#but she acts in such a way that its like. morally grey.
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"To be praised by carnality and hunger incarnate...
... is to doom yourself to following it's teachings."
#rain world#rainworld#slugcat#rainworld oc#slugcats#slugcat oc#slugcat oc tag#Cannibal Tag#Pinecone Tag#i could write essays abt how fucked up and yet not comically evil Cannibal is#she literally EATS BABIES and i have somehow pulled off making her morally dark-grey.#because. she's a fact of the world she lives in taken to an EXTREME#you need to kill to survive here. if you do not fight you are prey#and prey is hunted.#is she barbaric and also a chronic surplus killer? absolutely.#but she acts in such a way that its like. morally grey.#if you can properly defend yourself without the use of bombs and the like she will respect you as an equal.#if you have the guts to challenge her for her territory she will give you a fair fight.#if you have what it takes to *survive* she will ignore her instincts and give you her respect.#cannibal's not a mindless murderer. she's bloodthirsty absolutely BUT. she is also incredibly smart and crafty#also. peep the new canni design lmao#i made her look more Distinct compared to my other scugs! because shes so fucked up#ngl i wanna go around and give a bunch of my scugs redesigns that make them mors distinct lol
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Why is Jude Duarte the perfect morally grey character…
- Her parents were brutally slaughtered at a young age, and while hating Madoc, she also had a soft spot for her “father.” Since she was small, this man raised her and taught her everything she knew. Of course she had memories from her own parents, and could never forgive Madoc for what he did, but she also saw the fatherly side of him and appreciated it. Jude Duarte was created in a morally grey environment.
- Jude Duarte will do anything for her power/pride, even if it means risking everything and everyone she has. She could have easily brushed off petty insults and kept temper during her brutal bullying/harassment she was going through, like Taryn and the rest of her family insisted, but Jude never let it slide. Even if it was simple revenge that might earn her a dip into a creek, Jude always stood her ground. Later into the series, we see her completely and utterly invested with the little power she gains and how she uses it. There are considerable more risks with every power move she makes, especially everything concerned with the crown. Her family is usually an afterthought, and rarely an emotional case. Even with Oak, Jude is more concerned about the use of power and where she stands, then she is for his safe-being. Not to mention the time Jude almost killed Taryn in a squabble over Locke, which in its entirely mocked Jude and what control she had over someone close to Cardan. Jude loves her family, and will protect them, but not unless it suits her in some way.
- Everyone/anyone is her enemy… no matter how much she “trusts’ them. We see it with her relationship with Taryn, where Jude cares for her sister, but never really trusts her. Even with Cardan, while Jude was infatuated with him, she never once trusted him. All of her friends and family becomes pawns in her power game, and she will always back up herself first. This was taught to her by Madoc, who put battle/power first above his own important people and morals. Cardan was a known enemy to Jude, but he showed her a vulnerability/empathy that she showed no one else. Instead of being emotional and falling for him harder, Jude convinced herself it was an act and to use it to her advantage. Most people wouldn’t shackle a boy that was being beat by his own brother, trick him into having a crown he did NOT want to have, AND witnessed his whole family being slaughter in front of him… Jude didn’t care, she wanted the crown and her revenge.
Nonetheless, Jude has a side of her that is very protective and loves harder than the average person. Her strength and determination could be used for something more than her own gain, and she shows she is capable of that later into the series. We understand why Jude acts the way she does because we witness the pain of her character first hand. Who wouldn’t want revenge against the very people that hate her for her existence? Being human means your weak, can be controlled… a creature owned by the fae. Love was wired to be thought of as a weakness, something to make you lose the battle. In this series, we see her struggle with the choices of to love, or gain more power.
I think Holly Black made an AMAZING female lead that wasn’t written for love, but for feminine rage and power. Love didn’t stop her from gaining what she needed, what her goals were, and instead make her stronger. Jude fought most of her battles alone and failed, but got up regardless. Cardan wasn’t her knight in shining armor, it was quite the opposite. And let’s just say, the best series I’ve read so far.
#jude duarte#cardan greenbriar#the cruel prince#tcp#holly black#books and reading#morally grey characters#feminine rage#fantasy#tfota#the folk of the air#the stolen heir#the queen of nothing#the wicked king#character analysis#jude x cardan
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The Marvels is being scathed by critics, and that's a good thing.
I finally saw The Marvels today. I'm a bit late to the party, so all I saw about the movie was the teaser at the end of Ms Marvel, and way too many critical reviews of it.
Now, obviously on Tumblr you find the good reviews, like, the cats outnumbering the white men and how Kamala Khan is, like, basically all of us. But in person, I've had someone tell me that it's bad because Rotten Tomatoes rates it 43%, which-- besides wondering why anyone would listen to Rotten Tomatoes, I'd have to wonder why the website would give it such a low rating. The easy answer is that the Tomatoes review committee is populated by white men, who, upon having no one to relate to, react badly to the movie. But I think there's more to it.
The Marvels is a revolution. Through its character-driven writing and brazen exploration of morality, it rewrites the superhero formula completely, by questioning what exactly it means to be a superhero.
The Marvels was directed by Nia DaCosta, an award-winning Harlem native and creative visionary whose approach to this film was to define these characters as humans, not as superheroes. Her approach to heroism directly addresses that the idea that a hero is not always right. A hero, DaCosta claims, is "someone who's trying their best with the information and tools they have at the time. They'll always get it wrong." Carol Danvers's arc directly addresses this, as the resolution of her subplot involves her re-igniting the sun that she snuffed out. Her heroic act is to undo the damage that she wrought.
When compared to old Marvel, this message just doesn't come through. In WandaVision, Wanda's grief is for a family that was killed by the Avengers. Yet, she is painted as a villain, even as she searches for a happy home, even as she at one point joins the Avengers. The Avengers cannot undo what they did, and don't really try. They defeat the big bad, sacrifice their lives, but nothing brings back Wanda's family. Nothing undoes that war. No one searches for Wanda after the event, to try to help her with her grief, except for Monica, and she's working against orders. Their heroics are militant, but while they excel at destruction, they leave the people they hurt in the dust.
This antiheroic plot of old Marvel is precisely what appealed to so many American audiences. Their protagonists are: a rich corporation, a super-soldier, a privileged teenager, a scientist who makes weapons, an ex-convict, a man born into godlike power, and I'm sure there are others but I don't actually care that much... (these would be iron man, captain america, peter parker spiderman, hulk, antman, thor, and etc). All these archetypes appeal to American ideals that the wealthy would sympathize with. They claim that there are people who are inherently bad and seek the power that they have, in the way that a poor person might want a job that a wealthy person wants their child to secure. They claim that it is their business to save those which cannot save themselves, and use this to get involved in wars that are not theirs, and beat up badguys whose backstory they have no way of knowing-- and they punch before they stop and listen.
They are cops in every sense of the word. The responsibility of the vigilante is to defend against evil, but part of that responsibility is to figure out who exactly is evil and who is in need of help.
The Marvels creates a team that tries to distinguish evil from good, and delves into the grey area between them. The final battle between Carol Danvers and Dar-benn has the superhero pinning the grey-haired antagonist to the ground as she begs for, then demands, that Carol fix what she damaged. Monica urges her to listen. Through this, The Marvels argues that a hero does not always beat up the bad guy and fight against unrelenting evil, but that a hero can be wrong, and that a hero can reconsider. It's kindness in the way that is revolutionary, where it's much easier to choose cruelty.
The fact that the movie is getting torn apart by critics, then, is not just because it is a "girls movie" or it doesn't have a strong white man for the white male viewer to sympathize with. The Marvels cannot appeal to Marvel fans because it rewrites the genre itself. It takes a film series whose purpose was to depict the struggles of cops, of the wealthy, of people with too much power who are trying to learn how to responsibly wield it, but don't. And it gives that power to people who have watched superheroes try and fail, who are slowly learning to be better heroes than the ones before them.
The next generation is a critique of the last, a group trying not to make the mistakes of the chosen ones that came before them, and as such, the movie exists to critique the movies that came before it. Therefore, a viewer of Marvel who would positively review it, due to sympathizing with the previous heroes and enjoying the power fantasy, would dislike it out of its existence being critical and contradictory to the films they like themselves.
The Marvels is not for Marvel fans-- at least, not those who saw the Avengers as purely heroes. Instead, the film reaches out to people who would have been against the old Avengers, who want a story that dismantles the unquestioned idealism of superheroes and writes about people trying to protect their communities and the people they care about.
So, let the critics complain. The MCU is shedding its roots as a pro-cop and pro-colonialism power fantasy, and evolving into an exploration of what it means to be a true hero.
#the marvels#ms marvel#captain marvel#photon#kamala khan#monica rambeau#carol danvers#.pyro#pyro.txt#the marvels analysis#can you tell that i loved this movie#it's been so long since i've done an analysis but this one SPOKE to me#anyways i'm coming from the perspective of a marvel hater until i watched ms marvel#honestly i just put the images in there to break it up. they are not very relevant. i didn't pirate so i don't have good screenshots
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Okay I have to say it.
Will, Ada and Montresor did something way worse than Annabel Lee.
Why? Because motive matters. Now don't get me wrong, a good motive cannot justify an inherently evil action, it however matters more and more when going deeper into more morally grey areas.
Annabel has made it very clear she understands these people, including Duke to be damned regardless of her actions and basically sees herself confronted with a trolley problem that goes: "You, your wife and like X other people are bound to rails. A trolly will run over all but one of you. However if you pull just the right levers, both you end your wife will survive. The first lever you must pull is on Duke." While this doesn't make her actions noble, it gives them a noble cause and one could argue in several ways that she's acting within a moral grey area if we take the situation to be as unshakable as it seems. To make to examples, one could argue in an utalitarian way (this saves more lives than the other option) or in a very human way (this saves a loved one at the cost of a soon to be dead man, who could blame her?). There are also concepts of morality that would condemn her, like for example the categoric imperative or Jewish or Christian (and I think Muslim) religion, in which it is inherently bad to kill a single person even to safe thousands of others.
Annabel considers killing Duke a necessary evil.
Montresor however is acting out of pure sadism and spite and he puts on quite a show to make this clear. He had done so even if he believed everyone would get a happy end and he is having the time of his life killing Duke. That is picture book chaotic evil behaviour right there and by no means redeemable.
Will and Ada? Arguably worse than Montresor, at least not a bit better. This is the kind of stuff that makes large scale modern genocides possible. Hannah Ahrendt (great woman, you should look her up) argues in her book "Eichmann in Jerusalem: A Report on the Banality of Evil" that evil at its worst is not some kind of demonic evil like it has been preached in medieval times, but lays within the sheer banality of an office worker casually doing the phone calls and paper work necessary to send thousands to their certain death, while the office worker goes back home, eats dinner with his family and thinks "I'm just doing my job. It's my supervisors moral responsibility, not mine."
Ada and Will tried to kill for no other reason than because they have been told to do so and the lack of willingness to accept responsibility really shows in their actions afterwards. So I am a bit confused when I see people arguing how terrible Annabel Lee is while defending the "poor boy Will".
So, controversial opinion: in this very specific case, even though Annabel Lee either started this or at the very least didn't stop it when she clearly could have, she hasn't committed anything as immoral as her henchmen committed, who did not even need a motive to kill.
Also I would every day prefer an Annabel Lee willing to kill Duke to safe her wife in the long run over an Annabel Lee that prefers to not be a controversial female character. Let's not forget these people don't actually exist.
#nevermore webtoon#annabel lee whitlock#montresor nevermore#will nevermore#ada nevermore#annabel lee#annabel lee nevermore#annabel nevermore#nevermore
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I've briefly mentioned this before but I'm falling head over heels in love with how Jojo is coding Mew as living in a entirely different GENRE to the rest of the characters in the series.
Ray, Boston, Top, Sand, and Nick? They're all inhabiting the same world/genre. It's a bit grimy, it's gritty, it's messy, the morals are (50 shades of) grey... it's a young adult TV series/movie at its most angsty and hormonal and the way they act and their story arcs reflect that.
But Mew?
Mew gets a voice over introduction:
Mew gets a "lead girl in a high school movie" wake up scene:
Mew gets a week long montage of the guy he likes trying to woo him, a grand gesture confession (which Sand even says outright it's like something out of a romance movie), TWO full dates (in the wakeboarding everyone is there but the camera focusses on the two "couples" Chueam/April and Top/Mew), and he EVEN gets an "I like reading, it takes me somewhere else" library scene:
All of these scenes are taken directly from the teen romances of the 90s, in fact they are literally some of the most key and recognisable scenes from any 90s teen romance worth their salt.
Mew doesn't just live in a different world to his friends, he's from a completely different genre.
@chicademartinica posted here about how Jojo is queering 90s erotic thrillers in Only Friends and I want to take that a bit further and say Jojo is actually going so far as to queer the 2 most popular representations of young adults in the 90s: the Cruel Intentionseque erotic thrillers AND uni/high school teen romance of She's All That fame.
Furthermore he's breaking down the barriers between the two. By having the two very different (also completely opposite) genres inhabit a single show, by blurring the boundaries between them, by having them leak into one another in a way their original creators never intended them too, Jojo is queering some of the most recognisable storytelling structures of some of the most popular forms of 90s media.
And now as an audience we get to sit back and watch what happens when the binary dissolves and it's probably going to be glorious chaos (followed by a deep sense of catharsis).
#thai bl#only friends the series#only friends#only friends meta#theres a lot more to this#and I dont know how much sense this makes as I kind of got sidetracked halfway through#but here's my 2 cents
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LARPing Villainy: Rhysand’s character is weighed down by Sarah J Maas’s need to make him sympathetic to the audience.
Maas distorts her own narrative in her attempts to make Rhysand more sympathetic to her readers. Although Maas will employ the aesthetics of villainy or grey morality, her framing is such that the established negative traits or actions of certain characters are contradicted within the text. Rhysand is not the only example of this in ACOTAR, but I believe that he exemplifies this problem the most.
I believe that Rhysand’s development is stunted by Maas’s favoritism and it makes him a less interesting character when she tries so hard to keep him noble and heroic. It’s as if his actions can’t just exist and instead, must be explained away by incessant justifications to keep him sympathetic but dull the story's edge in the process.
To illustrate my point, I'd like to point to chapter 42 of ACOMAF.
This chapter is centered around Feyre’s introduction to the Court of Nightmares and it is meant to be a moment of growth for Feyre as demonstrated by her fortitude and willingness to re-enact events that had previously traumatized her under the mountain. The passage describes Feyre as "barely covered" and emphasizes the color of her lips, describing them as “blood red”. A color that once triggered Feyre due to its association with Amarantha but no longer bothers her as demonstrated by her donning it.
Feyre's empowerment, as shown in this chapter, feels both superficial and hollow in nature. It is a moment of development that is marred by Maas's lack of build-up and her desire to accelerate Feyre's healing journey. Suddenly, after months of panic attacks, flashbacks, and anxiety, Feyre is calm, collected, and ready to partake in a plan where she will be placed in a situation where she will reenact her previous negative experiences. Something that should be triggering, but isn't.
This scene masquerades as a moment of growth and empowerment for Feyre but is in actuality a thinly veiled excuse for Maas to clumsily gesture towards the sexual tension between the main couple and form the basis for a contrived argument in the very next chapter. I came to this conclusion because the "plan" Rhysand creates is politically incoherent and ridiculous. The plan necessitates putting Feyre in a vulnerable position even though doing so makes very little sense and arguably puts Feyre in a worse place than before.
This incoherent plan is never meaningfully questioned or used as a foundation for change in Rhysand's tactics and strategies.
Let’s put this in perspective. According to the story, Rhysand is aware that the Court of Nightmares is full of unrepentant misogynists who habitually sanction the violence and abuse of the women in their court. So with this in mind, is it truly a wise plan for Rhysand to put the person he loves in a position where she will be the subject of judgment and contempt for an audience? He actively puts Feyre in a vulnerable position and approved a plan that involves Feyre putting on the costume of the High Lord’s “whore” and yet, is later appalled that Feyre was slandered as a result.
He then leans further into his darker persona, affirming Keir’s comments about Feyre being his “pet”.
The pair continues their show and Rhysand exchanges a few more words before Keir calls Feyre a whore and hisses that Feyre will “get what’s coming to her”. To this, Rhysand reacts explosively and puts Keir in his place by brutalizing his arm and forcing him to apologize for his words in a “how DARE you slander my mate?! grrrrr” moment. This moment informs my larger point because it is the cause of an argument between Feyre and Rhysand in the very next chapter.
There are certain parts of this exchange that bother me.
Feyre silently draws similarities between Tamlin and Rhysand’s behavior and criticizes Rhysand’s reaction to Keir’s slander. Obviously, we understand why he acted that way, but I hate how Rhysand responds to Feyre’s criticism in a way that feels like guilt-tripping. As if to say “So I’m such a bad person for protecting you from harm? Go on, hate me for protecting you I guess.” And this puzzles me because technically it was Rhysand’s plan that placed Feyre in a position where slander and contempt should have been expected.
Feyre is right. Rhysand should have prepared himself better for this plan but I feel like it’s a missed opportunity that Feyre never brings up how this plan could’ve been done away with altogether. They could have had an easier time in the Court of Nightmares if they had just not placed Feyre in such a vulnerable position and not made her image that of the “High Lord’s whore” which attracted Keir’s slander in the first place. This plan that necessitates Feyre wearing a dress that barely covers her as she’s shown off to a crowd is irritatingly contrived and makes even less sense when you factor in Rhysand’s concerns about Feyre’s safety.
But now onto my main point. I present to you, my least favourite passage from chapters 42 and 43.
I’d like to call attention to how Rhysand frames himself in this passage. He says “how stories get written” as though the narrative is under the sole jurisdiction of outside forces. He denies his agency in the “story” being written about his relationship to Feyre. He frames himself as noble, being unfairly characterized as a demon or a dark lord for stealing Feyre from Tamlin. But his complaints are ridiculous to me because…did the previous chapter not just happen?
Because… if we’re checking the till here, it was Rhysand who explained his public relations strategy as a “mask”. It was also Rhysand who deliberately cultivated his image to be one of an intimidated and dangerous ruler, it was Rhysand who constructed a persona of cruelty which was bolstered by his presumed collaboration with Amarantha. Rhysand was the one who approved a plan that involved toting Feyre around like a “pet” and making a statement that implies that he is a “ dark lord who stole away the bride of spring”.
He wrings his hands over how their story will be written as if he has no control over it. As if he isn’t deliberately shaping the narrative that the public sees and has no say in the matter. The narrative frames him as being “anguished” that people would view him as a villain…but then had him take active measures to reaffirm that he appears villainous to the public.
So What's My Point?
Why does Maas establish facts about her characters, only to obfuscate those qualities later on? Why do the readers need to know that Rhysand is in such anguish about his being perceived as a villain when he takes active measures to project that exact image to the public? What I reason, is that Maas wants to have it both ways (to have her cake and eat it too) She wants Rhysand to be cool and villainous, but doesn't actually want to make him villainous. Rhysand is LARPing villainy, enough that he possesses the aesthetics of a dark love interest (ex. dubious morals, manipulative, shrewd) but not so much that he actually pushes the boundary because Maas is always there to walk back his edgier qualities.
The same can be said for the events of these two chapters. She wants to have a moment of sexual tension where her leads are engaging in pseudo-BDSM exhibitionism and getting close with one another, but also wants to make a grand statement on healing from one’s past trauma which ends up being in conflict with the former.(it wouldn’t be impossible to accomplish both in theory, but Maas just isn’t skilled enough to pull it off)
All this to say, I think Rhysand had potential but is unfortunately held back by Maas’s need to absolve him. Personally, I think I’d like it more if Rhysand actions/decisions were criticized more within the text and that his “mask” was discarded as a legitimate aspect of his character. The “mask” makes him less interesting, I’d prefer it if Maas just let him contend with his flaws and grow because of it.
#acotar meta#rhysand meta#sjm critical#anti sjm#feyre acotar#feyre archeron#rhysand critical#rhysand#tamlin#acowar
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Genuinely, are people being serious when calling CHILCHUCK TIMS "shota-bait"??? I'm asking because this better be one big collective joke.
Let me nerd out here for a little bit; the reason that freaks are attracted to lolis and shotas - people who look like children but are actually 1000 years old/adults - is because they look and behave like children, but are canonically old enough for it to be "morally/legally acceptable" for them (I cringed the whole way through writing that sentence). Take Kanna from Maid Dragon. She goes to elementary school, looks, talks, thinks and acts like a child; that's why grown men are attracted to her. Chilchuck Tims is an alcoholic middle-aged man with grey hair (kui stopped drawing them after chapter 2 but he does have grey hair), a wife, three children and a job. People are attracted to him not because he looks like a child, but for all the things that make him a cool and interesting character. I could go on a whole other rant about the dangers of the infantilization of short adults and its root in ableism, but that's a story for another day and from another person.
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honestly as someone who has been in various fandoms for a long time now and who also watched campaigns 1 and 2 without really getting into cr fandom it isn’t Shocking but it is annoying how often people will look at the stories that cr tells and make absolute claims about the goodness of characters (goodness here meaning Moral goodness, not I Like This character and think it’s well made goodness, which is a separate post entirely). particularly regarding the gods and pc parents. and honestly like, typically in fandom i get annoyed by people bending over backwards to woobify characters who are active in their choice to be unkind and generally horrible but in the cr fandom it’s tended to be the opposite where like. a character is just. a human being (in the sense of being Average not in the sense of Fantasy Races) and huge swaths of the fandom act like that’s the most unforgivable thing someone can be. and maybe it is, but one of the most powerful things about fiction is that it tends to encourage people to expand their empathy and exercise their ability to forgive. because fictional characters, no matter how much people like to project onto them, tend not to cause anyone harm, so it’s easier to learn how to forgive and accept things you don’t understand without also villainizing them.
this is mostly prompted by the recent 4sd and the fact that matt’s response to what’s up with the dawnfather was a very insistent “He’s not bad!” and also seeing the online reaction to the mention that the matron would punish vax for saving keyleth that has taken the as usual completely bonkers tune that the raven queen (Who When Met With A Brother Asking A God To Kill Him In Favour Of His Sister, Gave Him A Job, and Later Extended His Natural Life To Help Protect The World And Have More Time With His Family And Allowed Him To Visit His Sister On Her Wedding Day) is a horrible evil abusive bitch of a god. like. can we grow up? can we understand the world and fiction that represents the multitudes of experiences found in it in shades of grey? is that too much to ask (i know it is).
but also specifically the like Extremely Adamant way that both matt and laura were like no no no no relvin isn’t Horirble he’s average. he’s not good he’s just. he’s A father, not a good or bad one. and on the surface it’s hilarious that they’re both so like. enthused to point out that he’s Average because typically when people respond to a claim of a characters badness with the level of immediacy they both did it’s a rebuttal of “no, this character is good actually.” but it was just to affirm that relvin did harm imogen, but not because there’s some aspect of his character that is inherently cruel or especially Bad. and like. yeah actually. yeah you should react like that to a claim that this average person who Has hurt someone, the way that nearly every single person has hurt someone in a way they cannot repair, with immediacy to say this person is a Person and thus imperfect and capable of great harm, but that isn’t some all encompassing judgment on their morality or capability to also do good or be fine.
anyway this is kinda just a rant post but also is just me saying i’m very grateful that when surrounded by a fandom that tends to paint characters as Good or Bad and even while using a game that can encourage that with its alignment system, cr has always told stories that see goodness as a persistent choice that might sometimes falter and that can be chosen even after a lifetime of Badness. i can’t remember exactly what the quote was so forgive me if it’s incorrect but when jester is talking to caleb after he claims he’s not a very good person and she says “good people do bad things sometimes. even bad people do good things.” that’s it! that’s one of the most consistent themes across campaigns. and yet.
#on fandom#cr tag#i just. maybe it’s the philosophy major in me but. good grief the shit some of y’all say about morality and then turn around and ignore#what you’ve just said. good grief#lately it’s specifically been the people who support liliana (i too love evil women) and act like she tripped and fell into her current#position. and then turn around and call relvin an abusive devil#like. sorry which one has been manipulating imogen. which one abonded her?#that’s besides the point. my point is. the words good and bad are meaningless.#the good placeism. is this character trying to be better today than they were yesterday#this is the imogen temult problem actually. like yes she Chooses to be good. but that is only a choice because we have Seen her be selfish#and cruel and manipulative. if i had to choose to call imogen good or bad i’d of course choose good. but that undermines so much of#what makes her ‘goodness’ actually compelling.#honestly same with fjord. like his character as a charismatic paladin who fights for Good�� is comtextualised by having seen his journey#like. otherwise he’d be boring.#like. if any cr main character was just Good or just Bad. i promise it would not be as popular as it is#critical role
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CONFESSION:
It really, truly deeply annoys me the amount of Sebastian fans who act like people not liking Sebastian is just fandom weirdness or that it makes no sense. Its not like hes a disparaged group that fandom treats badly for no reason, ie black characters and morally grey women. They act like there's no reason to dislike him, but I'm sorry, did they forget the amount of people who are raised Christian and end up traumatized because of it? Every time Sebastian talks and he imposes his beliefs about the maker onto me or other companions, talking about the maker like the makers existence is factual, it just makes me see red. He talks about events as if the maker is 100% factually confirmed to be involved with them, including events that involve Hawke and the companions and its really gross and awkward.
Wynne, by comparison, it never felt like she did that. Her own belief was self contained in the way she talked about it. With Sebastian its like, you believe, but WE DON'T! So STOP! His discussion with Merrill is so disgusting given whats been done to elves and their culture. Christianity hurt me growing up but more than that it deeply hurt many of my friends. They will carry those scars and their self hatred and paranoia about going to hell for a lifetime now. Almost every time Sebastian speaks it feels like a flashback to sitting in a room with my weird abusive Catholic relatives, so no, I'm not just being weird for disliking him.
#Dragon Age Confessions#Dragon Age 2#Sebastian Critical#Dragon Age Fandom Critical#religious trauma tw#religious abuse
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Would love to hear more about your thoughts on Mermista being your favorite character from She Ra 👀 if you ever felt like sharing
I’m totally not biased at all but I too think she’s the best character
I think this is really interesting, because a character can be someone’s favourite for a ton of reasons. Sometimes it is aesthetics, or mood, or empathy, but I like Mermista because of how she operates as a vessel for storytelling.
And before I start on this tangent, please be aware that this is, by nature, subjective. If you don’t like Mermista, state your case in the replies. Please don’t take my word as gospel.
SPOILERS AHEAD (She-Ra and the Princesses of Power)
So, I am a fan of wordless storytelling. It’s why I love the traditional mystery films and old western flicks. I like the pacing that comes from characters wandering around and not saying anything, but working things out in a way that the audience can see.
This is partially because writing dialogue is easy, but writing good dialogue is infinitely more difficult than anything, and I am still getting the hang of it, so a lot of what I write is slow and methodical. But I also think that visual storytelling is a lot more interesting and easier for me personally to keep track of.
It's Show Don’t Tell taken to its logical extreme, and while its situational, it really works for me.
Which brings me to Mermista, who I think has less than half the number of the lines as Frosta, despite being on screen for a ton more. That is because no dialogue with Mermista is ever wasted, and instead she takes in situations and thinks.
The only times Mermista ever really speaks are when she needs to communicate information quickly, and when she is annoying one of the other princesses for the fun of it. Even with Shadow Weaver, she finds the quickest possible solution, she interrupts her by calling her a name. She throws her off balance, then gets back to being quiet.
Case and point, at the end of No Princess Left Behind, Mermista doesn’t give a speech, or tell anyone that she is feeling sad. She just turns away from the camera and acts out her emotions subtly.
But the show doesn’t write this as just a strength for Mermista, it’s core to what I keep saying about how the series writes tragedy. Each character’s greatest strength is their greatest weakness. Mermista is detached and methodical, but that’s a façade, and it means she is totally unequipped to handle big emotions. She doesn’t know how to respond to Entrapta’s death, and she is totally unprepared emotionally to cope with the fall of Salineas later on.
In that way she acts as a counter to Perfuma, who is all about those big emotions and big connections. But there are other things that show them as opposites.
For example, Mermista is dynamic as hell. Part of her water theming is that she is able adapt to almost any situation and work through a problem. She can fit any shape, and fill any role in the team. She’s a bruiser, or a scout, or a tank, or a saboteur. But she’s also dynamic ethically.
You may notice that Mermista has the single most flexible moral compas in the team. Not in the sense that she is morally grey, (or morally pink like Glimmer), but in the sense that she applies a different framework to each problem she is faced with. She doesn’t have a thing against deceiving, trickery, or even killing if the situation calls for it, but she never strays into that dubious territory because she knows when to implement it and when that fails, she tries something else. Mermista perseveres and adapts.
Perfuma, however, is the She-Ra equivalent of Batman. I’m not joking about this, and I will talk about it in a later post. In short, however, Perfuma’s greatest strength is her uncompromising moral code. That’s how she gets through to Scorpia at the end. But it also means she is utterly inflexible, hence why she can’t work with cacti or Entrapta.
The reason I bring both of them up together is because their balancing out of each other leads to character development over the course of the story. Perfuma learns to widen her understanding of the world, and that she doesn’t realy have to subvert her morals to do so, and Mermista gains a healthy framework with which she can interact with people and form meaningful relationships.
For example, she can’t really react to Sea Hawk at the start of the series because she doesn’t know how to. She thinks in problems to be solved, but people aren’t that. At the end of the series, they become a couple because of the development seen above.
Essentially, I like Mermista because I like the story that is being told about her, and the way in which it is told. She's also just a big ol' nerd, which is just a joy to watch.
Just stop giving her one liners. I’m talking to the show and a few fanfics I have read. They’re jarring. Please, let my girl brood.
#rants#literary analysis#literature analysis#what's so special about...?#character analysis#she ra and the princesses of power#spop#she ra#mermista can do no wrong#mermista#spop mermista#she ra mermista#perfuma#answered
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Keep thinking about that one KJ Charles interview where she's talking about the challenges of being a historical romance novelist when you sort of believe the whole aristocracy should've been executed, and the delicate balancing act of writing historically accurate and interesting characters who don't have awful politics and values. And, crucially, she challenged the typical rich love interest idea by asking, "But where does the money come from?"
Once you think about it, you can't stop thinking about it. Every historical romance I read now, I can tell whether the author has thought about it. Sometimes they've thought about it but tried not to deal with it and hoped we wouldn't notice that the rich aristocrat probably owns a plantation. Sometimes they've actually dealt with it. And sometimes they have not considered it and It Shows.
But I also don't want historical novels where characters have modern sensibilities! I want them to feel historical... I just also want the "desirable" characters to not be, you know, involved in the slave trade or whatever, because that seriously undermines everything the book is doing to make them seem attractive. (One does not generally read this flavour of historical romance for morally grey antiheroes, and even if you did, that would be a fairly tasteless way of developing such a character, imo.)
I really enjoyed a detail in one of Cat Sebastian's books where the love interest is a Quaker, and he refuses dessert because he's boycotting sugar. It's a way of signalling to us that this character has particular values, but one that's rooted in the historical context and doesn't feel like a modern character wearing period clothing. His Quakerism also influences a few other details – his use of first names rather than titles, for example – but it's not a major plot point and he's no intense political campaigner. It's just one facet of his character, and one that made me like him more.
This sort of thing becomes a problem, too, with medieval settings and retellings and anything where you start having to deal with kings. A king of some tiny little pseudohistorical country whose major concerns revolve around not getting invaded and ensuring his people survive the winter is a very different prospect from a king intent on conquering his neighbours and expanding his glorious kingdom, of course. Still a king, though. What do you do with that, if you're someone who doesn't approve of kings?
I ran into this problem with a book I was working on a few years back, and it's one of the reasons I shelved it. I was trying to write a book about community and friendship. I was also trying to write an Arthurian retelling. And while a brotherhood of knights is a great starting point for a story about community and friendship, in order to have knights, you need to have a king for them to pledge fealty to. Problematic. My Arthur figure did not believe in hierarchy, but the story demanded that he perpetuated one anyway, because it was baked into the building blocks of story I was using to build mine. Eventually I realised I could not write that story as an Arthurian retelling without stripping it of everything recognisably Arthurian, and set it aside to be remade into something else.
I still think about this, though. I think about my Bisclavret retelling, which by necessity has a king in it. Bisclavret is a story about feudal loyalty, about oaths, about hierarchies. Take that away and you no longer have Bisclavret; it is a story that cannot exist without a king for the knight-wolf to be loyal to. Does that mean that as a story it always inherently supports a monarchist ideal, though? Or is its portrayal of kingship (a relationship that is, crucially, reciprocal) sufficiently detached from colonialist systems of monarchy to be distinct from those?
What systems and ideals form the assumptions a story is rested on? What happens once you start to question them? Can you still tell the same stories once you ask where the money comes from, or why the king is owed loyalty? Or does there come a point where you realise there are ideas woven into the very fabric of those narratives that you can't see past?
I don't have answers. I'm just thinking aloud. Thinking about having written a book with a king who isn't the bad guy, and what that means when I approve of neither kings nor hierarchies in general. Thinking about writing the past with the eyes of the present. Thinking about the unexamined assumptions in so many historical novels I've read, and how it feels as a reader not to be able to stop examining them.
(I have also read a number of contemporary romance novels where, after working my way through half an author's backlist, I've been forced to acknowledge that despite everything, the author does in fact think rich people are inherently attractive. Not sure what the solution to that one is, but it's certainly a different, if related, problem.)
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I feel like Rhys would be more interesting for me if SJM made up her mind on what kind of character he is supposed to be. If he's the "ideal man" then why write him performing textbook acts of abuse. the "ideal man" who is the pinnacle of Healthy Relationship Material cannot really mesh well with grey morality
part of being a morally grey character is,, the fucked up morality that "normal" characters would be like "dude wtf" which you can see with characters like Kaz Brekker and to an extent Damon Salvatore. Their grey morality is tied to their actual personhood and their actual sense of morality. they're not haunted by their actions. it is *within their morality* in their own ideals of what they consider right and wrong
Rhys' "grey morality" is tied to that of his "mask" and then he gets so tortured by how he just has to hurt all these people for the "greater good" my good dude that's not morally grey. a morally grey character is going to see it as worth it and not blink an eye bec it was what needed to be done- see Kaz literally ripping out that dudes eye and not blinking about it while everyone else was like what the fuck
Rhys is written closer to a character similar to Stefan who is just so tortured and the narrative and the people around him (and by extension many of his Stans™️) will go out of their way to completely forgive all the problematic shit he did bec he "has a pure heart" or "hes an addict tho" or whatever and it's easier to excuse when he's standing next to Damon, who is outwardly fucked up and problematic in such an obvious way (Rhys next to Tamlin or even Nesta)
she Wants him to be a morally grey bad boy but he's not *written* like one. he's not allowed to be problematic the way morally grey characters are problematic. Morally Grey characters are inherently toxic and problematic and often to the point where they can be/are abusive
but also, it's the fact that he just,,, doesn't have any real character growth outside of MAF. he becomes stagnant. his characterization doesn't really change. he keeps lying to Feyre. His actions don't really change bec the narrative doesn't challenge him to bec he's "the ideal man"
Hell Rhys taunting Tamlin in TAR was interesting and entertaining for me to read but when we get that in later books from his POV with Tamlin literally just beaten down and having had given up there is nothing to gleam from that. it's beating a dead horse, it's kicking someone while they're down. it's not taunting, it's not entertaining where someone can snap back, it's just demeaning and cruel at that point like fuck just leave him alone and maybe stop trespassing
I'd probably view Nesta and Rhys' beef differently if he didn't abuse political and magical power over her- if the narrative itself didn't immediately side with Rhys as objectively in the right despite lying and abusing his power over her. and maybe to an extent I'd forgive it if we had more scenes with them where they, more or less, buried the hatchet and let their relationship actually develop and build nuance
he gets boring. no one pushed back against him in a way that actually challenges the plot or Rhys, outside of Maybe Nesta when she told Feyre about the pregnancy but even then that went out of its way to vilify Nesta and not Rhysand for putting the gag order in place in the first place
like maybe if SJM committed to a Side with Rhys or actually got the plot to challenge him and give him actual growth I'd be more interested in his character. Right now he's just boring. and he's a dick. and not in the way I find very entertaining in characters
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Dead End Paranormal Park shit I need to talk about and I feel bad for my discord server so:
I was expecting a Barney/Logs kiss to be monumental like the first Lumity or Catradora kiss, or at least something like Troyson or Bubbline. But NOOO, I just get SLAPPED IN THE FACE with it right at the beginning of the first episode.
And on the subject, I distinctly remember thinking “I wonder if they’ll have Barney tell Logs he loves them or smth” as I clicked on the second episode. I WAS NOT PREPARED.
Logs is a non-binary gay person. Don’t even fight me on this I’m right.
I was. So. Fucking. Excited. Watching Norma realize her crush on Badyah. It was literally exactly how I realized my crush on my friend and I was so excited to have those two canon.
I was fucking wrong.
Barney talking about transphobia?! Barney talking about people asking about his binder?! THIS SHOW FUCKIN RULES.
Again, I was very wrong about Badyah and Norma.
Badyah rejecting Norma hurt. So fucking much. The rawness of it all just stung so much.
BUT. I HAVE NEVER HEARD ANYONE SAY THE WORDS “I’m straight” IN A KIDS’ CARTOON. It was astronomical. In shows nowadays, queer rep is so far and few between you don’t have any characters to get rejected. So to see Badyah let down Norma as softly as she did, explaining she’s straight then immediately going into a mini sexuality crisis was amazing. Norma’s tears though.
Gonna be honest, was worried about the Josh thing for a minute.
Honestly, I wouldn’t even mind Norma x Zagan. I mean, Zagan’s canonically queer, and I can get behind a good height-difference ship. Also, I love the dynamic of “Morally grey but with a heart of gold x literal demon” Buuuuut Zagan being like 1600 comes with its Twilightes-esque issues.
Not Temeluchus and Pugsely acting like exes that still love each other lmao
Norma regretting everything when her connection to Badyah was lost just hit me in the worst way. The exact same thing happened to me about a year ago - I had a straight crush who was also my best friend, I told her I liked her and we...drifted apart. Everything about Norma's regret from the whole thing is so perfectly written, from her staring at photos of her and Badyah to insisting she's over the crush to being so incredibly excited when she thinks Badyah has come round to her house. I've never been able to relate to a character this much before, and adding on to the fact that Norma has social anxiety and can fixate on one thing until it becomes her entire personality...it just hit me so hard.
Am I still allowed to ship Norma and Badyah? They just meant so much to me before that episode. Is it problematic now? Coz it’s either that or aroace hetero-leaning Badyah.
That whole episode though
The use of the word bi? An entire conversation about how hard it is to come out? The use of the word gay? Norma literally chanting “bi bi bi” like NSWNC?! Screaming, crying.
No, Pauline’s right, Norma’s mum has the best legs.
The coming out scene...shoot me now.
EVEN THE MUM SHIPPED BADYAH AND NORMA-
JULES USING THEY/THEM PRONOUNS. AND SAYING “I use they/them pronouns”. THE GAY IS REAL AND IT IS COMING FOR US.
Not Barney being saved by the power of gay
I called Courtney being an angel from early s1. Suck it.
THE WATCHER THING I DID NOT CALL.
But we all knew Fingers had issues. I mean seriously. The dude’s got slay though.
Last thing - Gord means the absolute world to me.
#dead end paranormal park#dead end spoilers#norma khan#barney guttman#de:pp badyah#de:pp logs#de:pp gord
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Eyeless Gojo AU: Prequel
Requested off my comment from https://www.tiktok.com/t/ZPRTa8kfU/
“@Taaot17🍉: Some sorta AU I need where Gojo takes them out as saying he’s leaving what he was born for being behind & now will act only on instinct (& an excuse to always be touching Geto)”
————————————————
———Warnings: mention of death, blood, killing, morally grey, slight mind control, Gojo just reacting to his cptsd in this universe, slight grooming (adults ideals on Gojo and their children), mindbreak, yandere(?)———————-
first year! Gojo who didn’t understand the feelings he was feeling, it wasn’t hate, but he couldn’t stop thinking about his “rival”
that Gojo wanted to be his friend but Geto is more pained in this universe. real angsty teen.
Gojo being treated like Naruto as a kid, by the other kids, and the adults the opposite.
They loved him, they wanted nothing more to marry their child to him, or in some way praised him like a god.
He had a power, premonitions as well as incomprehensible strength and sorcery. Anyone would be lucky to be something to him.
He could make perfect guesses, his 6 eyes in this au would let him see months in the future, aiding his clan on any assassination, kidnappings, it was just like a built in body guard, or like his own spider senses, except he’d see the moments in time, as random as they may be.
Growing up he hones his skills, training his body to be able to take care of himself (and others) and to also see further int eh future if possible. It didn’t cost him much, just gave him a headache after.
the kids have seen him cry, bleed, just acting like an annoying brat, unlike the great power their parents reminded them they weren’t. (when he was just a kid who wanted friends.)
Geto was further away, Gojo feeling lonelier than ever. The third student, Shoko, would barely show up for classes. There was no reason for her to be there other than to have men ruin her sleep. She’d come by a random day of the week, showing disinterest whenever the attention was placed on her, even to answer a problem on the board. (in this universe she didn’t choose them so they didn’t choose her (but like intensified))
Gojo knew about things happening, but not when, igniting his want to be friends with the multi spirit user. He could see him in his future, for a while… so he wanted to have it already.
Gojo tagging along with Geto whenever he can after classes.
Gojo excited to go on missions with Geto (Geto would rather do it alone but he still spars with Gojo, using his classmate to train himself harder while white hair was just dancing around him.)
2nd year!Gojo’s thinking Geto’s warming up to him when he’s starting to envy and hate on him more. but if you can hate someone its bc u care, and he wouldn’t admit that until he thought he saw once or twice, Gojo’s clown mask fall.
(this is basically Geto as reverse Gojo who’s like emotionally stunted but in angst instead of fuck boy/class clown disguise. His intense emotions are confused and he still can’t figure out what could be up with his rival bc Gojo lets him win every time.)
Goj’s favorite thing was how Geto never stopped treating Gojo the same as when they met, or rather he never changed himself just bc he gained a friend, someone as special as Gojo.
He saw it in his 6 eyed vision. He was almost running his mental thin by using it so much, trying to see more into the future, seeing more of how He and Geto would take on the world together. He keeps it to himself for now.
Geto who does start to warm up to Gojo the second half of their second year. Gojo not really knowing how to take it and is so happy
they start to hang out a lot, getting over their weird hate at first phase of their friendship.
2nd year Gojo realizing he’s so comfortable around Geto that everyone knows if Geto’s somewhere Gojo’s right beside him.
That they’re best friends in a quick amount of time, because Geto would complain about others and teach Gojo what it’s like being a normal kid.
Geto teaching Gojo to stop relying on his future vision as he was able to break through one of his visions. Gojo was supposed to win, but he stopped his body for a second and got knocked over.
Geto suggests he blindfolds Gojo if he wanted to really use his senses. correctly. He tells him that his power is getting in the way of him being a real person, and Gojo agrees.
Gojo becoming so comfortable and given everything all the time that he places his hands wherever he wants. He didn’t know about personal space since everyone was in his, so he was actually confused when his hug was rejected by Geto for the first time.
Geto scolding Gojo how that’s now how friends act so Gojo asks him how it really is, kind of hurt.
Geto needing to teach Gojo that he can only do that with him as other people would either not like it or like it too much.
Gojo saying they’re not like Geto. There was nobody else but him.
3rd year them on /their mission/ 1/3 into the school year
Toji coming in and killing Geto, and then Amanai.
Gojo realizing he didn’t see that happen bc of the no cursed energy.
He believed he got Geto killed and that stopped him. He let Toji kill Amanai who was scared and hiding behind him.
He shoots her and stabs Gojo in the neck, he’s trying to cut his head off until Geto comes in with a woman
Toji turns around bc that’s his gf yelling for him, then she stopped.
Geto kills her with a tool, and unleashes his curses on a shocked and unready toji. It was easier to say she was a civilian caught in this mess, and that toji did it.
Geto calling Yaga and Shoko to help put Gojo’s head back together.
After surgery and using her Reversed Curse technique, Gojo’s back but he’s not the same.
he wasn’t smiling all the time, he was expected to be next to Geto the moment his eyes opened, but once everyone saw him wake, all he did was try and turn his head away.
He stays ignoring ppl for first few weeks as he healed. Geto and him had an argument at some point in-between, trying to understand what was the issue.
It was weird, got had just gotten used to being smothered by his now best friend. He was worried. Of course he had to heal his own injuries but it didn’t leave a stain in his psyche.
turns out that one second where if he were to have save Amanai, Geto would’ve died. its not that he feels any way that two innocent women died, but there was actually a chance Geto could actually not be in his future anymore.
The fight ends with Geto saying he’s not Gojo because of his power, he can’t let that make the path for him, that he has to stop being so blind when he knew so much more
Gojo not understanding what Geto means and goes back into his depression hole. “he knew more, he know better.” Gojo tells himself as he’s always been told what to do, and how to be, and the one person who he’s grown to trust is telling him that his own feelings are wrong, he’ll try harder to be better for Geto.
There goes another week without Gojo, he wasn’t answering his room door, Geto couldn’t feel him there.
Of course he was worried but there was nothing that could get to him, as Gojo knew what was going to happen. So it must have meant Gojo was safe, or wasn’t needed right now, Geto left it alone.
Geto one day has a feeling that his texts weren’t sending, hopefully his food orders were keeping him full. He decides to pay him a visit today.
-----------------------------------
A/N: I didn’t proof read but I hope y’all get the idea, I had to make the background first to build off to actually write more.
This is 1/3 of the fics that were requested so far, I’m open to more. (and accepting donations (nami emoji 🤑/I got fired for the protests a bit ago and am hoping to keep my 4 cats comfortable 🙃) Ty for reading 🩵
Cashapp: taa10t
PayPal: appleg0d
Venmo: taakt17
#jujutsu kaisen#jjk#jujutsu gojo#jujutsu geto#jujutsu sorcerer#jjk gojo#gojo satoru#satoru gojo#jjk angst#angst#tw gore mention#geto suguru#geto#geto x reader#jjk geto#stsg#satosugu#getogojo#gojogeto#au#jjk au#taaotjjk
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I FINALLY got to watch the latest season of Dragons Rising and I have a theory about who Ras’ master is, so for anyone who hasn’t caught up on Ninjago please keep scrolling because this is gonna have a lot of spoilers:
I believe there is a chance that Ras’ master may be the First Dragon, due to the similarities between his and Lloyd’s visions among other reasons.
To get this out of the way, I am not referring to Firstbourne. I am aware she is technically the “mother of all dragons”, but I believe her namesake gives it away that she may not be the very FIRST dragon. She is the first dragon BORN, perhaps not the first in existence.
Besides, do you really think the most powerful dragon in all of the worlds, the one supposed to be as powerful as the Overlord, would be defeated so easily by a small group of Oni, with other dragons AND riders on her side?
I mean THE Dragon, the one depicted in Mistake’s story. The antithesis of the Overlord. The Yang to his Yin. The Creation to his Destruction.
This sounds a bit far fetched, I am aware, but I do have a base for this theory.
In Mistake’s story, the Dragon was also fighting over the First Spinjitsu Master, just like the Overlord was. What is interesting to me is that the FSM chose to run from both instead of choosing the Dragon, despite the dragons always being depicted as “the good guys” and the Oni as “the bad guys.”
This means that the dragon most likely didn’t want to use him for the right reasons either, maybe even to eliminate the Overlord and overturn the balance of the world in its favor. The FSM is the balance, and he most likely knew that siding with one or the other would be disastrous.
The Dragon also has not been seen for the entirety of the series, despite the fact that the Overlord had been rampaging in Ninjago over and over. It isn’t like they could not come to stop him, we knew from the very beginning that dragons can traverse realms (I know this is probably because the dragon hadn’t been introduced in the plot yet, let me dream). Perhaps the Dragon had been sealed away by the FSM, not unlike the Overlord was when the FSM split Ninjago in two to keep him at bay.
It would explain the Dragons absence throughout the years.
Now, onto Ras.
He receives visions in a very similar way to Lloyd, almost to a T with the floating and glowing eyes, but with a GOLDEN background, which not even the Sources have, despite their connection to creation.
As for the “evil” masks, remember that the Forbidden Five that his master wanted to bring back are ELEMENTAL MASTERS, people who have been commonly paired with the dragons throughout history, as seen by the ninja themselves. Despite the corruption of their powers, it isn’t Destruction: it is simply warped Spinjitsu, corrupted Creation.
Perhaps the dragon needs the Sources to regain its strength, or hell, its powers were divided to CREATED the Source dragons, each one acting as a seal to keep it at bay. This is may be why they want to conquer the Sources, to free the First Dragon.
Another detail I have noticed, this might be a bit of a stretch but tigers and dragons tend to be a motif I have seen in mythology a lot, it would make sense for it to occur at least once in the show.
To wrap it all up, Creation can be used for evil and Destruction can be used for good. They are not black and white, but shades of grey. We have seen this in the show itself, for example, Gardamon in s2 with the Megaweapon for evil, a weapon that can only create:
And in s16 when Lloyd used his destruction to fight the Overlord for good (and in the original ending before it was changed, kill him):
Creation and Destruction have no morality, and no one shows this better than the FSM himself:
The First Spinjitsu Master chose neither Oni nor Dragon for a reason. Light can be just as blinding as the Dark.
#ninjago dragons rising#ninjago crystalized#ninjago dragon#ninjago#ninjago lloyd#ninjago ras#ninjago garmadon#ninjago overlord#ninjago theory
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not you ranting 💀 it’s misogynistic to make Harry regulus child when Lily is the mom not regulus GODDAMN.
bro..,.. they’re not real. go touch some grass
listen ive seen people being misogynistic towards lily in order to favor jegulus. it does happen and i wont deny it, however i will simply just stay away from it and not interact. im way more interested in evolving lilys character and give her her own narrative instead of just using her to hate a mlm ship and claim to be feminist about it. like it’s fandom. make your own goddamn peace and create a space that you fucking enjoy. yall are not trying to defend lily when yall do this you’re just trying to be anti jegulus and using her to do it
no one is saying that regulus is ’the mom’ but like. people can do whatever the fuck they want. if people dont want to write lily but they want to write jegulus being harrys parents then by fucking god let them. who CARES. i wont interact with it and it doesnt interest me but oh my fucking god it’s fandom. people are out here writing mpreg and a/b/o and tentacle porn and incest and whatever the fuck else. this is simply not a problem. none of it is. its fandom and its free and its for fun
(i never see any of you complaining about tonks glaring absence in wolfstar teddy fics……..)
just don’t interact if it bothers you. i have things i wont interact with and topics i find problematic, so i stay the fuck away from it. no one is profiting and no one has to fucking read it. its not being advertised and its not being goddamn taught in schools
i will always defend lily and my priority is simply evolving her characters and giving her a narrative that just simply isn’t being a mom or a wife. like bro im in the middle of writing a lily character study canon divergence fic where she simply wasnt home when voldemort came and she doesnt save harry with the power of ’motherly love’. it will be morally grey and highly disturbing and a lot of people wont want to read it. however i want to write it to rebel against her doomed narrative in canon as a dead wife and mother. she wont necessarily be likeable or someone to root for but thats what i want to explore in my goddamn fanfiction
yall are acting as if some people writing regulus being harrys parent actually has a broad negative impact on the political climate or some shit as if its not just a silly little thing people do online bc it makes them happy. GO OUTSIDE…. TURN OFF YOUR PHONE…..????
and as i said. i simply wont interact with lily bashing but that’s just me. that’s my preference. i will consider interacting with this trope if lily just simply isnt involved. HOWEVER. THATS JUST ME. PEOPLE DO WHATEVER THE HELL THEY WANT.
it’s fandom. it’s not real. no one is profiting. there are no editors involved except for lovely people who will sometimes beta. it’s not professionally done. it’s free. it’s an outlet to be silly and fun and explore dynamics. these are fictional characters that do not exist
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