much an object feels like its bursting with life and personality to me by just drawing the object as it is, as gorgeous as I might find the object in particular. Not because I don't find objects beautiful on their own I just really want to really show how the object makes me feel in the art I make. I consider myself a cartoonist first and foremost.

I will admit though, sometimes adding too much character to an object can make it lose its "objectness" and when it comes to a sexuality surronding objects that's, kinda important... For example a plane looks quite a lot different once you add a face to it:

(and I'd be lying if I said I didn't find the regular plane 100x more appealing than the disney one, despite there being relatively minimal changes)

At the same time though, I could happily draw regular planes, computers, cars and whatever all day with zero added features. I love them after all. But me and a lot of other people can really connect to an object seeing it portrayed more anthropomorphised. I've had a lot of people come to me saying that specific brand of my objectum art introduced them to object sexuality because it showed objects in a different light than say, a still life could to an uninformed observer.

Either way that being said, I put a lot of thought into making my object art appealing to objectum people as an objectum person myself, it's not going to be to everyone's taste because I'm not them. But I hope one day I can really find that perfect balance for myself of object and anthropomorhisation that doesn't take away from the regular object itself.

#objectum #object sexuality

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fangirl-erdariel · 2 years

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Ok I know this has been said before and more eloquently than I can rn (it's past midnight and I should be sleeping)

But the older I get, the more important it becomes to me that Eowyn is in a really dark place mentally when we first meet her in the book. That she rides to war out of suicidality, to get herself killed in battle. And that she heals, finds the will to live, finds the desire to heal things and make things beautiful rather than attempting to give her life meaning through dying a "glorious" violent death in battle.

I think when I was 12-ish and first read the book (or had it read to me as a bedtime story, rather, but same difference), I liked her because "oh look cool girl warrior character who doesn't do what she's told and defeats the monstrous evil bad guy no one else could kill!" And that is. that's fair, honestly. I was 12. I don't think I would want my 12-year-old self to have fully grasped the implications of Eowyn's actions, to have really understood that underlying despair and suicidality. I liked cool warrior girl heroes (I still do, honestly). And Eowyn does do amazing things, she is a hero, she does fulfill the prophecy and kill the Witch King, and it is cool, I'm not saying it isn't.

But like. Living in this world, reading the news, a lot of times I end up feeling just this utter despair and horror and helplessness at the bad things happening. And because of that, I really do end up feeling it when I look at Eowyn and see her despair, see how she's trying to die in battle because she doesn't want to go on living like that anymore and because she thinks her death in battle would make more difference and be more meaningful than her going on living.

And it's just so important to me that then at the end of the story, she's able to look at where she is and who she is and look at the world and go "no, actually, I want to live. I've had enough of death, I want to heal things, I want to make other people and other things also live". That she's able to want that, and believe that she is able to achieve that, that her life can have a purpose and meaning beyond a death worth telling a story about, and that that's something she wants to do, wants to work towards. It is just so important to me

Like, LOTR is in so many ways a story about hope and despair, it's present in damn near every character we meet in some way. And maybe it's just because I imprinted on Eowyn as a kid that her story in particular and her being able to overcome the despair and be hopeful about life again is so important to me but like. Fuck. The more horrible things I see happening everywhere in the world all around me, the more important Eowyn's story and her being able to find peace and healing becomes to me

#eowyn #lotr #lord of the rings #middle earth #meta #lotr eowyn #lotr meta

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kindnessoverperfection · 10 months

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I want to break down a common point of conflict when addressing NPD stigma.

A lot of hangups people have tend to be along the lines of "but I DO see a lot of people with actual NPD who are acting in toxic or abusive ways".

This will be kind of long, so bear with me.

Point #1: People are way more likely to be diagnosed if they exhibit "stereotypical" symptoms.

There's this image of NPD as a disorder that is only present in those with patterns of destructive behavior towards others. Many therapists have this conception. (Shockingly, the mental health field is not perfect & without stigma.)

Gonna copy-paste this here from my other blog (so forgive me if you've seen it before), because it's a good example.

Three people are criticized at work. Their boss yells at them for their performance in front of everyone. Person A gets mad and defensive. They yell back, using cutting remarks as a way to try and ease the distress they feel. Person B acts really mature and responsible the whole time, nodding along and agreeing and promising to do better, just desperate to maintain and improve their status. Desperate to be liked. Later they go home and handle their distress through self-destructive means, and spend the next few months overworking themself to the point of illness. Person C doesn't seem to respond much at all. They go quiet and seem distant. They don't lash out or lash in, but for the next month or so, their productivity drops. They simply aren't able to focus on work or self-care, no matter how hard they try. The stress is overwhelming. All three of these people have the same root issues, but only the first would be labeled a narcissist. Outwards behaviors and presentations don't reflect the pain, distress, and difficulties with life that are underlying them.

So, three main things happen.

There ends up being a higher rate of people with destructive behaviors who are diagnosed with NPD

The people who don't particularly exhibit behaviors and are considered ""too nice to have it"" are overlooked entirely (and never get any sort of help for their underlying issues, yayyy)

People are more likely to be more honest about "ugly" symptoms / symptoms that are frowned down upon than they are in other mental health communities.

(Also some people decide to act super edgy about it, which is annoying but here we are. Some of them are trolls.)

(And while I'm at it, some people are misdiagnosed with NPD because a psych sees someone who committed a violent crime and is like "uhh slap them with the Evil Asshole™ disorders!! no further thought given.")

Point #2: People who have messed up are not inhuman monsters who deserve no help or support

While I do think it's important for people to understand that patterns of toxic behaviors aren't the ONLY way NPD can present, I'm not going to let the conversation stop at "some of us are nice though!!"

Human beings aren't RPG characters who can be sorted into "monster" or "ally". Every single person has done something hurtful, has messed up, exhibits some sort of behavior that puts strain on their relationships sometimes.

So I'll bullet point some aspects of this that need to be talked about.

People without NPD also commonly exhibit toxic behaviors, but people ignore that nowadays. Either they armchair diagnose anyone who's slightly rude, or they only focus on it in pwNPD and ignore it in themselves or others. NTs can be jerks too, and they're probably less likely to acknowledge it than pwNPD who are constantly watching and checking themselves and analyzing their behaviors and attempting to do better.

Assuming that NPD makes someone abusive doesn't help anyone. Can it impact behaviors, and make it more difficult for people to be self-aware? Of course. But an important step in healing from any mental health condition (especially personality disorders, ime) is realizing that you're not inherently ""bad"", and that you can take responsibility for your actions and learn to deal with things in constructive ways. Just going "NPD makes people bad, full stop"- other than being a mean shitty thing to say- absolves people of guilt and asserts that there's no reason for them to try and improve.

Yes, it's okay for people to hate their abusers. Their abuser. Not an entire community of people who happen to (maybe) share a trait with them.

Building on the above point, people tend to go in defense mode when they hear things like "pwNPD who have acted in toxic ways can learn to improve their behavior", "people shouldn't be saying awful things about folks with this condition", etc. because they automatically try to apply this to their abuser. Interpersonal situations are very different from society-wide mental health access. No, don't stay with your abuser expecting them to change, and don't hold onto the hope that they will. No, don't censor yourself or your hatred or anger towards them. Just don't make blanket statements about a disorder that they may or may not have- blame their abusive actions, not their mental health.

"I hate you for your abusive actions and the harm that you caused me." =/= "I hate a group of people because of an inherent unchangeable part of them that's tied directly to severe childhood trauma they suffered. Because of it, they're evil and unlovable and are incapable of change. They're inhuman and will never experience real connection with others." ..........See the difference??

Even if there were a disorder with a 100% rate of toxic douchey behaviors, I'd want the conversation around it to be changed. I'd want different words to be used to divide up the spaces and conversations and resources, so that survivors of abusive or toxic behavior can get help, but that the disorder still has space to be treated. Otherwise, there are zero resources for healing. Nothing is being done to help these people or solve the issue. They're just told they may as well not try. They're blocked from healthcare entirely, despite how the entire point of being diagnosed with a condition is supposed to be to treat it.

There's a wide range of people who have NPD- it presents in many different ways, a person who has it may or may not exhibit harmful behaviors- but no one deserves to be denied treatment or told they're unlovable because of a condition they have that was formed from trauma.

Speak out against abusive behavior. Don't destroy healthcare for a medical condition.

#actuallynpd #npd stigma #narcissistic personality disorder

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prismatoxic · 2 months

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okay, shipping brainrot from my last post aside, i'm still thinking about the shapeshifter arc. the other sites i use don't have inline posting or do but it's clunky, so i guess i'm theorizing here. some of this may seem obvious; bear with me, i'm not trying to be patronizing, just working through things. this will probably be long.

(edit: i've since learned there's canon explanations for all of this. regrettably i don't like them. enjoy my ideas of what would be better maybe? but keep in mind i wrote this before i knew it had been explained anywhere else.)

laios reveals what he knows of shapeshifters, and that they function on memory:

no one ever really suggests in chapters 39 or 40 who thought of which fake except in the case of which ones laios must have thought of, but i want to posit who i think each one came from, and what it means narratively if i'm right. so, mostly a thought experiment/character study that i could be wrong about or that was never meant to be clearly defined in the first place. but maybe fun to think about? (i'm sure other people have done this before too, but i think it'll be fun to write up.)

from the outset, i think it's worth mentioning that chilchuck knows all three laios fakes are, in fact, fakes. two chilchucks say this, but the one on the right is the real one. senshi and marcille immediately corroborate this, though we can't tell which of them it is except that it's not any of the really obvious fakes.

what i think this suggests is that, brought to the surface, the warped perceptions of the rest of the party that chilchuck, senshi, and marcille have can be easily discerned when compared with the real thing. each of these laioses is from one of them, but they immediately figure out none of them are right with the real laios right there in the room. this is important.

as for who's who...

i think it's fair to assume that giant laios is from chilchuck. laios is the tallest member of their party, at six feet; while chilchuck sees marcille and senshi as their correct heights, laios is a giant to him, and his bulky armor doesn't help. that's why, even if this is his perception, it's glaringly obvious that it's wrong as soon as it's made physical. it's the only big one, and easily falls into the camp of "doesn't seem to know much about monsters" that the others also do.

stupid laios is, i think, from marcille. because the giant one is so likely chilchuck's and i don't think senshi sees laios as someone who stupidly wants to eat everything (even if senshi's opinion of him isn't stellar right now, "i have to eat it" wouldn't be paired with being an idiot to senshi), it tracks that marcille would be the one to remember him this way. to someone who doesn't appreciate their monster eating and otherwise thinks he's an idiot just as much as the others do, dumbly muttering about eating things seems like a reasonable portrayal of laios.

feminine laios, then, is from senshi. i think his physical perception of the other party members is the most off-base; this is likely because he's known them for the least amount of time, and his idea of what they look like is based more on their races than anything else. i think the resemblance to falin might not be intentional--someone suggested to me the other day that the dwarf perception of tall-men is probably more feminine in contrast to how Macho dwarfs are. i think that makes sense (if it ever comes up canonically, i haven't seen it yet). laios and falin do just... look like gender-swapped versions of each other, also. so if senshi sees laios as a feminine person, well... that just winds up looking like falin.

so this leaves us with only the real laios. confronted with their perceptions of him, his friends can immediately tell all three are incorrect.

moving on, we eliminate the three most obvious fakes from the rest of the party, starting with marcille:

if we take into account what i just said about senshi, i think this is his. racial stereotypes about elves being what they are, him not knowing the party as well as the other members do... she stands out, and that's why.

now this is where things start to get interesting.

the next two fakes to be eliminated aren't so blatantly incorrect that they can be struck right out at a glance, but it's not hard to notice the flaws when you look closer, and chilchucks A and B are the ones to point it out. chilchuck is naturally observant; most of his fakes seem to emulate this. (the one who addresses the fakes is A, the real one, but B is proving himself able to pick up on the things A notices. this is important.)

notably, chilchuck and senshi assume these must be laios's versions of them.

we can assume this is correct, if we want to. we can take the framing of this as being an intentional reflection of the truth.

or... or... we can look a little deeper. we can wonder if, perhaps, this isn't a reflection of laios, but a reflection of his friends and what they think of him. laios may not immediately notice the problems, but i don't think it's because he doesn't remember these details. i don't think laios sees much of anything in vague terms; he's observant in his own right, but in ways he doesn't really recognize, nor does anyone else. i think he was so focused on their faces and mannerisms that he didn't notice the bigger picture, glossing over something because so many other factors are at play.

senshi and chilchuck think laios doesn't take notice of things, but the vast majority of the shapeshifter arc is about them and marcille not trusting laios's judgement as it is, given how things went recently. is it possible there's more to their assumptions here than what the text explicitly says? i think so!

so then who do these two belong to? marcille, i think.

if we assume dumb laios is hers, then we can also assume her perceptions of the others are kind of broad and vague. she doesn't think poorly of them, necessarily (at least not in as obvious a way as she does with laios, who, i'll remind you, she's currently upset with), but she doesn't commit unimportant details to memory, like chilchuck's neck band or the damage to senshi's helmet.

we've got three more "obvious" fakes to get through, and laios offers another lore tidbit on how the shapeshifters work:

anyway, the first of the next round is marcille again, setting the stage for how these three next fakes are eliminated.

marcille changes her hairstyle all the time, so this isn't a surprise. the last one pictured here winds up being our next fake, as indicated by her grimoire:

so the fake marcille in this section is the one with the most visibly different hair texture (who even draws attention to this), and the spellbook that's woefully incompetent. i think she's from chilchuck.

he's observant, as i said before; even if he didn't commit her hair to memory, he did remember the stuff she's said about how important hair is to magic. maybe that's why the texture is so striking. more importantly, chilchuck isn't wary of magic quite the way senshi is, but he also doesn't understand it. the general tone of the low-quality grimoire also just... sounds like the way he'd frame something like that. (plus, the "how to turn back time" bit is a thing he specifically called her on when she suggested it a few chapters ago.)

so the next fake chilchuck and senshi are revealed via their tools:

i think the chubby-cheeked chilchuck with the simple lockpicks is from senshi, and i think the ordinary-looking senshi with the simple cookware is from chilchuck. the former speaks for itself--senshi sees chilchuck as a child, and knows absolutely nothing about picking locks. as for the fake senshi, chilchuck has a decent mental image of him but knows nothing about cookware.

so now we're down to the final three fakes, and there's only one person left who they could be from: laios. nobody thinks this, not even laios himself, but i want to explore the concept because i think it has extreme merit. the three remaining fakes have some key similarities between them, namely in that they're all close enough interpretations that making a distinction is difficult. they look a tiny bit different, but both the real people and their fakes make plausible cases for why they're the actual person. i want to talk about why i think laios is the one who made that so, and what that means about him.

chapter 39 ends with all his companions--real and fake--doubting his skills. seeing a pattern?

chapter 40 opens with laios determined to regain his friends' trust in him...

...while his friends (and their fakes) talk about how he's liable to like the fakes more, because they're monsters.

this is a needlessly cruel interpretation of laios, but after how things went post-falin-rescue, it's not a surprise. they see him as reckless and single-minded, more interested in the things he's weird about than in the people around him.

laios is really bad at talking about what he's thinking--not because he's hiding it, but because it doesn't occur to him that it's important. meeting the lunatic magician in the paintings is a prime example of this, but he does it a lot. they likely have no idea why he told toshiro about falin and the black magic; to them, laios was being flippant with sensitive information, not worrying about their safety. to laios? he was trying to get help. he trusted toshiro, and his perception of their friendship made him think the information would help them gain an ally who cared about falin as much as they do. he wasn't trying to put falin or marcille in danger--far from it, in fact. but he didn't tell his friends about his thought process. he didn't think it was important to share.

(he's autistic but we all know this. moving on)

so, we have laios's plan: the pairs cook together, while he watches for behavioral differences to discern who's who. it doesn't occur to him, or anyone else, that the people he's watching for mistakes are his own perceptions of his friends. and now we get into the meat of why i wanted to write this post.

assuming i'm correct... let's talk about laios's view of his friends, and how he challenges those perceptions.

starting with my favorite, chilchuck:

chilchuck A, of course, is in fact the real one. this is a pretty significant character moment for him too, in my opinion; we know he has difficulty expressing his emotions, and that a lot of his conflicts so far have stemmed from that. the fact that "chilchuck B asked for help with a menial task" is a gotcha moment to him is... telling. not only because it's so obvious to him, but because it's not obvious to any of his companions. he thinks they know this about him, but he's never openly expressed anything to make them think this is an issue he'd have, in addition to having sought help in the past.

his "convictions and pride and all that" seems to them like someone trying to convince them of something, not someone reminding them of facts he assumes they know.

anyway, back to laios. if we accept that chilchuck B is made from his memories, this suggests several things. first of all, chilchuck B is, despite his softer eyes and willingness to ask for help, still a fairly accurate portrayal of chilchuck. he's easily annoyed and he's observant, two traits chilchuck is known for. i think the reason chilchuck B has the kinder eyes and the more gentle disposition is because to laios, those things are indicative of someone being a good person, and he very much thinks chilchuck is a good person.

we know laios isn't especially good at reading people in general. thus, his idea of who his friends are is skewed in broad strokes, but not in the ways they think. he knows who chilchuck is, but he also associates chilchuck with his own ideas of what makes someone "good", which results in a chilchuck who's less rough around the edges. confronted with this--the real chilchuck asking him if he can tell--laios compares the two and thinks, reasonably speaking, the nicer one who trusts him has to be the friend he respects so much.

senshi and marcille also want to accept this chilchuck, likely for similar reasons. they also respect and care for him; they've seen him go through a lot. laios's ideal of him is just that, ideal. in a roundabout way, it's only their deep fondness for who chilchuck really is that makes them want to see him this way.

next up, we have marcille.

the fake, marcille A, is a radical departure from what makes chilchuck B a fake. laios notes that the real marcille is exactly the same as she always is. the reason, then, that marcille A confuses him--and the others--is that after everything they've been through, their perception of her has changed radically.

if we look back to senshi and chilchuck's marcilles, it's readily apparent when they're eliminated that both interpretations hinge on the knowledge that she performs black magic. senshi's tries to use it to prove herself; chilchuck's has a grimoire loudly proclaiming it's what she does. contrast this to marcille A: she doesn't mention black magic at all, and her grimoire looks strikingly similar to the real one.

that's because laios doesn't think her performing black magic changes anything about who she is. her doing so proved her to be just as dedicated to falin as he himself is, and the knowledge that her goals involve it doesn't faze him. (additionally, marcille has been teaching him magic, and falin had tried in the past. though his image of a grimoire is flawed to someone experienced, to anyone else it looks fine.) thus, marcille A isn't a flagrant black magic wielder; she's someone who's been fundamentally changed by what they--and falin--went through.

let's go back to chapter 27:

chilchuck and senshi are appalled, and will continue to be. while they ultimately don't prevent marcille from doing this, and care enough about both her and laios (and in chilchuck's case, falin as well) to be in tentative support, this changes their view of her in a negative way. she's dangerous now, in a way she wasn't before, but she's still marcille--goofy and a little reckless. thus, their views of her, and the illusions that result.

laios's opinion of her changes for the better.

she is, all at once, both competent and loyally dedicated. she will stop at nothing to help falin. whatever goofiness she exhibited before now is gone, replaced by the cold demeanor of someone who is doing something extremely dangerous for reasons that are inherently selfish, but ultimately too important to reject.

thus, we return to marcille A: cold, sharp, dedicated. not reckless or goofy, but methodical and haunted. she may have returned to "normal" since they left the castle town, but laios's opinion of her, and understanding of her love for falin, has been forever changed.

so faced with the real marcille--still silly, still whining, still frequently annoyed with him--he's confused, because that's deeply familiar, but it doesn't line up with what he knows about her now.

the truth, of course, is nuanced--these things are true about marcille, but only under duress; it's similar to how laios becomes a competent leader when the going gets tough. she has this within her, but it's not her default state of being. still, the shapeshifter picks up on the strongest memories laios has of her, this new interpretation of someone he thought he knew.

now then--onto senshi, the punchline of this particular joke about the differences between the copies. i still think it says a lot.

i think this one speaks for itself, though i find chilchuck's agreement interesting. senshi is the newest member of the team; little is known about him. laios happily notes that senshi "always looks cool" while chilchuck says he looks normal (and chilchuck B insults the real one). laios sees senshi this way because he thinks senshi is cool as hell, and this manifests in an idealized version of a face he's not as familiar with as he is with chilchuck and marcille.

this is clearly comedy, but it also speaks to the same desire to see the best in the rest of the party. marcille is the only one who notices likely because her opinion of senshi isn't so romanticized. chilchuck's senshi, of note, wasn't a perfect replica: we don't see much of him after the obvious fakes are hauled off, but he's a little squashed (he's the top one):

which indicates that chilchuck's visual memory of senshi is already flawed. if we compare this to giant laios and the marcille with the unique hair texture, it tells us chilchuck's attention to detail is more specific than the others'; he can remember the hole in the helmet, the importance of hair, but he doesn't quite see the bigger picture. giant laios is also surprisingly... rugged? which i imagine has to do with chilchuck's perception of him as a tall-man. (or maybe how he clearly has trouble seeing laios's face half the time, lmao...)

anyway. laios thinks senshi is super cool and chilchuck has an imperfect idea of what senshi look like as it is. (i wonder if chilchuck is some degree of faceblind? not enough to not recognize someone at all, but can't pinpoint specifics.)

and so, we arrive at the moment of truth.

so let's go over what i'm theorizing here... all the remaining fakes are illusions based on how laios sees his friends. the illusions manage to make mistakes that reveal the truth to him, but i think the reason for that harkens back to what laios said earlier... the illusions are being updated over time.

laios isn't considering any of the things that give the fakes away until this moment. if it had taken a little longer to resolve things, maybe they'd have started course-correcting, but they aren't given the chance. laios makes sure they aren't--he acts very quickly. even as he presents the three pairs with his findings, he's aware that everything will fall apart as soon as he does... and he's banking on that. while the shapeshifter illusions defend themselves from being killed, he gets right to the heart of the matter in the only way he knows how: confronting the actual monster involved.

when all's said and done, laios reveals how he figured it out:

potentially of note, all of these details happened before the red dragon fight. chilchuck fighting a mimic and revealing his history with them, senshi gushing about the dungeon's ecosystem, and marcille being attacked by the undine weren't super recent memories. when laios brought them forth in his mind, he had a delay before the shapeshifter updated its illusions.

well... except with marcille. marcille A actually didn't show her hand so easily; it was the real marcille's carelessness that proved her identity.

but what this suggests is that, when confronted with the realities of marcille versus his idealized version of her, laios had to make a choice: did it make more sense for her to have been radically changed by the revival and subsequent loss of falin, or was the presence of a marcille he knew so well proof of an illusion? she was the one who was the most different, and as such, the contrast was the same one that eliminated all three laioses at the start: with the real thing in the room, the fake became apparent.

so, to reach a conclusion: one again, laios has proven he's not as scatterbrained as his companions think, but this time he did so on a more personal level than usual. to them, he reveals that he knows their quirks enough to define them by such when they're otherwise faced with convincing copies. to us, the readers, if we accept what i've suggested here... he's revealed a lot more. he respects, admires, and idolizes his friends, all out of fondness: he wants to see them in an ideal way, whatever that means for each of them as individuals.

anyway thanks for coming to my TED talk

#dungeon meshi #extensive spoilers for chapters 39 and 40 but also a little bit 27 too #I REALLY LIKE WRITING META SORRY. THIS IS LONG #tox.txt

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