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ratingtheframe · 3 years

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10 Films to watch this Valentine’s Day if you’re single as hell.

If anyone or anything is making you feel worthless on the Capitalist Holiday that is Valentine’s Day because you’re single AF, then don’t fret because it means one of two things;

You’re happy enough with yourself to not need anyone else.

You’re allergic to people.

Though mine is both the former and the latter, I can still get down to a good romance movie now and again. Now I’m not talking about those horrendous rom coms that Netflix seems to be churning out every damn minute, but those emotionally invested, earthy and well written dramas that has you ugly crying into your bathrobe for 17 minutes straight (me at the end of Her.). Here is a compiled list of some of the best romance films I’ve seen over the years and how each one doesn’t showcase an abundance of clichés and brands them as “acts of love”.

A Star is Born (2018 or 1953, take your pick)

I’ve found that both the 1953 version of A Star is Born with Judy Garland and the 2018 newer version to be a perfect and well rounded love story. What makes this love story so fierce is the vulnerabilities and downfall of its characters, which even though there are many sad moments, it perpetuates and strengthens the acts of love shown in the film. Both versions are similar in that they follow a woman who’s rise to fame as a performer becomes overshadowed by her jealous partner, who is also a notable celebrity. In the 2018 version starring Lady Gaga and Bradley Cooper, Gaga’s character Ally is helped by a country singer, Jackson Maine to become a successful singer and icon amongst the music industry. As she rises, Jackson falls and the character dynamics and intensity between them is a fitting love story. I was thoroughly bawling at the end and I guarantee you will too as Lady Gaga’s rendition of Love Again was the true scene stealer of the film.

Call me by your name (2017)

I have an incredible bias towards this film and it has nothing to do with the film’s context or characters or even Timothée Chalamet The reason why I feel so connected to this film and proclaim it as my favourite film of all time is because of when I watched the film. It’s almost like seeing a film about a political event right after it's happened; you have this rush and connection towards something that’s actually affected you in the real world. I had the same feeling with Call me by your name after going through a rough and confusing patch whilst trying to get over someone I thought I truly loved. Turns out I didn’t (thank god) and yet Call me your name was almost like a shoulder to cry on. It’s a film that’s taught me to love and love hard but most importantly, not beat yourself up or try to distinguish the pain felt by true love. If you haven’t been fortunate to catch this beauty of a film, it follows two men, Elio (Timothée Chalamet) and Oliver (Armie Hammer) and their brief relationship in the summer of 1983 in Northern Italy. 17 year old Elio lives with his parents and his father (Michael Stuhlbarg) is a scholar who invites students from outside the country for the summer in hope of passing on his wisdom to them. This is when Oliver arrives, a handsome twenty something American who becomes the infatuation of Elio.

I’ll never forget the first time I heard the monologue that Elio’s father gave his son at the end, explaining to Elio why he shouldn’t feel embarrassed by the pain he felt after loving Oliver:

“We rip out so much of ourselves to be cured of things faster, that we go bankrupt by the age of thirty and have less to offer each time we start with someone new. But to make yourself feel nothing so as not to feel anything - what a waste”

That, ladies and gentlemen and all in between, is what love is.

Her. (2013)

Once again, another film about love that had a profound effect on me because of when I watched it. Her. follows the story of Theodore (Joaquin Phoenix) and his search for a story using an A.I to help him write. However, after getting to know this A.I named Samantha (Scarlett Johansson) and hearing the way she adapts and shows emotions, he soon falls in love with it. Some may deem this as rather sad (which it is) but I think it speaks to bigger constructs like internet dating and letting go of people you loved thus diminishing the fantasy and world you created for the two of you. This part of the film got to me a stark way as I felt the pain of letting go of not only a person, but a fantasy, just like Theodore had to do in letting his past partners go. Her. is truly beautiful, with some great production design, cinematography and acting.

Portrait of a Lady on Fire (2019)

The absolute queen of love stories would be Céline Sciamma’s Portrait of a Lady on Fire, a film about the romance between two women in the late 18th Century. Definitely not a narrative you see every day or one that’s been painted in such a way (pun intended). Marianne (Noémie Merlant) is commissioned to paint the beautiful and stubborn Héloïse (Adèle Haenel) and the portrait is to be gifted to a suitor of Héloïse’s from Milan. But instead of getting the painting done and sending it off, Marianne and Héloïse unexpectedly fall for one another at a subtle and well timed pace that had me gawping at the screen the entire way through. Slow, sensual and moving is Portrait of a Lady on Fire and I would definitely say is one of the best LGBTQ plus films ever made to date.

Broke Back Mountain (2005)

Ang Lee scooped up a BAFTA, Golden Globe and Oscar for his direction on his adapted screenplay of Brokeback Mountain. Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) form a romantic bond after shepherding alone together on the side of a mountain. Once their time herding sheep comes to a close and they return back to their respective lives, it's clear that their bond is stronger than they had anticipated. They live in constant fear of their relationship becoming apparent to those around them, which leaves one of them taking matters into their own hands. A controversial yet extremely successful film of its time, Brokeback Mountain does a fabulous job of showcasing the consequences and despair of love using two of Hollywood’s finest actors.

Carol (2013)

It’s difficult to fully appreciate LGBTQ plus films set in the past as they mostly focus on the persecution of homosexuals as opposed to the love they wish to express. However, this was pretty accurate of the time and it's only very recently that we have begun to accept one another’s sexualities and genders fully so much that we play these stories out on screen without the persecution part. Carol is a film directed by Todd Haynes and stars Rooney Mara and Cate Blanchett. I found them to be an extremely intense pairing whilst they unravelled as their characters on screen. Therese (Rooney Mara) works in the toy department of a department store when one day she lays eyes upon Carol Aird, a beautiful and elegant married woman who becomes the infatuation of Therese. Therese throws all caution to the wind in order to be closer to Carol and because of this and the 1950s society they live in, their relationship is doomed from the beginning. I was in complete awe of the way Carol had been shot and created into this sensual and rich drama set in the 1950s. From the costumes, to the lighting to the acting, everything about Carol held weight to it showcasing the devotion of a truly talented director.

Eternal Sunshine of a Spotless Mind (2004)

Usually I’d pass on a Charlie Kaufman film, seeing as they make no sense, however I felt that it was time I delved into this cult classic starring Kate Winslet, Jim Carrey, Kirsten Dunst, Mark Ruffalo and Elijah Wood. It’s a really well made film with a clear and distinct message to it that’s represented in some phenomenal filmmaking techniques. The plot line of this film follows a man trying to erase a past lover and his memories of her get wiped away physically before your eyes on screen. It made me wish that I could do the same with people I’ve liked in the past, but the contradictory of this would be the trauma of eventually ending up with someone you had already met in another life. I haven’t experienced a break up nor felt the pain of one, though I could judge that this film tells that experience really well.

Moonlight (2016)

Moonlight is one of few films that I would genuinely worship if it were a religion. It's also one of the films that I outwardly shame people for not having seen, as it is truly a masterpiece and film lover’s film. Deep, emotionally connected, colourful, harsh, moving and eye opening, this film takes you on an emotional rollercoaster through the eyes of Chiron and the three stages of his life that have carved out his essence as a human being. Not only that, but he falls in love with another boy at his school, and when he does, he’s hurt rather badly. Literally. Moonlight is the definition of profundity and was awarded the top prize of Best Picture at the 2017 Academy Awards.

Loving (2016)

When I think of a truthful and honest testament of love, the film Loving comes to mind which is a fitting title for such a delicate yet strong story. The film is based on a true story of an interracial couple, Richard and Mildred (Joel Edgerton and Ruth Negga) being banned from Virginia in the 1950s for choosing to be together. If that ain’t a true sacrifice of love, then I don’t know what is. Choosing someone you love over your own home is an unfathomable thing and certainly shows the strength that this couple had in facing the judgements of others whilst remaining emotionally truthful to themselves.

The Shape of Water (2017)

The Shape of Water is a strange yet enlightening love story between Eliza, a deaf woman (Sally Hawkins) and a creature being tested on in a laboratory. Awards season went mental for this back in 2018, winning four of the THIRTEEN Oscars it was nominated for. I would categorize it as quite the niche film and wouldn’t usually think that such a film could be garnered with Oscar success. However everyone who worked on this film really pulled out the stops in creating an entire new world and perspective that has many layers to it, as well as an abundance of conflict and dynamics for audiences to lull over. The relationship between Eliza and the feared swamp monster that’s being cruelly tested in the laboratories where she works, is heartfelt and honest, which is strange seeing as Eliza’s virtually in love with a monster. The casting in this was outlandish yet it really worked as all actors in this melded well into the story as their prospective characters. It also has one of the most touching endings to a film I’ve ever seen.

And there you have it, ten Romance films for you to enjoy this Valentine’s Day. Watch them all at once, or maybe just watch one. Whether you watch it alone or with someone, it doesn’t really matter!

Lots of love

Ang x

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a-master-procrastinator · 3 years

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Long ass post about the Eternal family not being a copy-paste from ATLA (aka I like the memes but my god can you please stop)

Because some people truly think that Vaylin is off-brand Azula, Arcann is Zuko and so on.

It's. Called. A. Trope. (I mean how often do we come across abusive manipulative fathers in media? Mothers who couldn't much to change anything? Children, desperately looking for their parent's approval no matter what?)

Of course, you have to consider the fact that the writing of ATLA is simply better than of KotFE/ET, so this might have been one of the reasons why people say that.

Spoilers for Avatar: The Last Airbender, Knights of the Fallen Empire and Knights of the Eternal Throne expansions!

Okay, so here's my unprofessional, maybe biased, not super deep take.

(not going to mention that all of them are members of royal, ruling family, kinda obvious)

What roles do they play in their stories? Well, both Valkorion and Ozai are main antagonists, but their presence throughout the story is very different. Ozai is rarely shown in first two seasons, we don't even see his face until season 3. He doesn't have a direct connection to the protagonist, they only meet at the very end of the show, and Ozai's role is to pose a threat to the world, while Aang's is to save it. Valkorion, on the other hand, is constantly on the screen, interacting with the main character, challenging their viewpoint and influencing them directly. His end goal is similar to Ozai's (destroy everything and be the only ruler of the his nation), but with one major difference - he's trapped in Outlander's mind, so to achieve his goal Valkorion attempts to take control of the main character. Their interactions play important role in the story, and we spend a lot of time with Valkorion.

In addition to that, their relationship with children are also not exactly the same. It seems like Azula is Ozai's favorite and Zuko is a failure in his eyes until he meets his expectations, and the same goes with Vaylin, Arcann and Valkorion, right? Well, partially. Indeed, Valkorion and Ozai's treat their sons in similar ways (are disappointed in them until they meet their expectation by doing something that goes against their morals), but when it comes to Vaylin and Azula, it's not that easy. See, Valkorion claims that Vaylin was always his favorite creation (even though we know it's actually his empire), and he certainly seems to take pride in her potential in the Force. But her power is the very reason he's afraid of his own daughter, and in this fear Valkorion literally locks Vaylin away and allows to put her through physical and mental torture just to make sure she won't become a threat, won't overpower him. Maybe he thought of her better than of Arcann, but she wasn't his favored child for sure. I don't want to say that Azula hasn't experienced abuse from Ozai, but for the most part he clearly favored her over Zuko. He has never shown fear of Azula's power and abilities (or at least I haven't noticed), quite the opposite - allowed her to do a lot, as long as she brings results.

I could also mention their slightly different characterization (mostly that we get more characterization of Valkorion, get to learn his motivations, views, philosophy and all that, also he's portrayed as more nuanced, even if he not really is) and role in their respective governments (ozai is one of many Fire Lords and arguably not the greatest, while Valkorion is a god to citizens of Zakuul, their only Immortal Emperor), but those are details, and I think you get the point.

What's similar: role of the main antagonist, manipulative and abusive father, goal of destruction of everything that isn't their nation/empire, relationship with disgraced son.

What's different: presence in the overall narrative, relationship with the main character, relationship with daughter, role in their societies.

Senya and Ursa are even less similar. Yes, they both are mothers who love their children, but have to leave them, but these are probably the only things they have in common. Just as with Ozai and Valkorion's presence throughout the story, Ursa is only shown in flashbacks (for obvious reasons), and Senya is one of major characters in KotFE and (a bit less major) in KotET. Ursa leaves because she has to kill Azulon in order to save Zuko, and later isn't present in the story (I'm aware that her fate is told in comics, but we aren't talking about it). Senya leaves because when she tries to take children with her, they refuse, and she understands that she can't force them to, nor she can help them to break free from Valkorion's manipulations. For a long time she's absent from Arcann ad Vaylin's lives, but at the time of game events she attempts to save her children and stop the madness and destruction they've caused, and it isn't a small part of the story.

I also want to add that their relationship with Ozai and Valkorion are also different, but can't say much about Ursa. I heard that she didn't choose this marriage and suffered emotional (and maybe physical???) abuse from Ozai. I can say with confidence, though, that Senya genuinely loved Valkorion, and strangely enough, he seems to at very least respect her. But, of course, this wasn't the best marriage either.

Plus, we see more of Senya's relationship with Vaylin than Arcann or Thexan, but with Ursa we see her more with Zuko than Azula. Just a detail to remember.

(also Senya is simply a better character but that besides the point, moving on. in this house we stand Senya)

What's similar: role of loving and caring mother, abandoning their family at some point.

What's different: presence in the overall narrative, relationship with husband, characterization in general.

Boy, where do I even begin. Vaylin and Azula are similar in that they are both extremely powerful (one is firebending prodigy, the other is potentially stronger than Valkorion), both are cruel "craaaaazy" (i hate that cliché), both are younger sisters, have serious mother issues (seemingly more so than father issues), both go through betrayal of people they could always rely on, which eventually leads to their downfall. But when I took a look at their personal arcs, it became clear that they aren't the same (unfortunately, Vaylin's arc is very rushed and underdeveloped, but we'll have to go with what we have and my personal view, sorry).

There's a really good video about writing corruption and madness, and I'm going to base my thoughts on it. To summarise it: a good corruption arc should have 4 components:

- the character has a specific goal (or a goal and subgoals);

- in pursuit of said goal they become the cause of a significant event that brings serious consequences;

- as the result of these consequences, character abandons their morals, ideals or a code in pursuit of goal;

- character either will not achieve their goal or will succeed, but it won't be enough to satisfy them.

And then the author brings Azula's arc as one of the best examples of compelling story of corruption (so basically, she represents it perfectly). In short, Azula's main goals are perfection and control, and subgoals help achieve the main ones. In pursuit of these goals, Azula causes Mai and Ty Lee to betray her (by pushing them too far to do something they wouldn't do), which then causes her to become paranoid, which makes her to attempt controlling everything and everyone around her, *breathes* which makes her lose control over herself and ....

Now, I thought if Vaylin's arc could fit into a corruption one, and next part will be based a lot on my assumptions and personal view of her character (plus rushed writing doesn't help), but I think yes (or at least mostly). The difference is in goals, ideals and details.

While the story strongly makes us think that Vaylin's goal is freedom (or control over her life and everything around her) or power and destruction, I think it's actually self-determination (which was said by Tenebrae in 6.2) and feeling safe. Let me explain (and here I thought this would be a short comparison). Sure, when Valkorion caged Vaylin on Nathema, he took choices and control over her life from his daughter. But let's not forget whom Vaylin blames for this (even more than Valkorion): her own mother, and I think this details tell us that the most important thing that Vaylin lost on Nathema is feeling safe. Then, after Arcann brought her home, I assume Vaylin still didn't feel safe enough under Valkorion's rule, still too afraid that he'd simply send her back to that hellish place.

It's when Valkorion is struck down Vaylin finally has a feeling of personal safety, even if she isn't the one on the throne. Why? Because back on Nathema there were two people who haven't turned on her - Arcann and Thexan (yes, this is also a huge assumption, bc the game states that only Thexan visited her, but it doesn't make much sense).

I've always noticed (and I'm not alone in this) that her behavior in Fallen Empire is different from the way she acted in Eternal Throne. Most likely bc of rushed writing, but I see a character driven reason here. In first of these expansions, Vaylin is the second person in power on Zakuul, and with Arcann being in charge, person she can trust more than any other living being, she feels safe - she can test her power, and now Valkorion won't prevent it, she can do pretty much everything she wishes, and the most Arcann will do about this is mildly complain (without blaming her). Really would be nice if we got to see any normal hobbies of Vaylin (like wasn't there something about books or art?), but I digress. She might have some questions about Arcann's tactics, but they get along just fine. The important thing to note is Vaylin not seeking to hunt the Outlander personally, to rule or conquer the rest of the galaxy, or trying to achieve absolute freedom or power. She's kinda there.

This, however, changes when Arcann doesn't allow Vaylin to kill Senya. Their relationship was getting somewhat worse towards the end of KotFE, but this is a turning event Vaylin caused by attempting to strike her mother. By saving the person Vaylin blames for all the trauma from sending her to Nathema, Arcann threatened her feeling of safety. And now Vaylin starts to believing that to achieve safety she now needs to kill people who hurt her (that's why she's so determined to find Senya and Arcann), take the throne and hunt down Outlander (she was manipulated by SCORPIO to these subgoals).

(The following is the weakest, I'll admit, but I hope I can at least express what I see). So, in trying to achieve goals she didn't want before Vaylin loses in self-determination, being either driven by overwhelming anger or manipulated by others (SCORPIO or Commander on Odessen), desperately trying to accomplish anything, or even goes against her morals (like by erasing GEMINI's free will protocols, when earlier she agreed that freedom to choose is important; or breaking the deal on Odessen). All of these result in her downfall.

But even this isn't the end. The key difference between arcs of Azula Vaylin lies in it's resolution, or that Vaylin have a chance to overcome corruption in the main narrative (and Azula doesn't. again, not including comics here, sorry). After death, Vaylin is again controlled by Valkorion in Outlander's mind. First time physically (she can't resist it), second time mentally. This is where Vaylin has to choose - kill brother who betrayed her and Commander who killed her, or go against Valkorion, person responsible for almost all of her pain and trauma. She has t choose by herself, and I think it's a good start.

Now, before 6.2 we all thought Vaylin was dead for good, but that story update hinted at possibility of her coming back to life. What I like to think is that now that she dealt with people responsible for her trauma (helped defeat Valkorion and actually for once listened to Senya), Vaylin can now have a different life, finding herself with support of someone she doesn't hold a grudge against and who treats her well (Satele, I mean).

I'm so sorry for going into details, but I needed this long explanation to present the point (and I suck at explanations). As said before, this is my version of her arc, and most likely wrong interpretation, but even with personal freedom of choice, Vaylin character differs from Azula a lot.

Need I mention that Vaylin relationship with Arcann and Valkorion are drastically different from those between Azula, Zuko and Ozai?

(Also a little detail - with royal family of Fire Nation, Azula is the golden child, while with Tiralls it's actually Thexan, not Vaylin).

What's similar: role of extremely powerful, emotionally damaged daughter with little to no regard towards others, close people betraying them, resulting in their downfall.

What's different: characterization, role in the narrative, relationship with father and brother.

Arcann and Zuko is the most difficult part, but I still believe that calling Arcann just a cheap copy of Zuko is incorrect.

So, they fall into role of less successful son, always getting disapproval from father, being in shadow of more talented sibling, both obsessed with capturing the main character but ending up helping them end the war after going through a redemption arc with help of caring family member. Even both have scars on left side of face. Yeah, seems similar. I still think they are different characters.

Let's start with their relationships with family. In Valkorion section I said that his attitude towards Arcann is similar to that of Ozai towards Zuko, so not going to spend too much time here. However, there's slight difference - Zuko didn't kill his father even he had a perfect opportunity (bc it wasn't his goal), Arcann did (bc it was one of his goals), which says something about their characterizations.

Zuko and Ursa were shown to have a good mother-son relationship, and it played a role in Zuko's character. With Arcann and Senya, we don't really know (not much was shown in expansions). We know Arcann didn't hate his mother, but possibly didn't have warm memories of her either. The reason is most likely, like Senya said, her children wanted nothing to do with her (which is a bit untrue about Vaylin, but okay) and leaned more towards Valkorion. We need to remember that on Zakuul Valkorion isn't just one of many great leaders, he's the greatest, and seen as a god by most citizens, so safe to assume the same would apply to his children as well.

Zuko and Azula's siblingship (i'm out of words) is a bit similar to Arcann and Vaylin's in way of brother knowing that his sister isn't good, but still caring about them (even if not showing). At least it's what I saw. What's different is how Azula treats Zuko, compared to how Vaylin treats Arcann. I think Azula showed compassion or concern for Zuko maybe twice, but I'm not entirely convinced that it was 100% sincere. Vaylin, on the other hand, seems to trust and care about Arcann (with bits of sass and questioning his life choices), and switching to complete opposite after him saving Senya. Also, I don't she ever called Arcann a failure in their father's eyes.

Now I want to say that their roles in stories aren't the same either. Sure, both are introduced to us as antagonists, but in reality, Zuko was never a true antagonist (we get to learn this somewhere mid-season 1), when Arcann remains the main antagonist for whole of KotFE. Zuko didn't start a war and didn't participate in conquest of other nations too much, his main goal was to capture the Avatar so to restore his honor (and deserve his father's forgiveness). Honestly, I think it's safe to say the Zuko is one of two main protagonists of ATLA. Why does Arcann want to capture the Outlander? Solely because his father's spirit still lives inside this person's mind, and the best solution to keep Valkorion away from the galaxy is not letting the Outlander free (hence the carbonite freezing). And Arcann doesn't want or need Valkorion's forgiveness when he attempts to kill him (or kills him, depending on your choice. anyway, his action directly leads to Valkorion's "death"). And right after that he becomes a ruler of Zakuul and begins the conquest of Republic, Sith Empire and everything he can reach (the reasoning behind this is still unclear to me though; maybe because he was raised with ruling Zakuul in mind and he didn't anything else, idk). Point is, he's responsible for war and main's character imprisonment, which makes him the main antagonist of KotFE. They have it the opposite ways - Zuko starts as disgraced prince, supported by a little group of people, and in the end he's recognized and appreciated by his nation, and Arcann starts as respected by his empire, later becoming less and less loved, until some groups start rebelling his rule, and in the end he doesn't get to rule Zakuul again.

This leads me to their morals. See, Zuko didn't have the worst morals in Fire Nation, even more, he expressed care for loyals soldiers of his nation before getting punished by Ozai. During first season (and about a half of second one) his views on other nations are what he was taught before. However, these views are challenged by travelling in Earth Kingdom, witnessing people suffering from war Fire Nation started and hating its people (you already know all of this), and with this he comes through final stage of redemption when he's back home. Unfortunately, Arcann doesn't go through this, and he's shown to be more ruthless.

Alright, when it comes to their redemption arcs, well let's say they are different (both in quality and the way they go through it), I'm just a bit tired of long explanations at this point. Zuko's arc is one of the best ever put on television, and Arcann's... well, it definitely has potential, but is criminally underdeveloped (there are other people who will explain it better than I ever could).

What's similar: role of disgraced son, living in shadow of their sibling, serious injuries on the left side of face (though with different meanings), obsession with capturing the main character, having a redemption arc.

What's different: role in the narrative, role in their society, characterization, relationship with sister and mother, different end goals (before redemption), paths to redemption.

#ah. ofc it didn't show in the tag bc of the youtube link. ofc. gonna be down bc of this)#hey look at me rambling about something only maybe 2 people take seriously #also i noticed that parental characters are better in swtor and children characters are better in atla. do what you want with this #it's 3:30 am i should be sleeping but here instead writing this #(forgive if i have some spelling mistakes. brain shutting down but i won't be at peace if i don't post it right now)#okay so if you have thoughts on this... you really don't have to waste time on this #i really only wrote this because i was annoyed by some peeps on reddit claiming vaylin is off-brand with a straight face #(and then posted this on tumblr bc i don't want to suffer those people on reddit)#what am i doing with my time #(not gonna tag atla bc it's not really about it)#swtor #arcann #vaylin #valkorion #senya tirall #kotfe #kotet #pauletta's babbling #pls send help #(or oc aks to give me some free serotonin but no obligations ofc)

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aheroinasuit · 3 years

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According to Aristotle, a tragedy is defined as: “A hero destroyed by the excess of his virtues”.

My favourite kind of fictional hero is the tragic hero. It has always has been. I'm mostly indifferent to big bad x/society makes hero react and nothing is ever their own fault and has to fight the big bad guy and be heroic about it. Where is the grey in that? The mixing of black and white that defines humanity? So every time I feel myself attracted to a fictional hero, I wonder if they fit in the tragic hero archetype. Let's see if John Reese fits, shall we? The tragic hero is a literary archetype. While John Reese is often called an anti-hero by fans and critics, for me he's the archetypical tragic hero.

Aristotle in his Poetics defines the tragic hero as a person who commits errors in judgement, which eventually leads to his death. Aristotle suggests that the hero of a tragedy must evoke a sense of sadness (I’m not fond of the word pity tbh) and fear within the audience, stating that “the change of fortune presented must not be the spectacle of a virtuous man brought from prosperity to adversity." But when was John Reese “in prosperity”? In the very first scene of the series, in bed with a woman he loved and wanted to make plans for the rest of their life with her. He was happy, ready to leave the military life behind and start anew. He was in love. It’s not money that does it for John, it’s love.

I've read people saying that the tragic hero can be the villain of a story, but in Aristotle's words the focus of the hero should not be the loss of his goodness. We are talking of a virtuous character. The audience usually doesn't feel sadness or fear for a bad person or at least the audience didn't in Ancient Greece. We are weird these days. (I just remembered my sadness when the Sheriff of Nottingham was killed in Robin Hood: Prince of Thieves... but he was definitely not a tragic hero. I digress) Aristotle establishes the concept that sadness is an emotion that must be elicited when, through his actions, the character receives undeserved misfortune, while the emotion of fear must be felt by the audience when they contemplate that such misfortune could possibly befall themselves in similar situations. Such misfortune is visited upon the tragic hero "not through vice or depravity but by some error of judgment." Basically, in the strict definition of the archetype, a villain cannot be a tragic hero. I remember in school when we were discussing Oedipus, the only thing he had to do in order to avoid the oracle's prophecy was to not kill men old enough to be his father and not marry women old enough to be his mother. And he did both, because he was labouring under false pretences. Thus, committing the worst of crimes without knowing it. So, the tragic hero, in essence a good man, never loses his goodness. But misfortune comes upon him because of an error in judgement. Hamartia, if you prefer (Hamartia in Greek means sin). It refers to a flaw in the character of the hero, or a mistake made by him. When it comes to Reese, that's leaving Jessica and going back to a life that was certain it would destroy him. Leaving Jessica to find another man, leaving Jessica with a violent partner, not being there when Jessica was killed.

It all begins with the character's Hubris though. (Hubris is arrogance, it used to be arrogance in comparison to the Gods.) What's John's Hubris? After his Father's death, he wants to be like him. The little boy standing at his father’s grave, listening to the men behind him talking about how he had been a hero led him to a life that, because of his inner goodness, might not have been for him. Even if John never believed it, he was a hero. So, tragic hero characteristics? 1. Hubris: excessive pride/ arrogance 2. Hamartia: a tragic error of judgment that results in the hero’s downfall In that crossroad, when he had to choose between a life with Jessica and being a hero for his country and those who needed him, he chose the latter. 3. Peripeteia: the hero’s experience of a reversal of fate due to his error in judgment (Peripeteia in Greek means adventure. Yes, I'm Greek, in case it hasn't been obvious by now) The story becomes compelling when the protagonist’s choice has tragic consequences to himself. That's what makes the character compelling too, isn't it? Jessica calls, asks for his help, he promises to go help her, he ends up in Ordos, where he's being betrayed and left for dead. Only he's alive and Jessica gets killed. Thus, he's disillusioned about everything he did in his life, killing people he didn't want to kill for the good of a country and an agency that had no qualms to murder him while losing the woman he loved. Guilt! 4. Anagnorisis: the moment in the story when the hero realizes the cause of his downfall Is it the moment Kara shoots him or is it the moment he's told about Jessica's death in the hospital? It could be either, it could be both. 5. Nemesis: an unavoidable consequence that usually comes because of the hero’s pride. Nemesis is the goddess who enacts retribution against those who succumb to hubris, arrogance before the gods. Nemesis was not necessary to be part of every tragedy. For example, we can find her in Oresteia, but that's because Orestis killed his Mother to avenge his Father's murder. Is it part of John's story? I'm not sure I am of the same opinion as John himself would be. Did he commit a crime to be brought to justice? And if his crime was leaving Jessica to keep on fighting so he could be a hero like his father, was it justice that he never believed himself to be a hero? He lost his purpose. And then Harold came along and he found another person, and John might never believe he's a hero but everyone else will. 6. Catharsis: the feeling of fear and pity that the downfall evokes in the audience This is about the audience, me and you and all of us. We get emotionally invested. That's the crucial element, to become invested in a character. So when the end comes, we fear about the character, and we are sad about him and the conclusion of his story. In the end, Oedipus' grave is said to be sacred to the gods. John gave his life for Harold and the world and his grave was sacred to those who knew about it. In the end, it was the only thing that mattered to him. He fits the bill, doesn't he?

#Person of Interest #John Reese #I'm only in the beginning of season 3 (but I know this ending)#spoilers #finale spoilers #tragic heroes

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tortilla-of-courage · 3 years

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Describing it as being like home is actually pretty accurate yeah.

And YES! I am totally willing to talk about my modern AU.

I've been calling it the Adoption AU because Time ends up adopting all of the boys. It mostly started as, I saw an edit for a tweet someone did with Wars and Wild that involved Taco Bell (cannot remember the blog or post for the life of me though), and so I wrote a thing about Warriors sneaking out of his university dorm to pick up Wild, who snuck out the window despite his broken arm, and then got extorted by Legend in exchange for silence at 3am.

This was followed by a fic where Groose decided spray painting a public building was a good idea and got himself and Sky arrested, set earlier in the timeline.

So then I made a timeline. Twilight is Time and Malon's biological son, and he found Wild on the side of the road one day (Wild's backstory involves a bad car wreck and an underground hospital, but no conspiracy bullshit. Yet). Wild has no memory, so they keep him. Wild brings home Legend, who was told his uncle died at school before a holiday. They then also keep Legend. Malon finds Four in her barn one morning for complicated reasons, and they keep him too. Twilight finds Warriors, who is in his class, hiding in an alley one day after he ran away from an abusive home and brings him home too. SS Impa (who I've nicknamed Shield because there are enough prominent Impas here that they should get nicknames too) is a social worker who's trying to find Sky a home and has run out of options, and turns to Time, who has a record of successfully housing 'unhousable' youths, and asks if he can take one more. He can. Wild finds Hyrule and brings him home because 'Rule needs a shower even more than Wild does. Hyrule stays. Wind's grandma ends up with Wind and his sister but can't financially take care of both and so Wind ends up with the boys and everyone is +1 Grandma.

Twilight has a fic detailing how he knows Midna and Dusk and I ended up shooting him (oops) but at least their social project gets handed in on time.

Then I started hashing out Time's backstory and suddenly this AU had plot. And organized crime. And a conspiracy. And secret societies.

The summarized version is that the gems from OoT are like, Idk what they do yet. Haven't gotten to a point where I need to figure that out yet. But they are Important and have to be carefully guarded. The Great Deku Tree (just called Deku because he's not a tree here) was Time's foster father before Ganondorf killed him. Also, Ganondorf is Deku's half brother. Because. However Time 'stole' the Emerald and he and Navi ran until OoT Impa (Sage) and Lullaby found them. So Time got adopted into Lullaby's family. Ruto inherited the Sapphire from her mother who also died from mysterious circumstances, and Darunia has the Ruby. Lullaby got the Ocarina from her late paternal grandmother.

Then Ganon finds them and tries to steal the Emerald from Time, so Lullaby goes looking for help and thus finds the sages. Saria is an anonymous hacker who uses the screen name 'Kokiri'. Time reveals he didn't steal the Emerald, he was Deku's heir, and then Navi goes missing. Time is home worried enough that he's physically sick, and Ganon decides to try and attack the home. Only Lullaby's family is Olde Money, and they live in a big, old manor, so Lullaby as Sheik decides to play 'Home Alone' with the secret passages in the walls and they piss off Ganon because when did that brat get a sheikah bodyguard??? Sage and Rottla (Lullaby's mother, who is fully sheikah as well) rush home from a thing and Kokiri is running a play by play watching the security cameras.

I pull in my headcanon that Time was killed in the Downfall Timeline by getting impaled on Ganon's tusk and Ganondorf stabs him with the tusk of a mounted boar head and then Sheik shows up to protect his brother, and then Mama gets home and is not happy to find this man in her home attacking her kids. Time is fine, but Navi stays missing. (She's alive tho.)

Also, Time's foster dad was the last leader of a secret society known as The Order of The Lost Woods, and Time learns this upon meeting Tatl, who gets him sucked into another event that would probably make a good action movie. I have thought too much about the Order and it's hierarchy, but what's important here is that Time ends up with a standing job offer and Tatl and he remain friends and we find out how I fit FD into this AU. It's not pretty. This is where Time loses his eye too.

The AoC came out and I added that Link in as Wild's twin brother and he shows up during the main plot.

Which starts with Twi getting kidnapped. (I'm not really meaner to him than the others, I swear, he's just the most logical choice to be Time's heir. Which he is. He doesn't know this though.)

So he's kidnapped by Ganondorf, who broke out of jail, Zant, who shot Twi in highschool, and Ghirahim, who has some history with Sky I haven't fleshed out yet and a very public rivalry with Warriors over twitter. About six weeks later Sage finds him in an abandoned warehouse (because of course) with a shackle on his left arm and a lot of new injuries. He ends up fine, but he tells Time later in the hospital what happened and he's both message and messenger and Time is this close to just committing murder. Tatl talks him down.

Somewhere here is the half finished fic where I introduce AoC Link as Luke/Knight, and this is as far as I've plotted thus far.

Other tidbits: Wild and Lullaby/Sheik are both genderfluid, Lullaby/Sheik married Ruto, Wild has a very popular YouTube channel, Twi does drag racing sometimes, Sky has a pet bird, Four has DID to explain how the Colours are here too, and Wolfie exists in the form of a random wolf-dog Wild found and brought home that Legend somehow convinced half the family was Twilight. Also, Warriors has somehow befriended an entire sorority and he doesn't know how this happened.

This... got long. As you can see I have a lot of thoughts about the Adoption AU. It's gotten a bit away from me, I'll admit. This went from 'Wild does stunts on his motorbike and keeps breaking bones but somehow not the bike' to 'Twilight got kidnapped and Time is the target of a mafia that Ganon runs and also maybe killed a man once' and I don't know how that happened. Also, this is the condensed version of the summary. My actual summary/outline is much, much longer than this. So if there's any detail you want more on, feel free to say so and I'll happily go into more detail (there are so many things I didn't even mention....)

And yes, Robbie having a bong is very important to my best friend, for some reason. He has one in a modern AU and he probably invented one in canon. I happen to agree that this makes sense for his character, if anyone would invent a bong in LoZ it's Robbie (this is such an anticlimactic end to this ask after the stuff about the modern AU...)

Also, sorry for the long ass ask. I genuinely don't know how to condense the Adoption Au down any further. There's a lot of important plot beats to cover, and I still skipped things.

-Attllhak

oh my GOD???? if you ever write and post this somewhere id love to read it, the level of "crazy" conspiracy/action movie elements implemented sound sosososo cool, from Ganondorf being Deku's half brother to trying to "send a message" via Twi and- just- all of this is SO good.i sat here and reread this ask like 3 times as if that would magically spawn more info about it ahaha

there's so much to unpack here but it's honestly so worth it i love every single detail!!! i can imagine the actual outline being way longer, nad honestly that just makes me the more excited/curious about all that might be missing from this ask - i cant believe it started with Wild and Wars going to Taco Bell of all things

also i can totally see Robbie making a bong, no matter the setting or AU. fits him a lot I'd say

and dont worry about long asks!! i adore opening up my askbox to see one ask take over the entire thing, it makes me really happy aha

#attllhak #im once again rendered speechless (in a good way) by your creative mind attllhak #tortilla asks #long post #linked universe #ask to tag #injury mention

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demonslayedher · 3 years

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I'm glad you reactivated the questions, here are some flowers for you: 💐 Seriously speaking I'm sorry that because of a question I asked you a few weeks ago you watched a series of videos of psychopaths 🥲It made me laugh at first but then I felt guilty 💔 it's all Muzan's fault for leaving us all with curiosity (imagine his parents' reaction once they realized there was something wrong with him even as a human)

Yay, flowers (which I shall kill with my black thumb)! And no, no, it’s fine, I had hoped it came off funny! I like listening to stuff like that while I draw anyway because I’m a nerd anyway and I found it very interesting.

Speaking of being a nerd, you have innocuously unlocked the following essay about Heian period nobility and wisteria flowers: There is nothing to state so in canon, but I find it highly reasonable to say Muzan might had been of the very powerful Fujiwara clan. Step inside my office, Anon.

Okay. So. The Heian period, simply put, was a time of cultural flourishing and beautiful pastimes, the origins of a lot of Japanese style aesthetics, and a romantic courtly like of romancing everybody else in the court. This is assuming, of course, that you were at the very, very, very, very top of society. Otherwise, the vast majority of people were poor and sick and starving and ew, in young Muzan’s world, we do not wish to associate with that. In the Heian court, Kyoto basically is the whole cultural world. Even though there were other cities that could rival Kyoto, the emperor was there, so it was essentially the cultural center of the country. The nobles who lived there got money from owning land in far-flung provinces, but actually having to live in those provinces? What a drag! Having to live away from Kyoto for work, even if it wasn’t an official banishment, often felt like a punishment to the nobles and their families who were used to the social scene at court. And, like affluent courts around the world throughout history, understanding all the intricacies of style and “Heian Rumors” was key to having social clout, and popularity was power. And yeah, nobles would be vicious to each other. While clan dynamics and history are complex and not something I’m getting into here (I don’t consider myself well-versed in it enough), the Fujiwara clan is a BIG DEAL. Basically, in Heian times, children were typically raised in their mother’s home, thereby heavily influenced by their mother’s clan, so besides a young man’s parents, his in-laws also would had been hugely influential in his life, as they will have a long-felt influence on his progeny. The Emperors typically married Fujiwara daughters. This, in addition to other positions of influence of the Fujiwara clan members usually held with influence over the Emperor, means that politically, there was no messing with them. Now, just because I say Muzan might had been a Fujiwara clan member, I don’t necessarily mean a member of the main branch of the family. Often, due to inheritance management, different branches of various noble clans might be given different surnames. The Fujiwara clan does have different branches, some of which did go one to have close ties with the imperial family even after the fall of their power at the end of the Heian period and all the way through the Taisho, and some branches carry some impressive family legacies but otherwise live like normal or high-class common folk in modern-day. (I know one such Ojousama from a renamed Fujiwara branch; she’s a sweetheart and never brings it up herself but every time I hear other people say things about her family, I’m like, dang.) We can venture from Muzan’s likely expensive medical treatment, multiple marriages (meaning other clans sought to be connected with his family even by marrying their daughters to a sick man), and even preparation for cremation as a baby that he was of a very, very high status.

Being the sick son of a prominent family may have warped his personality in multiple ways: first, he was probably already used to a culture of popularity equated political power. We see in Muzan’s dealings with humans in the Taisho period that he can be exceedingly charming to get what he wants (a psychopath trait, haha), so he was probably pretty aware of the complex ways of socialites in the court. But, even being aware of that, it probably frustrated him to no end that he was too sick to take part in the social pastimes where he’d gain clout. It’s also possible that he was a bit of a bargain husband for his wives’ families who were seeking to a make ties with his family, as they must not had been politically useful enough to be married off to other powerful matches. This may be some of why he was so ruthless to them, for he never saw them as useful to him in the first place. This probably got a bit worse once he became a demon. Now to be lewd, but he probably got more vigorous in his pursuit of more powerful lovers, and knew how to slay the women’s hearts as he liked (you know, popular Heian pastime, everybody had lots of lovers, it was the norm, though political marriages and legitimate children were still important). That new sense of power probably went to his head. But, ultimately, he must had been limited in clout since he couldn’t take part in any daytime activities, thereby limiting his access to more powerful spheres of influence. His reputation from having grown up sickly must had followed him too. It’s anyone’s guess how much affection his parents had for him and how happy they were about his health at first, and if and when they might had noticed his changes. He was a full-fledged adult by the time he turned into a demon, so who knows how closely they even associated with him. They likely had healthier children who they devoted more care and attention to, and invested more family resources in while assuming Muzan would probably die young.

Who knows what the final straw was in Muzan leaving court? Was it frustration at not being able to walk in daylight that made him flee to the Kanto area in pursuit of the blue spider lily (from near where the doctor lived) long before Kanto became politically affluent? Or was it the rumors at court about how he didn’t age, and that he was eating people?

Of note, a lot of the early legends of demons in Japanese culture take place in the Heian period.

In his book “Japanese History of Demon Slayers,” retired Shizuoka University professor Tetsuo Owada capitalized on the success of Kimetsu no Yaiba to dive into a lot of ties between the series and what it may pay homage to throughout Japanese history and culture. While this was published last September and a handful of his theories have been disproven by the second fanbook published last February, and while I think a lot of his theories are stretching a little too far to make strong connections, it’s still deeply, deeply interesting stuff. He goes into some specific comparisons of demons, like Minamoto-no-Raiko and his posse of four big bad warriors taking on the Tsuchigumo (giant spider demon) terrorizing the mountains north of Kyoto harkening to the case of Rui’s family (and, ding ding ding, this was the primary focus of the official Kabuki/Kimetsu crossover last November), as well as takes little questions left in canon and dives into them a bit deeper. One such question is, why were wisteria lethal to demons? According to Prof. Owada’s research, there is no historical basis for this. Some of the talk online is that: 1. Wisteria are in fact poisonous, and consuming too much of them would cause vomiting and diarrhea (though I’ve also seen people make jam out of them because of the fragrance, so, like???) 2. Beans are thrown around at Setsubun to ward off demons (like so, Feat. Muzan and Kimetsu Beans), and wisteria are of the bean family 3. Wisteria like sunlight, so perhaps like Nichirin, they soak up some of the sun’s properties that are lethal to demons 4. In the language of flowers (Hanakotoba), wisteria symbolize kindness, welcomeness, refusing to leave someone’s side, being drunk with love, being straightforward and truthful, not losing the humanity in one’s heart, thereby containing a lot of meaning contrary to the conduct of demons Interesting, but some of its kind of a stretch. While still finding it a stretch to apply it to wisteria being poisonous to demons, Prof. Owada goes on to say that since ancient times, while the wisteria has some negative connotations of how it was sometimes written with characters meaning “doesn’t heal” (不治) and growing downward with smaller and smaller flowers like symbolize the slow downfall of a family line, it conversely also carries positive connotations of longevity and flourishing family due to the fact that its vines grow upward.

Now, you might picked up at some point that the Japanese word for wisteria is “fuji.” Not to be confused with Mt. Fuji (that’s written differently), it IS the same fuji as in “Fujiwara”: 藤.

Prof. Owada goes on to explore the association with the use of Wisteria crests in Kimetsu no Yaiba, especially on the houses of supporters of the Demon Slayer Corp. His recurring thesis is that the pandemic is partly responsible for Kimetsu no Yaiba’s popularity since demon legends have long since had origins in epidemics, and he supposes the Wisteria crest has a protective effect on the houses, similar to a talisman used in a lot of real life rituals for warding off illness and then often displays in or on the entries of houses to protect the family every year (I have one such item gifted to me, it stays by my doorway, along with a couple sticks of charcoal (but the culture of charcoal is a post for some other day)). The talisman is in reference to a god of Hindu/Chinese origins being treated with hospitality by the So clan, so although other families perished in disaster/disease, he promised to always protect the So clan descendants, so the talisman says “Descendants of the So Clan” so that any household may try to claim that divine protection. The gratitude-exchange of hospitality and protection and sure sounds familiar! Prof. Owada isn’t done yet. While the crest design used in Kimetsu no Yaiba isn’t an actual family crest in in real life, there are lots and lots and lots of family crests that use a wisteria design and have the character for “wisteria” in the name. Any time you hear “—tou”, like Satou, Saitou, or even Gotou, you can typically assume it’s 藤. It’s very common nowadays, but the first family to be granted the use of this name was the Fujiwara clan, when one of the pre-Heian and very powerful emperors granted their clan head this surname, which was a major honor, and it marked the start of the Fujiwara clan’s political dominance (there was already influence leading up to this, but meh, we like clear-cut stuff to simply centuries of history, don’t we?). Furthermore, although we often think of the Fujiwara clan for their influence at court, and we might think of the Minamoto clan for warrior heroes who fought demons, Prof. Owada concludes his argument of wisteria’s protective influence by pointed out a long list of Heian period Fujiwara warriors who also were the heroes of demon slaying legends, stating that their name has also long been tied with demon slayer culture. SO!!! Let me go on with my theory here. Muzan is from the same family line as Ubuyashiki. At some point (I assume after Muzan is long gone from Kyoto), the family is told while their children keep dying, and they accept their mission to bring an end to Kibutsuji Muzan and clear this curse on their family line. My thought is that their ancestor was a full blood sibling of Muzan, one whom was more invested in than sickly Muzan. While perhaps already an off-shoot of the Fujiwara Clan and thereby not entitled to the same sorts of inheritance, they probably maintained close ties with them. But, as it was already not direct by that time, the other Fujiwara clan branches were not affected by this curse. To further spare the clan the effects of this curse, this was probably when that sickly branch took the name Ubuyashiki. (And yes, I have things to say about this name and its possible mythological origins which I find a highly, highly interesting connection. Prof. Owada supposes it is tied with Izumo Taisha Grand Shrine and that is why there are nine pillars, but as much as I love Izumo Taisha and its giant pillars I base my argument in separate Shinto (but also Izumo!) mythology and accept that there are not always supposed to be nine Pillars specifically and Gotouge simply chose that number based on the number of strokes in the kanji for ‘Hashira’ (柱) BUT I DIGRESS). So, the Ubuyashiki Clan is it’s own thing, but is sort of like a cousin to the other Fujiwara branches and thereby continues to enjoy Fujiwara support throughout the Heian period, like some of the Fujiwara warriors going out there and slaying some of Muzan’s early demon experiments, and using their influence to bring in other warriors to the demon slaying cause (pet

theory: Genpei War warrior Kumagai Naozane was a member of the proto-Corp and using Kasugai-garasu was in practice since at least late Heian period). While the Ubuyashiki Clan probably already their own inherited land (and funds that came from it), throughout their history, their cousin clans might also have provided financial support to the Ubuyashiki Clan. But, they probably distanced themselves from the clan due to the curse and not wanting to be tainted. When you bring back in the wisteria associations this puts the contrary associations with a flourishing and dying family line in a new light. Furthermore, the “not healing” way of writing “fuji” also means a lot more in the context of Muzan’s, and later the Ubuyashiki clan’s illness.

#KnY nerdery #Kny fandom theories and meta #kibutsuji muzan #ubuyashiki kagaya #Kimetsu no Yaiba #Demon Slayer

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naruhearts · 3 years

Text

It’s Happening.

Sorry I need to get this all out of my brain for a sec and review past stuff so warning for the rambly sloppiness-

A Key Concept: one can’t freely love another person(s) the way they deserve without first loving oneself. We know this is a vital aspect of interpersonal growth and healthy relational interdependence.

Dean Winchester now loves himself (LOVE YOURSELF, SPEAK YOURSELF, folks). He has forgiven the Ghost kid...unshackled him and let him dissipate into the ether of a toxic past (which was all smartly foreshadowed in the metanarrative throughout the past few years over and over again *gingerly cradles my Scoobynatural 13x16 meta* because HELLO, Cas the Honest Man truly was the interpersonal catalyst to saving Dean the Righteous Man. Cas saw the ghost underneath the monstrous shell, the wall, the barrier of unworthiness, and helped set him free. 2 years ago, I wrote: “Who was able to reach through—to communicate and see the little vulnerable ghost boy behind the monstrous facade? A facade created by authority abuse? A facade created to protect himself from a scary world? Who was able to lend him a sense of self-acceptance? CAS. Cas is the living antithesis of control. He’s freedom. He’s non-conformity. And Dean’s finally LETTING GO like Elsa. Releasing himself like Rowena in 13x12. Conquering his traumas. What’s by is by. Dean’s saying I was trapped, but now I’m free. I’m my own person—not Heaven’s tool, not Hell’s tool, not my Dad’s tool, not society’s tool, but my own tool, corroborated by Cas telling him he isn’t a talking dog at the end.”)

Indeed, all this DID come to pass. The baggage was FINALLY unloaded. We meta writers and everyone else who saw the same things, agreed with us, and basked with us in noting those things are still feeling so, so vindicated because we saw the unadulterated story Dabb & Co wanted to tell all along), I’m manifesting.

I’m manifesting that self-actualized and self-loving Dean, finally internalizing and processing Cas’ love confession of truth - finally accepting that he is WORTH Cas’ love - will find Cas and USE HIS WORDS at the growth!Becky end of the long, beautifully devastating, winding road.

I’m manifesting that Dean will finally tell Cas he loves him, too.

That he always did.

Again, I commented re: 15x19 here (I’m also too lazy now to “analyze” this ep in that there’s almost nothing to meta anymore!! Ahh! Common sense):

Dabb & co pulled a necessarily (lol) fast one on us tonight: a literary Bros-Only mirage, veiling the actual narrative underneath -> Love and...Love, in which the Winchesters of the modern age function and self-regulate poorly without their loved ones. Self-actualization and self-love — both of which currently manifest in the brothers’ life courses as facilitated by emotional-passionates Edlund-Thompson-Dabb and more — involves love for others. Of note, Dean Humanity Winchester finally understands his worth. The penultimate trigger for him to love himself was Cas’ unconditional love for him. Cas, the key of truth and free will, opened his heart completely. Dean’s heart, mind, and soul are finally congruent FOR LOVE.

And here:

**And by proxy the greatest love story ever told is entrenched in free will; every action Cas performed after saving Dean Winchester from Hell has been executed with Dean’s influence, character, human essence. Cas and Dean further lit, enhanced, stoked the flames of free will within the other upon first contact -> “When Castiel first laid a hand on you in Hell, he was lost!!” ...[shakes S8 & the Naomi storyline under your nose; take a wonderful storytelling whiff]. They met in the middle on their own accord. Dean and Cas trusting each other, choosing each other, believing in the other, all literally + figuratively threw Chuck’s authority off the rails.** In other words, it’s almost like we can state, with potential certainty, that a love story, a love story of various iterations and multifaceted forms — platonic (Sam, Dean, and Cas welcoming Jack into their non-nuclear Found Family) and romantic ([sub]textual: Dean and the Angel of Humanity Cas) — has again led, all this time, to Chuck’s downfall.

^I wrote this during 15x17. OF COURSE, it’s not subtextual anymore!!

To reiterate:

Free will is love. Love is free will. Love isn’t bound by anything, isn’t trapped nor suppressed by universal rules. It doesn’t exist in a singular vacuum. It controls and frees itself. Love ebbs and flows and transcends even “the veil of death and saves the day.”

In fact, “Love can only be genuine if it’s freely chosen. Which means, unless a personal agent has the capacity to choose against love, they don’t really have the capacity to choose for it...[i]n a world that is centered on love, even God can’t be guaranteed to always get what he wants.” x

Dean and Cas’ love for each other, unexpected, unpredictable, unprecedented and autonomous, permeating the fabric of natural predetermined order, again caused Chuck’s downfall. Oh boy oh boy oh boy.

It’s been building, building, building, waxing, waxing, waxing into a full bright moon from S8-12, then underwent another fundamental narrative shift into textual endgame territory from S13-15 that encompassed the self, the transcendental merging of Jungian Persona and Shadow, that all gathered to the textual surface, Who Am I (I mean, I WROTE THIS FOR @profoundzine within the context of mirror self S14 about DEAN AND CAS GAINING INTERDEPENDENCE which also came true!!); the show is finally going there.

15x19 closed the door to Ye Olde SPN.

It seems to me that 15x20 is going to open another door: one truly for the history books, one of Rebirth, embodying Free Will and Love and...Love, uncensored and raw in 2020, evoking the winds of social change and humanistic positive character arc growth that will topple all of us over into elation.

Endgame Destiel.

I keep saying it, but if 15x20 goes bad bad, I’m with you all in marching up to the offices and raging. However, everything thus far storytelling-wise was constructed to finish the picture they started painting since S7/8.

Goddamn, I’m HYPED FOR NEXT WEEK!!!

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ts1989fanatic · 3 years

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Taylor Swift, Britney Spears and the media cycle that demands pain from our pop stars

Emma Clifton 08:30, Feb 16 2021

Britney Spears was robbed of her public image during the height of her fame. Taylor Swift was robbed of her music during the height of hers.

Why does our pop culture system seem so intent on punishing the very women who keep it afloat. Emma Clifton looks at a decade in young singers – and the variously terrible ways they get treated while in the public eye.

There was a theory floated on the podcast You’re Wrong About that ‘fame is abuse’ and you’d be hard pressed not to agree if you were one of the many people who saw the recent New York Times documentary Framing Britney Spears, and realised just how badly we as a society treated Britney Spears before, during, and after her rise to fame.

The paparazzi, the media, the comedians – and then the fans and look-i-loos who continued to buy all the magazines that ran headlines about what a train-wreck she was, when really she was just someone in her early twenties, trying to raise two children while being one of the most famous – and hounded – people on the planet.

The documentary discussed at length how we as a pop-culture obsessed society love to build up a talented, attractive young woman and then buy popcorn in preparation of when we can gleefully watch them tumble from grace.

(And it’s not just pop stars, of course; the resplendent rise and then the racist fall of Meghan Markle’s position in public opinion is one of the most recent examples we have of when good headlines go bad.)

When I was working at Creme magazine, between 2009 and 2012, our pages were over-flowing with talented young pop singers: Taylor Swift, Selena Gomez, The Jonas Brothers, Miley Cyrus, Demi Lovato, Rihanna, One Direction, Justin Bieber.

When you look back on the decade that has passed by since, time has not been kind to any of these people.

Either the showbiz demon took something from each of them – or they had to completely disappear from sight for years at a time in order to survive. Sometimes both.

There have been eating disorders, drug overdoses, rehab stints, broken marriages, abusive relationships, chronic illnesses. These kids – and they were kids – were so young when they started, they’re already on their fourth or fifth reinventions.

Most of them haven’t hit 30 yet.

And when you’re a female pop star, so many of these reinventions revolve around your sexuality.

Heck, when I was at Creme, Demi, Selena and Miley were part of the ‘purity ring’ club, where they all gushed about staying away from sex until marriage while their stylists dressed them in the tightest clothes possible.

The message from the marketing teams behind each of them was very clear: Sell sex, but don’t ever enjoy it.

This is the same battle Britney faced a decade previously – look like a Lolita, but make sure you never have sex with your long-term boyfriend because then you’ll be expected to cry about the shame of it on national television.

This was also the time of paparazzi trying to take up-skirt photos (exactly what it sounds like) of female actresses as soon as they turned 18; 18 – the age where you can legally have sex in America – was a big deal in pop culture.

There was a countdown for when the Olsen Twins turned 18. When Lindsay Lohan turned 18, Rolling Stone ran a breast-focused cover shoot with the headline: ‘Hot, ready and LEGAL’. And it was just fine! Totally accepted. These girls, they were always up for it, right?

And then we get to Taylor Swift.

Taylor is re-releasing Love Story, the song that made her famous, the song that I first heard in the shower (yes, I had a shower radio) when I was 20 and immediately started crying, because it hit me square in the middle of my pop culture diagram: love songs and references to Romeo and Juliet.

It’s from her second album, Fearless, which she wrote when she was aged 16-18 and which won her four Grammys, including Album of the Year. It’s also an album that no longer belongs to her and she can no longer perform, due to some millionaire f...wittery committed by her former manager. But we’ll get to that.

From 2008 onwards, Taylor became a big deal for her music and then, like it always does for women, her love life became the centre drama.

She never talked about a purity ring (thank God) and she sung pretty openly about sex from her third album onwards (Sparks Fly, an iconic song), plus she had the audacity to date a bunch of boys and look happy while doing so. Naturally, her punishment awaited.

To this day, she is still ridiculed about lyrics she wrote in her first couple of albums… songs she wrote herself when she was literally a teenager.

If I had had written an album when I was a teenager, it would have been about my crush who caught the bus, Kevin from The Backstreet Boys, worrying about my thighs, and, I don’t know, my cystic acne.

I’m just saying – we let powerful men get away with s... they pulled when they were young with the old line ‘boys will be boys! They were just kids!’; it just never seems that generosity is never extended to young women and their far more harmless explorations of teenage sexuality.

Because she had yet to have a public mental health crisis or rehab stint, it was clear that Taylor was never going to be the architect of her own media downfall.

Luckily, one was invented for her. After a long-lasting stoush with Kim Kardashian and Kanye West, where absolutely no-one (including Taylor) came out looking good, Taylor suddenly because persona non grata in pop culture and the long-awaited comeuppance began.

And so, she disappeared – in a way that celebrities can do these days. (As a side note, can you imagine how different Britney Spears’ life might have been if she had been allowed to disappear for a couple of years?)

It was only when she released her documentary Miss Americana on Netflix that the public got what it had been craving the whole time – the dark side of Taylor Swift’s fame.

An eating disorder, a sexual assault that she ended up being sued for and, then, the poisoned cherry on top, losing the rights to all her past music thanks to her old manager.

Finally, our hunger for bad news had been satisfied. We had seen her scars and so we could allow her back into the spotlight again.

It’s been interesting watching the roll-out of new music from so many of these female artists during a pandemic: Selena, Demi, Miley, Ariana Grande are among the singers who have eschewed the normal long roll-out of publicity in order to release their own music, without much of the media fanfare that typically accompanies it.

Taylor herself released two albums, without any of the (slightly inane) games she normally includes in the lead-up. You can’t help but wonder that – stripped of their endless touring, performances and appearances, these female artists have found some freedom in being able to just get back to the actual work.

If a pop star releases an album in the middle of a pandemic and no-one is around to give a shit about any of the outfits she’s wearing, does it still count? Turns out, yes.

Following the betrayal of Britney, Taylor, Miley et al by the media, you can see the slow change to have total ownership of their voice these artists have taken.

Social media can be a devil for many reasons but it has overtaken journalists and publicists as the middle man when it comes to how these women get portrayed to the public. Beyoncé has been instrumental in this – it was she who first released an album overnight back in 2013; a move that came without warning and changed the entire industry forever.

She who stopped giving interviews almost entirely, choosing to use her own platforms to get her message and music across. As a result, she’s never been more powerful and she’s never been more private.

As an explicit ‘F... you’ to the powers-that-be who bought her music from under her, Taylor has announced she will be re-recording all of her old albums.

Stories about millionaires against millionaires rarely draw sympathy from a reader but it does highlight how little actually belongs to the artist at the end of the day.

They can have limited control over their image, their public appearances, their private life, their work and their songs. And these are the success stories – these are the people whose names we know.

You have to hope that anyone young and female entering the music business has their eyes very wide open as to just what can go wrong – and what can go wrong even when everything goes right.

The first album Taylor is re-releasing is Fearless, the album that is the most chock-a-block with fairy-tale imagery and glittery optimism.

She’s promised that the songs will be new interpretations on the old originals and that seems only fair.

You can’t help but think that those fairy-tale songs are going to sound a whole lot different being sung by a 31-year-old who’s been through the public wringer then they were as a wide-eyed 16-year-old, on the cusp of making her dreams come true.

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bring-it-all-down · 3 years

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I’d like to talk a little bit about why I think Black Sails, while definitely tragic, is NOT a tragedy. Rather, I think that Black Sails ultimately is more hopeful than tragic.

The literary conception of tragedy is divided into two types, Greek and Shakespearean. I’m in no way an expert on tragedy, but broadly speaking, in Greek tragedy, the plot must have unity (it must have a clear beginning, middle, and end) in order for the audience to reach some sort of emotional catharsis. Most importantly, though, the plot must be driven by a character’s pointless struggle to avoid their fate brought on by their hubris (an attempt to become like a god), which has been predetermined (largely from prophesies) and from which they cannot escape. For instance, everything Oedipus attempts to do to escape his fate of killing his father and marrying his mother only draws him closer to that fate.

Shakespearean tragedy, on the other hand, has a less clear beginning and plot, including many subplots that take place over a much longer period of time: it lacks the Greek elements of unity of plot, time, and place. Furthermore, the struggle is driven not by divine prophecy but by a character’s struggle between good and evil; the character is doomed not by an external power but by an internal failing. Thus, while the tragic hero in Greek plays gains full knowledge of the situation by the end, the Shakespearean tragic hero rarely gains self-knowledge. In essence, Greek tragedy is more plot-focused and Shakespearean tragedy is more character-focused.

Although Black Sails has a predetermined end thanks to both Treasure Island and the historical context of piracy, if it was to be a tragedy, it would be a Shakespearean tragedy, not a Greek tragedy. The plot is complex, focusing on a number of characters, and is driven largely by the characters’ internal struggles. However, the show differs in several key ways that ultimately prevent it from being a full tragedy.

Most importantly, Black Sails lacks a real tragic hero, who in Shakespearean tragedy is somebody well-regarded––often a member of the nobility––who is fundamentally a good person, but whose fatal flaw leads to his downfall and the downfall of society at large. As Tom McAlindon puts it in his article, “What is Shakespearean Tragedy?”:

The hero’s fall involves a self-betrayal or loss of identity which constitutes the breakdown in the balance of a richly-endowed nature, one in which feeling is so powerful that it is never far from the point of destructive excess...loosely speaking, then, anger and ambition (including pride, a sense of honor, and the desire for glory), and, on the other hand, love and grief, are the passions whose overflow brings disaster; and it should be stressed that the first pair are to be seen in as positive a light as the second (9-10).

This tragic hero frequently wants to do good, but is blind to the truth of reality, and his initial errors in judgment due to this blindness compound over time, leading to his destruction. Throughout this decline, the ‘hero’ status is maintained through a constant reminder of the environment in which the tragic hero exists; Othello’s paranoia, for instance, is in part a product of the racism in Venetian society. Furthermore, the tragic hero is always juxtaposed by a manipulative figure who knowingly attempts to rouse the hero’s passions for his own gain.

In Black Sails, the person who most closely matches this description is Flint, a high-ranking pirate who commands the respect of his inferiors. Flint certainly is driven by some continuously shifting combination of ambition, love, and grief. His entire project is one dedicated to honoring Thomas’s memory, but it’s also very true that Flint enjoys being in power. He relishes the opportunity to take back command of the Walrus from Dufresne, and as much as he sees his crew as men rather than animals, he absolutely believes himself superior to them. His penchant for murdering those who stand in his way is constantly justified to us through reminders that civilization is even more violent and less discriminating in its use of violence. Furthermore, he is manipulated at times by Silver (though the extent of each other’s knowledge of this is questionable).

This brings us to the question of Flint’s fatal flaw. Unlike with Shakespearean tragic heroes (Romeo’s impulsiveness, Hamlet’s indecision, Macbeth’s ambition), it’s hard to pinpoint a singular flaw for Flint. To be sure, the guy has many flaws: his arrogance, his reticence to trust people, his anger, etc. But it’s difficult to pick out a singular flaw that leads to his demise. In fact, it’s perhaps his abandonment of these flaws that results in his death (“Flint” died, regardless of how you interpret the ending). He trusts Silver, he humbles himself enough to believe himself unworthy of overseeing a post-revolutionary world alongside Madi and Silver, and it’s his love in place of anger that makes it impossible for him to kill Silver. So, ultimately, his fatal flaw is trusting Silver too much, but this is not a flaw that is inherent to him, that he had even from their first meeting.

A second way in which Black Sails differs from Shakespearean tragedy also concerns the ending. In Shakespearean tragedies, the reciprocal relationship between the disordered tragic hero and the disordered society in which he exists comes to and end with the hero’s demise, and a new orderly society springs up in its place. In Macbeth, Malcolm becomes king, ushering in an era of benevolence; in Othello, Iago receives a fitting punishment, thereby restoring some sense of justice; etc. In essence, the tragic hero’s death results in the end of conflict and the beginning of peace.

In one sense, Black Sails follows this plot. The end of Flint brings about the end of war and the beginning of peace in Nassau under Max’s rule. However, we know that this peace is deeply unsatisfactory because we have come to learn that compromising with civilization is actually impossible. We learn that while the Maroons have a peace treaty, it does not extend to any other freed Black person, and it includes the Maroons re-enslaving people who come to them for freedom. We know through historical context that Jack and Anne only have a few more years of freedom before they’re captured and Jack is hanged. We know that Silver spends the rest of his life haunted by what he did to Flint. And so Flint’s death brings about no actual peace.

The key element that prevents Black Sails from being a Shakespearean tragedy, despite it fitting most of the typical components of a Shakespearean tragedy, is the idea that the central conflict––freedom vs. civilization––extends beyond the show. And so we are aware that no character’s actions will actually affect the conflict in a monumental way. Even though there is the idea that it could have ended differently, we know from the beginning, with our historical knowledge, that the revolution is doomed. The central conflict of the show is an ongoing conflict; there is no possibility of reconciliation as with the Montagues and the Capulets. While all Shakespearean tragedies begin in medias res, they have a definite conclusion, but Black Sails does not.

So, Black Sails is not a Shakespearean tragedy, but on its surface, it looks like it’s incredibly tragic. However, I think that, for all of the reasons I just talked about, Black Sails is actually a show about hope. Flint’s arc demonstrates to us that people can change, that hope can be found in a mutual recognition of suffering and a desire to end that suffering not just for yourself but for others. We learn from Max that nothing is worth doing unless it begins and ends with love. We find a deep sense of familiarity in these characters through the recognition that their battles are our battles, that their flaws are our flaws, but their failure does not have to be our failure.

Unlike with Macbeth or Othello or Romeo and Juliet, the Black Sails story is still being written and so long as that is the case, there is room for hope.

#black sails #I suppose there's an argument to be made that Flint's relationship with Silver is akin to his relationship with Admiral Hennessy #in terms of misplaced trust #But it's difficult to extract this into some statement of his penchant for trusting the wrong people because he often trusts the right peopl #like Thomas and Madi #So it's a tricky one

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myrfing · 2 years

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MOOOORE Z5+ TALK

in a weird way I just...even though venat is my favorite and I love her something unbelievable and her message is not devoid of this things-can-be-better hope (even if it is more focused on the courage that things might just not and you can still continue living/her power being represented by stasis) I just have a favoritism for hermes' pov on everything. that person who said something like children will get pissed the hell off that the world is not perfect & they are right....like yea. what would anything matter to me if not for that immature idealism that always wants suffering to at least be acknowledged AND worked on. I disagree with the expac hinting that striving for perfection will always lead to doom i just think it's possible to strive for perfection all while knowing it is not attainable. which isn't like. exactly opposed to the msg of the expac and I know it tries to dance on that boundary of "how much chaos/growth/movement/life will loop back around to stagnation/stability/stasis/death" and the idea that you will need both in order to do exactly that (also venat herself says the world was never perfect) but i'd be lying if the last civilization shown in the dead ends and stuff like that didn't make me go 🤨. again. writing thing where I think it's literally impossible for human people to write accurately about paradise nor its issues because it simply does not exist much even in the realm of ideas. lol. and that's exactly why I think striving for it cannot lead to a definite bad end...because the shit is not there! the world will continue to be as it is. it changed with us and there will never be a point where we can just stop and get complacent. but it's trying for me that ever makes me feel like life means something.

venat loved the world as it was far too much to have intervened in its flaws until they were backed into the bitter end while hermes took the first chance he had to maybe bring it all crumbling down snowpiercer style...and maybe there was no fixing the ancients from their idea that they had the divine right to do the things they did re: the creations as it was so central to their way of life but maybe if that had at all been even addressed beforehand would things have turned out the same. consider tha problem..

and maybe I aaam just wrong since I've ALSO blabbered on so much about how the ancient's shelteredness and lack of experience and unquestioned faith in their innate superiority is what lead to their downfall and that maybe is a result of them getting too "close to """"perfection""""' and thus forgetting how it is to struggle (combined with shb's earlier themes of eroded remembrance) but I just don't think that is necessarily the determined fate of every single society that might reach to always fix its flaws and be better. a lot of the time the nuance is rather in which flaws are deemed important and what is deemed a flaw in the first place instead (and if this had been touched on more I would not request this heavyhandedness but)....as venat says, imperfection has always been there, and it only took her travelling a bit to see it. It would have been a little easier for me to swallow had she said she was taking their belief that they were perfect and the "meaning" that was handed to them blah blah god is tater tot shit. which is. what she said but also like, not, because of the way the story tries to portray amaurot/elpis as "paradise except when it's not". but I dunno I also get the story starts working on such an esoteric level that I'm nitpicking at this point

#6.0 spoilers

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sidecarghost · 3 years

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Spn Pride Week - Day 3 Trans

AU human!Cas is human and no supernatural. Trans man Dean talks to Cas about how his mom and dad failed at supporting him when he was four years old. Cw: transphobia (no derogatory terms just John is an ass and Mary rather keep their home life calm so she enables his bigotry and fails to be supportive of Dean)

"Dean?" Cas’s voice interrupts Dean’s reverie.

"Mmhmmm," Dean's face is nuzzled between Cas's shoulders, so making intelligent words isn't easy.

"Would you be comfortable about telling me when you found out you were a man?" Cas asks in his deep, soft voice.

Dean sighs. He wants to tell Cas everything, but some stories are just so sad. Dean isn't sure that he can share those stories and still be himself afterwards. He'd like those stories to float down a river and sink into the ocean, where no one can ever find them again. Including Dean. Especially Dean.

"I don't want to pry Dean, but if you are alright sharing that with me, then I would like to hear it and know you better," Cas's voice is gentle like a breeze, and Dean wants to roll himself up in it. The voice would shield him from anything that was attempting to impale and destroy him.

Dean is glad that his face is nuzzled into Cas's back. Maybe he can share this story as well supported as he is. He has the man he loves wrapped in his arms, and he gets to nuzzle into him like a pillow. Everything seems safe, warm, and otherworldly, if Dean was going to tell Cas unsettling things that give him nightmares then this would be the right place and right time to do it. If only he wasn't always so scared. If only he wasn't so broken.

"Always," Dean whispers into the neck of the man he loves. "I always knew, ever since my first memory." Dean exhales and inhales. Dean closes his eyes and tries to squeeze out the pictures of the past that spring up in his mind. He tries to bury the contempt of his father's face. He seeks out a gentler memory instead. Dean brings to mind one of the last conversations he ever had with his mother. "My mom knew I was a boy, and after she died it would be ten years before anyone else knew again.

***

"It came up, back when I was four years old and Sammy was still a baby. Everyone kept congratulating my mom and dad over the birth of baby Sammy, they told my parents that Sam would grow up to be a strong, handsome man. And I didn't understand. I wondered how could these strangers possibly know that Sam would grow into a strong, handsome man? Couldn't he just as easily grow into a strong, handsome woman? I asked my father why everyone thought Sam was a boy, and he told me that boys have penises and girls have vaginas. Then he laughed and said something like 'out of the mouths of babes' and ruffled my hair. I didn't understand how my dad could be so sure, but I also didn't want to ask my dad to explain, because he didn't like lengthy explanations. He had taught me that lies take a lot of words to explain, and the truth is always simple, and when I asked him to explain what he meant he struck me. Because I was guilty of talking back and giving him lip. So I knew better than to ask my dad to elaborate.

"Instead, I sought my mom out to see if she could help me understand, and I remember I was so sad that it took a lot of will power to bite back crying. I knew I shouldn't be sad, because my dad explained to me that being sad is the same thing as being lazy. If you have enough energy to cry you should have enough energy to fix whatever mess made you feel bad in the first place.

"So I put on my brave face, and I asked my mother why I had to be a girl. My mom had been rocking baby Sammy, but she looked right into my eyes with all her attention focused on me. Like my question was important and serious, and not a joke like I worried it might be from my dad's reaction. She told me that was nonsense, and that no one ever had to be a girl. My mom told me about her own mother Deanna that had been born as Dean, then learned she was a girl and changed her name. Then Deanna married Samuel, and he had been born with the name Samantha, until he let everyone know he was a boy and changed his name. My mom told me no one can look at you and know if you are a man or a woman, only you know for yourself.

"Cas, I don't know if I can ever properly explain how wonderful that story was to me. I had been ready to bawl my eyes out that I had been born wrong, but my mom told me that wasn't true at all. My dad was the one that was wrong, because everyone knew that Deanna was grandma and Samuel was grandpa. There was never any doubt. I was so happy. Maybe that was the last time I was ever truly happy. I imagined myself telling my dad that he made a mistake explaining things to me. In my head, my dad would laugh over how silly his mistake had been, and then he would ruffle my hair and tell me that he was sorry about that. He'd pull me into a hug and say he was so proud to have two sons. I would return the hug as big as I could, and then tell him we should probably wait until Sam can talk to make sure we don't make another mistake." Dean wishes that was the end of the story. The images of a lifetime ago of a happy homelife that he imagined in his head could have been reality. It all seemed so possible back then.

"Your mother sounds like a very caring person, Dean," Cas says softly.

"She was caring, but things between us were never the same again. I think she cared a little too much about keeping things peaceful and avoiding conflict. Sometimes you need to fight for something you love," Dean says wistfully. "Anyway, before I ran off to tell my dad his error, I asked my mom why dad didn't know that. Why did dad think you can look at someone and assume they are a boy or girl without ever asking them?

"My mom got really still at that question, and she looked so sad like her spirit had been dragged away and she'd never be able to reach it again. When she answered my question her voice was distant and cold, like she was just saying the words but they had no meaning. My mom told me that sometimes people fear things that aren't the same as them, and this fear leads them to hate things. She told me it was like a disease that would eat at people's thoughts and turn them the wrong way. People with that disease would judge others without ever even meeting or knowing them.

"My mom told me that John wasn't a bad man. John was just suffering from a bad disease. Sometimes the disease is incurable, because it takes a very strong will to admit when you are wrong and that you've done wrong to others. My mom told me I must never let my father find out I'm not a girl, because as long as that disease clouds his thoughts he will hate me. She told me that she would pray for John to be cured of his hatred, but in the meantime I would need to conceal who I was and act like I'm a girl. I told my mom I was afraid of my dad hating me, and my mom told me that I could pray to the angels that watched over us if I needed protection. I had never seen angels, but my mom had faith in them. I kind of understood faith meant you believe something without proof. So I told my mom that I would pray for their protection, and I would pray to them to help dad get better, too.

"I didn't tell my mom, but I also prayed that Sam would never catch John's hatred disease, because I loved my little brother so much. I didn't want Sam to hate me.

“The prayers my mom made weren't answered before her death. There was a fire in our house, and my mom didn't make it out alive. Sam was still a little baby, and I held him close and carried him to safety. My dad tried to save my mom, but he couldn't reach her. He told me that the fire was supernatural, because of the downfall of society. He told me that monsters were being sent to punish everyone, even the innocent people like our mother, because bad people failed to obey God and his plan for how we should live. I didn't care about God, his plan, or his monsters. I just missed my mother, and I wanted to weep because I'd never get to hear her voice or see her smile again. But I knew my dad would strike me if he saw me crying, because I should be fighting the monsters that did this and not be indulging myself in sadness.”

"Dean, you know your dad didn't have a disease right?" Cas asks. "He chose to be a bigot. Calling it a disease is just a way to keep him innocent of blame, but every hateful thing he ever did to your mom, Sam, and you was his choice. There was no disease or monster to blame."

"Yeah, it took me too long, but I eventually figured that out, too," Dean replies.

//this excerpt is from ongoing story on ao3 see tags for link

#spnprideweek #transgender pride #trans man Dean Winchester #destiel fic

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quokkacore · 4 years

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LIBERALITY: starshine [oh sehun] (m)

part II of all your gods are fake

summary: sehun gives you what he can, but it’s never easy. you have to work for it as well, but effort pays off, and he rewards you so kindly.

pairing: freedomfighter!sehun x reader

genre: smut, angst, fluff, light horror towards the end?

warnings: language, descriptions of war, descriptions of cults, mentions of violence, shibari, thigh riding, handjobs, reader has nipple piercings, sensory deprivation (blindfolds and ties), seizures, knives

song rec: rosalia & ozuna - yo x ti, tu x mi ♡ taemin - never forever

word count: 4.3k

a/n: this was originally posted to my old writing blog on may 9th, 2020. if you would like to be on the taglist, pls send me an ask or a message! <3

masterlist

He was getting agitated. You could tell this much.

It was already bad enough that the meeting so far had lasted for over an hour and a half, but now the tension of the situation was finally settling in, as everyone realized that it was finally here.

The last stronghold. Or so they believed. Or so he believed.

The meeting was only for the highest ranking officials of the resistance, people who The Brotherhood knew they could trust—the plan was far too important to risk it falling into the hands of The Sect of Seven at the hands of double agents.

The plan that, if executed correctly, could turn the tides and cause the downfall of the Sect.

You watched, leaning against the wall as Junmyeon, leader of The Brotherhood and face of the resistance towered over the war table, talking about possible strategies to take the last major neutral city and also take control of the country.

The Sect of Seven had existed for years before the war began—its existence spanned across centuries, millenia, even; dating back to the year The Prophecy of Brothers Alike was first proclaimed in the late twelfth century, and remained strong even almost a whole century after The Great Collapse of 2050, when global society had collapsed due to war, famine and climate disasters.

Then the war broke out, some ten years ago, when the first two brothers of the Fated Fourteen first made themselves known, springing the Sect’s violent plans into action.

Since then, the resistance had been built up by The Brotherhood’s efforts, both capturing strategic cities and territories across North America. The Sect was based in the desert, with the Sanctuary based in what was once Los Angeles, their control spanning across what was western Mexico, the american south, and half of the northwest.

The resistance was based higher north, in the Citadel, which used to be Chicago, territories consisting of parts of southern Canada, the rockies, the northern midwest and what remained of the Peninsula of Yucatan. Places like Greenland, the southern east coast and northern canadian territories had either been destroyed during the collapse or had since been reclaimed by extreme climate and nature.

The only major territory that remained uncaptured by either sides, the place where many had fled to avoid getting caught in the crossfire, was the northern west coast, and that was controlled by Washington DC.

The very spot the resistance was now planning to take.

Your eyes floated up towards Sehun, who was standing right next to Junmyeon, who was now listening to Chanyeol and Baekhyun discuss the logistics of a peaceful invasion.

“Overall, I think we still need time to form a solid strategy,” Baekhyun said, “Jongdae needs to get in contact with The Agate Sisters for some more weapons—”

“Which is not very easy, might I add—” Jongdae interjected.

“And even before that…” Junmyeon’s voice was loud, taking command of the situation, “Sehun.”

All eyes in the room fell to the youngest member of The Brotherhood.

Oh Sehun. The Oracle.

Sehun had become known to the world two years after Suho and Junmyeon were proclaimed the first two brothers of the prophecy, the same time as his twin brother. Being so young, his ability of both interpreting and creating prophecies was a sight to behold, both terrifying and morbidly fascinating.

You’d known him since he and his brother were children, before the three of you realized what the future held in store—pain and suffering for Sehun and you, and nothing but pleasure and debauchery for Sehün.

“Do you think you could consult with the spirits for a minor prophecy? Or any other interpretations of the prophecy?”

Sehun shifted in his stance, leaning back and forth. “I need time.” His voice was firm and gravelly as he crossed his arms, immersed in thought. “My most recent auguries have revealed to me that DC is the last stronghold that the prophecy is talking about. But I can’t be a hundred percent sure. Prophecies love to play mind games. We all know that.”

“Is there anything we have to be wary of when it comes to the prophecy? Double entendres, stuff like that?” Yixing asked, even though everyone in the room had heard the god-forsaken prophecy more than enough times throughout the past few years.

Sehun sighed, but closed his eyes and nodded anyway. A dramatic tension settled over the room, and Sehun began to speak.

“Cometh a day when seven sets of twins, be opposite ends of both virtue and sin—why am I going over this again, we all know this,” He huffed.

“Please just continue,” Baekhyun mumbled.

“Ugh, fine. Bearing eyes of blue and eyes of brown, cometh to tear the last stronghold down—” Sehun rolled his eyes, frustration evident in his expression. “The term stronghold has always been somewhat questionable. The prophecy was first declared in 1176, right? Early Modern English wouldn’t become a thing for another three hundred years, so most of this stems from Middle English. Some interpret stronghold as fort, or base, or holy land…”

Jongdae raised his hand before speaking, eyes flashing in alarm as he interrupted Sehun’s tangent. “Wait, wait, if others have translated it as holy land, then—”

“The Sanctuary.”

Junmyeon’s voice was quiet, but still commanded a heavy presence across the room, as a profound silence spread across the space.

“That means that the final battle could be in Los Angeles, on their turf. That would put us at a major disadvantage. We’re already at a major disadvantage.” The leader’s eyebrows were furrowed, using both hands to lean on the table as he made the connection.

The dread that followed was thick and suffocating, and you took the opportunity to speak up, wishing to rid the room of the anxiety gathering.

“But think about the implications of fighting the final battle in The Sanctuary. It would have to mean that we’ve managed to push them back sufficiently to the point where we feel confident invading their home base. Which we wouldn’t do unless we knew that we had a high possibility of winning.”

All eyes fell to you, and you crossed your arms, before meeting Sehun’s gaze. The look in his eyes was something akin to gratitude, being able to lift the sudden darkness. You lifted your hand to gesture back at Sehun. “Continue.”

He nodded, gaze stern. “Perhaps lovers lost to a most wicked brother, bringeth vengeance and hellfire upon one another… Loss could mean one of two things. Betrayal or death. But the rest of those two lines imply that the side that does the taking will suffer because of what they’ve done. That means that for now, none of us lay hands on any of the Sanctuary Queens, and those of us who have them, keep our partners close… Beware ye who heed this, for I warn thee now: suffer shall those who carelessly bow.”

“It has to be them,” A girl, Sasha, declared, “They’ve been lying to their followers for years—”

“That could mean anything. You know that.” Sehun’s voice was rough, eyes trained on the map that had been carved into the table.

A silence hung over the room, tension palpable as everyone remembered what the stakes were. These were lives and people’s free wills on the line, indescribable anguish promised by a prophecy written centuries ago to people who didn’t truly know their leaders. The end was near, but the outcome was nowhere near foreseeable.

“I’ll… I’ll try and do some more smoke readings.” It struck you how tired he sounded, watching as he rubbed his eyes with his thumb and index finger, “Maybe I’ll ask the spirit of the Oracle for a specific prophecy on DC. For now, we just have to be cautious. Watch for any suspicious activity here in the citadel and listen to intelligence reports. Jongin, you’ve got your moles at the Sanctuary, right?”

Jongin nodded, gaze dark. “Yeah. I’m meeting with Ren in two weeks. She’s the best of the best. I’ll see what she has for us.”

Junmyeon straightened his posture, everyone quieting when he opened his mouth to speak.

“I think that’s enough worrying about that for today,” He declared, sounding grim, “Before we go, you all know that not a single word is to leave this room. This is highly classified information. Meeting adjourned.”

You watched everyone file out of the room, hoping to speak to Sehun, yet somehow didn’t catch when he left. You got the feeling that that was what he intended.

So you left too, resolving to see him that night.

—

Sehun’s room was easy to find, seeing as how it was right across the hall from yours, in the large apartment building the heads of the resistance had settled into. You knocked on his door, sighing when you didn’t hear any response. You tried one more time, then another time, finally a third time, before letting your head fall frustratedly against the wood of the door.

“Hun, I know you’re in there… please let me in.”

You heard muffled sounds of shuffling from behind the door, pulling your head away to lean it against the doorframe. Waiting, you strained your ears for a noise, hearing the occasional sound.

Eventually, you heard the telltale sound of heavy footsteps being dragged across the floor. You pursed your lips, waiting for the door to open, wondering what you would see when it did.

The door swung open slowly, and you were met with a tall figure, hunched over as he peered down at you. The exhaustion in his gaze was palpable, and you felt your heart clench in sympathy.

Sehun was 25 now. He was made known to the public some nine years ago, and on top of it all, he was the Oracle. Interpretations of any and all prophecies were up to him, a sixteen year old boy who had just discovered he was destined to spend the rest of his life fighting against his own brother, something that tore his family apart.

He was a child.

And now, here he stood, looking too worn, too hopeless for someone so young. His eyes had seen horrors he was much too young to see. Life had eaten away at the glow he’d had when you were both younger. The dark circles underneath his eyes were so pronounced, you’d think he hadn’t slept since he was a baby. His short, dark hair was greasy. You wondered if he’d been taking care of himself properly.

“Do you need anything?” His voice was raspy, quiet. You looked at him, brown eyes met yours. Your heart clenched. Here he was, mentally exhausted, and the first thing he said to you wasn’t a hello, but rather, asking quietly if you needed anything.

“Can I come inside?” You asked sheepishly, and he blinked for a second, before nodding, opening the door more for you to pass. “Go ahead.”

You stepped past him, into the hallway of his small apartment. The smell of incense invaded your nose, and you frowned. He closed the door, and crossed his arms. “What’s going on, Y/N?”

“Are you okay? You looked so tired today, you look tired now.”

“I’m fine—"

“Are you sure?”

“Yes.”

You refused to let him keep it all to himself. “Sehun…”

He leaned against the wall, head bowed, and you mirrored his stance, standing against the wall as well, but you didn’t look away. “Y/N, I can’t deal with that right now. People need me.”

“Sehun, you can’t force yourself like this, you’ve told me that yourself—"

“I have to make this work. I can’t fail like last time, not if DC is what we think it is.”

You sighed, taking a step forward, resting a hand on his arm. He glanced at it briefly, then raised his head to look at you. You said nothing, but guided him to sit down on the couch, and you sat next to him.

“Sehun,” You said, voice quiet, “DC is nothing but puppets right now pretending they’re actually doing anything. We have our puppets, the sect have theirs. You can’t be sure that a place like that is what determines whether we’re doomed or not. You said it yourself, there are so many possibilities that DC isn’t the place we’re thinking about.”

He took a few deep breaths, nodding to your words before rubbing his eyes with his thumb and index finger. He looked strained, and you moved to sit closer to him.

“Everything is so fucked up,” Sehun whispered, and you nodded in agreement. “I feel like everything is out of control. Like I can’t do anything about it. Meanwhile, Sehün—"

“Sehün has people who think he’s a god obeying his every whim, just like the rest of those—those idiots.“ Your voice was quiet, but firm, refusing to allow him to compare himself to his brother, "The only reason they look so polished and seem to have everything under control is they only leave the Sanctuary when they absolutely need to, to save face. They feel like they’re above everyone else.”

You took Sehun’s hand, carefully removing his worn, black glove before cradling it in your smaller hand, as if it were incredibly fragile. His eyes met yours, and you gave him a sad smile.

“The Brotherhood, on the other hand… You only use that title for formality’s sake. Yes, you’re all the leaders, but you see yourselves as equal to the rest of us. All of you are out there with us, on the front lines. You’re tired because you give everything you have to serve this cause, my love. You feel that everything is out of control because… well, it is. Lady Fate is a tricky one, we all know that. But you feel it even more because you’re dealing with it head on, not from some sparkly throne on a golden pedestal.”

Sehun’s eyes glittered with several emotions you couldn’t pinpoint, but you could see fondness in them. He leaned forward, pressing a kiss to the top of your head. “Starshine,” He mumbled into your hair, before resting his chin on the crown of your head, “Where would I be without you.”

You hummed, before allowing your eyes to flutter shut, and the two of you sat in silence for what seemed like hours. You reflected back to when you and Sehun both realized your feelings for one another, after a devastating battle in Salt Lake City where Sehun had given his brother the now infamous scar running down the left side of his face, some six years ago. He’d come so close to dying that day, and you’d realized just how important he was to you.

You’d been joined by the hip since you were children, and when the revelation came that he and Sehün were the brothers of liberality and greed respectively, you didn’t hesitate in taking his side, vowing to follow him until the bitter end.

It all made sense to you when you came to Sehun’s sickbed, seeing him resting and bloodied, that you’d actually been in love with the boy for a long time, perhaps ever since you’d first met him. You wouldn’t ever be able to live without him, and apparently, he felt the same way.

In this moral crisis, you were his anchor, his tether to the corporeal plane when his world was on an ethereal one.

Upon all the doubts that everyone had, as to whether the Fated Fourteen were truly gods or if they were simply men with delusions of grandeur chosen by Lady Fate for her cruel entertainment, he felt that you were what reminded him that he was human, that past gods were never truly capable of love or real emotion.

To be capable of loving you was a humbling experience, one that he treasured dearly, especially in moments like this.

“Do you remember what we did the last time you felt like you had no control?” Your voice was a whisper, full of promise and anticipation, as the hand that wasn’t holding his own came to ghost over his thigh. Sehun’s breath hitched, recalling the experience. Roughness against soft, supple skin, restraint and control, you giving yourself entirely to him before he gave himself entirely to you.

“What exactly are you proposing?” He murmured, and you exhaled as one would when they found something amusing, the ghost of a laugh. “You know what I’m proposing, Sehun. Don’t act as if I haven’t seen you teaching Chanyeol to tie his knots when he’s getting ready to go out on a field mission.”

His hand tugged yours towards him, and you moved as he sat back, resting his back against the couch as he helped you straddle his waist. You faced him, realizing with a giggle that he’d turned slightly pink at your accusation.

“Do me a favor,” He said, and you nodded, letting your free hand rest on his shoulder. “Never talk about Chanyeol when you’re trying to get me into bed again. You are the sexiest thing I’ve ever laid my eyes on… Chanyeol, however, is the most unsexy person I’ve ever had the pleasure of knowing.”

Your head tipped back with laughter, and he joined in with you. Your heart, upon hearing this, skipped a beat. You had a hard time recalling when the last he’d laughed was. “I think Sasha would disagree.”

“Yeah, but Sasha isn’t here now, is she? It’s just you and me.” He leaned forward, trapping your waist with his hands and letting his face come close to yours. You watched his eyes flutter down to watch your lips, inches away from yours. You gulped when his lips parted, his tongue peeking out to lick the pink skin.

“So you want me to tie you up. Take control.”

Your hands wrapped around his neck, and you smiled. “Only if you want to tie me up. I want you to have at least one thing you feel you can control.”

Sehun licked his lips again, sighing in amusement as he considered the idea. “Y’know, a few weeks ago, some of the field officers came in with a bunch of fabric they managed to smuggle out of LA…” His tone was quiet, and his hands began trailing downwards, pulling you against him, voice filling you with anticipation. Comfortable fabric was so difficult to come by these days, given that the Sect had taken what were once lavish city districts.

You gasped slightly when your core came into contact with his lap, feeling he was already starting to get hard, and felt your face heat up.

“I might’ve bought a silk tie or two off of ‘em,” He told you, eyes burning holes into your skin, “Wanted to see what my starshine would look like in pink.”

Your felt your hands tighten of their own volition against the fabric of his black t-shirt, your mind conjuring the mental image. “Fuck, Sehun. W-where’s the jute?”

He flashed a lopsided grin, and you felt the need to smack the smug look off of his face. How he could go from being so serious to this, was beyond you. You personally didn’t believe that The Brotherhood and The Lords of the Sect were gods, but Sehun’s duality, in situations like this, seemed to be supernatural at times, if you dared say so yourself.

He pressed his lips to yours briefly, before lightly nudging you to get off of his lap. “I’ll go get it, baby. Give me a second.”

He stood, catching his breath briefly, before walking down the hall, towards his closet. The hallway was slightly darker, and you stood, striding over to him as he pulled out the rope. He turned to face you, and he quickly cornered you against the wall.

“Shirt off. Bra, too.”

You grinned. “What are you gonna do this time?”

You could vaguely make out his features, but you knew his face was probably twisted up in smug satisfaction. Regardless, you obeyed silently, your chest rising and falling quickly with anticipation.

“Chest harness, for now,” He quipped, “Is that okay?”

You nodded, not breaking eye contact with him as you undressed yourself. You wanted him to realize that you weren’t backing down.

He seemed to read you perfectly, nodding in response to your answer as he watched you pull off the dark fabric, before reaching behind you to unclasp your bra. Even in the dim light of the corridor, you could see how his eyebrows raised and the way his lips parted slightly, lazy gaze falling down to your breasts. You knew what he was gawking at.

The studs embedded in your nipples were a dark stainless steel, glittering, alluring. You’d gotten them on a whim at nineteen from some clandestine tattoo artist on the way back from a field operation. He’d always had a bit of a fascination with them, the way they seemed to twinkle at him underneath the light.

"You gonna stare at me all night or will I have to tie myself up?”

Your playful jab snapped him out of his reverie, and he straightened his posture a few seconds later. “Go stand in front of the bed.” His voice was soft, but still commanding.

You stalked into the dark bedroom, standing in front of where you made the bed out to be. He followed you, before standing behind you. “Are you going to tie my hands up, too?"

"Not yet, starshine,” He declared quietly, into your left ear. You could tell he was untangling the jute, and you pursed your lips in anticipation. “You want to know what I’m about to do to you?”

“You know I do,” You whispered, a confession just for him, before lifting your arms and your hair for him to work.

“Too bad,” He sighed, ”Because I’m not telling you.”

You huffed, but didnt protest.

His arms began to wrap the rope below your ribcage, tightening the jute to the point where you could feel it digging into your skin, but enough to complicate your breathing. Taut, but not torturous. You closed your eyes, sighing quietly as he looped the jute higher up this time, just between your breasts and your collarbones, wrapping back to where he began, in the middle of your back.

The sensation of the rough fibers against your skin was by no means comfortable. It was scratchy and some stray fibers tickled at your chest. But its presence against your skin, the implications of its position and what was to come, was most definitely comforting. Intimacy with Sehun now was rare, you rarely even slept next to each other. But you knew that it wasn’t because of a strain in your relationship.

Sehun had always needed peace of mind and silence when it came to auguries and prophecy readings. Now, with the war coming so close to what seemed to be the end, he needed it more than ever, and the moments you shared with him came to a pause. You didn’t complain—the cause came before your emotions, now and always. But inside you were crying out for him; in concern, in longing, in yearning.

So maybe that’s why when he paused his ministrations and chuckled, tracing a finger down his spine, you whimpered quietly, thighs rubbing together in anticipation. “You have goosebumps,” He said, lips brushing against the shell of your ear.

“It’s been a while,” You answered, and he hummed in response, pressing a soft kiss to your nape. You sighed at the sensation.

“Drop your arms, and turn around to look at me,” Sehun whispered a few seconds later, and with some help from him to maneuver through the rope he was still trying to tie around you, you were able to complete his request.

“You’re so fucking gorgeous.” His voice was throaty, eyes scanning your body as you did the same, eyes landing on the growing bulge in his pants.

“Sehun, please just hurry.”

He shook his head, crooked smile still gracing his face. His hands worked quickly, looping the jute underneath the lowest rope, between your breasts.

“It’s not too tight, is it?” He asked, and you shook your head.

“It’s fine. Not too tight, not too loose.”

He nodded, eyebrows furrowing in concentration. “Okay. Let me know if it becomes too much at any point.”

“I know, Hun.”

Sehun’s dark eyes lifted their gaze from where his hands were working to meet your own, not saying anything. By now, the smile had faded, replaced by a stern look of concentration.

Be still, my heart, you thought, he is so beautiful.

“What?” You whispered, and he blinked.

His response was soft, gentle. “I would fucking die for you.”

You felt your face grow warm, and you lowered your gaze. “Sehun,” You murmured, “I—”

“Sh, sh,” He answered, continuing to tie the rope, “Listen to me, starshine. You’re it for me. There’s never been anyone else. A-and if anything happens, Lady Fate forbid it… There’ll never be anyone else.”

He finished his words as he tied off the final knot, and silently, you stood there, eyes shut as you pressed your forehead to his. For how long, you weren’t sure. Seconds, minutes, eons… Maybe no time had passed at all. You didn’t really care. Moments like these were never long enough, they always ended too soon. Sehun was your elixir of life, your lifeline, and in these moments, you felt immortal, invincible, powerful.

To be able to bring such a man like him to his knees, to be so ready to put himself on the line for you; you were sure it would be your ruin.

You surged forward, wrapping your arms around Sehun’s neck, and he caught you as you pressed your lips to his in a blazing kiss. His arms wrapped around your waist, pulling you impossibly closer. You whined into the kiss, the dark cotton of his t-shirt pressing against your sensitive nipples and their piercings.

“Sehun,” You moaned into the kiss, reaching down to tug at the hem of his shirt. “N-not fair, take it off.”

He hummed, pulling away to comply with your protests, revealing toned skin and the broad shoulders you so adored.

“Is it fair now?” He asked, grabbing your upper arms to pull you closer and press kisses to your collarbones and along your sternum. “I should tie your hands now, maybe then you’ll learn you’re not allowed to touch without my permission.”

“Shut up,” You said, ignoring his declaration as he pushed you onto the bed. You peered up at his broad form, towering over you in the darkness, almost trembling in anticipation, waiting for him to put his hands on you, to make a move.

A few moments later, he finally did, reaching down to pull your pants off, as well as your underwear. He pressed soft kisses to your stomach as he did. When both garments were finally tossed aside, he lifted himself up onto the bed, lips trailing up across your skin. His eyes met yours as he gazed up at you, through you, before pressing his lips to one of your breasts, your sensitive nipples hardening at the contact of his warm mouth against the cool steel embedded in it.

Your head tipped back, eyes fluttering shut, unable to keep eye contact with your lover. One of your hands came up to comb through his dark hair, whimpering as he alternated between your nipples.

“Sehun, mmph, baby…” You murmured, coming back to look at him when he let go and came back to kiss at your jawline.

“Up, starshine,” He ordered, leaving no room for protest, arms wrapping around your waist and hauling you up to sit on his lap. As you squirmed to get comfortable in his grip, one of his hands reached for his nightstand’s drawer, and he pulled out two pastel pink silk ties. Your heart leaped towards your throat in excitement when you registered what these were, hips subconsciously searching for friction against his.

“Sit still,” He huffed as he closed the drawer, before straightening his posture, dwarfing you even sitting beneath you.

Wordlessly, he brought the tie up to your eyes, covering them before tying it at the back of your head with one tie, quickly doing the same to your hands with the other, tying them tightly in front of you.

“Fuck, you’re so pretty,” He mumbled, hands raking from your hair to down your back.

His hands came to grasp at your thighs, propping them so they rested only atop one of his. You felt your core clench at what he was alluding to, inhaling sharply.

“Move your hips, baby,” He said, and you couldn’t bring it in you to deny him.

Another thing you couldn’t do was speak, you found, as you prayed you could maintain your balance and began to slowly rock your hips against the rough fabric of his dark pants and his toned thigh, your bare pussy rubbing listlessly against the coarse fabric. You didn’t mind however, perfectly content to let him speak, murmuring strange hybrids of dirty and sweet things in your ear.

The hot pleasure between your legs seemed to double at the restriction in your ribs and not being able to see or anticipate where his hands or mouth were. You buried your head into the crook of Sehun’s neck, peppering wet, opened kisses against his collarbones, your nails digging into your palms with a vengeance in hopes of anchoring yourself to something.

The movements of your hips soon became capricious, rhythmless, your whimpers becoming louder and louder as he switched between flexing his thigh and bouncing it like a restless child. In the darkness of the silk tie, you could feel the callousness of his fingertips as they dug into your hips, a guided meditation through your pleasure.

The room reeked of incense and sex, you realized as you attempted to delay your slowly building release by focusing on different things. Smells, sounds, and finally, Sehun.

This was the Sehun you loved most, the one you cherished most in your heart. The Sehun that was so willing to give, give, and give, but not to the point of recklessness, unlike the Sehun you had seen so often lately in the war room. This Sehun was yours, and yours only. And if the growing wet spot against his rough pants was any indication, then your body loved this Sehun as well.

“S-Sehun.”

“Hmm?”

“P-please let me touch you.”

“Alright, since you asked so nicely.”

You clumsily began to search for his hard bulge, and he grabbed your tied hands and guided them to something hard and hot. You jumped slightly in surprise, not realizing he had taken himself out of his pants while you were humping away at his thigh like a bitch in heat.

He laughed at your squirming, and you slowed the rhythm of your hips in annoyance, but not completely—your hips had stopped folding to you, subconsciously rutting, twitching gently against the rough, now ruined fabric, perpetually searching for release.

“S-shut up,” You panted, and he laughed again, pressing another kiss to your jawline.

“You shut up. I still have to make you come.”

His hands resumed their leisurely movement on your hips, your focus snapping back to the impending edge, thoughts blurring into incoherency as the pleasure against your core. Mindlessly, you let go of Sehun’s member to bring your hands up to your mouth, attempting to spit crudely in order to improvise lube.

Instead, your heart jumped into your throat in arousal when Sehun grabbed your free hand and did the same, keening at his actions, eyebrows furrowing. And, despite feeling a slight annoyance at the chafing of your thighs, a feral instinct took over, and your hips sped up against his thighs.

“You look perfect like this,” He told you, guiding your hand back to where he needed you most, and you began to pump him slowly. His hands moved to wrap around your waist, large hands splaying possessively across your back.

“Gods, I wish you could see how lovely you look, starshine,” He mumbled, seemingly in a daze, “All mine.”

You nodded. “Y-yours, Hunnie. Only yours.”

He pressed a kiss to your collarbone, his breath picking up as your hands did the same, pace speeding up. He groaned against your skin as you pressed your thumb into the slit of his cock. Your movements were harsh, jerking against him as you felt yourself losing yourself in his touch.

“S-Sehun, I’m gonna…”

“I’ve got you,” He whispered, his voice your only anchor, “Let go, Y/N, it’s okay.”

Finally, finally, you crested, head tipping back, mouth falling open in a silent scream, body stiffening in his arms as you were possessed by pleasure. In the dark, colors danced around you, sounds could be touched, Sehun’s hands on your body tasted exquisite.

You didn’t even realize that your display had tipped Sehun over the edge, spilling himself onto your hands while he gripped your shoulders like his life depended on it.

When you came down from your orgasm, your chest heaving, you reached up to pull the blindfold off of your face, struggling slightly as you were still restrained by the silk tie. You blinked a few times, eyes adjusting to the light of Sehun’s room, and found that he had fallen back onto the bed in the height of his orgasm.

His eyes had fluttered closed, panting furiously. He seemed loose, almost boneless, and you stifled a laugh at how much more relaxed he seemed now.

“I take it you had fun?” You asked, poking his stomach teasingly. After a moment of silence, of what you assumed to be Sehun trying to catch his breath, you furrowed your eyebrows.

“Hunnie, come on, get up. Can you untie me, please, baby?”

No response. If anything, Sehun’s pants seemed to be getting even heavier.

“Sehun?”

His eyes fluttered open, and your blood ran cold.

His eyes had rolled up into his head, mouth opening and closing as if he were trying to say something but he’d lost his voice. Around you, the temperature seemed to drop.Out of nowhere, the scent of incense returned, stronger than ever, and beneath you, Sehun tensed, muscles contracting as he began to seize.

You froze, momentarily unsure of what was happening. Here lay your lover, convulsing under you, and you were restrained to a point where it would be difficult to help him. Panic creeped into your stomach, eyes searching for something, anything, that would get you out of the grasp of the silk tie. You brought your wrists up to your teeth, frantically hoping to loosen the knot. Sehun was still convulsing. Your eyes drifted around the room, glancing at his stiff hands, gnarled into unrecognizable gestures. Your clothes were on the floor, but you had left your knife in your room.

Knife. Sehun’s knife.

You lunged for the nightstand, knowing that was where he kept his switchblade in case of an emergency, tumbling to the floor as your legs gave out, still wobbly from both panic and your previous orgasm. You managed to open the drawer, clumsily fumbling for the blade, before pulling it out, holding it between your teeth and bringing your wrists up to your mouth, beginning to saw away at the lovely, pale fabric, suddenly not caring about its softness or its illusion of luxury.

All you needed was to know that Sehun was okay.

Your eyes squeezed shut at the thought that he might be dying, and when the final strands of silk finally gave way, you practically spat out the knife, grabbing onto the nightstand for balance, turning to look at Sehun on your weak legs.

He wasn’t on the bed anymore. Your eyebrows furrowed, head spinning as you tried to figure out what was going on.

“Beware the master of tongues.”

You shrieked, eyes snapping up from where the deep, almost demonic voice had come from, and almost fainted then and there.

Because somehow, Sehun was floating above you, suspended in midair, eyes open wide but not a sliver of brown could be seen. In its place shone a bright silver, the holiest of metals for the unholiest sight.

“Beware the master of tongues,” The voice spoke again, speaking through Sehun, who was stiff as a board, face contorted into a sneer, and you realized with a chill that this wasn’t Sehun, but rather the Oracle.

“Beware the master of tongues,” He said once more, as his sneer morphed into a cruel grin, “But beware more the wrath of the faceless one.”

#kpop scenarios #kpop smut #kpop imagines #kpop x reader #kpop au #exo x reader #exo scenarios #exo smut #exo imagines #sehun x reader #sehun smut #sehun scenarios #my writing #fic: aygaf

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felassan · 4 years

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What is your opinion on Flemeth? I see so many fans praising her for being a bamf grandma, for saving Hawke and it confuses me. Didn't she abandon Elves? Didn't she abuse Morrigan? According to them not, because she was hurt and sad during their confrontation or that she actually never planned to possess her body. Her supposed friendship with Solas is iffy to me too.

Hi Nonnie! This answer is under a cut for sensitivity as it mentions abuse, and for length.

I think there’s nuance here. Liking (or appreciating the storybeats from) a fictional character, in the context of them as a character, doesn’t mean liking them as a person or agreeing with their actions. It also doesn’t mean that you’d endorse such actions happening in the real world, or that you’d like, support or spend time with such a person in real life. We separate the two. It’s okay to like her character and it’s okay to not like her. Certain things can also be true simultaneously - for example, like many characters in Dragon Age, Flemythal has done things that have had good impacts (such as saving Hawke, although it should be noted that she did this for her own benefit and in pursuit of her own ends), and she’s also done things that are questionable or even bad.

I like Flemythal as a character in a fictional setting. I find her very interesting. Mysterious, complicated, cryptic, plot-integral. I like that she’s powerful (she is pretty badass) and clearly has her own ends and agenda. That’s agency. Her voice casting is second-to-none and I find her involvement to have been one of the intriguing (and arguably iconic) staples of the series. She generates a lot of speculation and theorycrafting given that a lot of questions still remain about her, her past involvement in events and possibly her future involvement also. It’s also nice to see a visibly older woman in a prominent role, as they are often underused or underrepresented in media.

That said, she wasn’t a good mother. I don’t think she’s a good person, and multiple elements of her relationship with Morrigan do read as abusive (in several different ways too, as abuse has several forms). Morrigan compares her to Kalah Brosca, which is self-explanatory. Morrigan recounts times when Flemythal broke her possessions, taught her harsh lessons, told her horrifying stories, punished her or only gave her gifts which came at a cost. Morrigan’s Fade nightmare in the Circle Tower consists of the spirit/demon emulating her mother hitting her and saying horrible things (and such Fade-scenarios do in a way reflect what happened or what was perceived to have happened by the ‘experiencer’ in ‘the real’). Flemythal was manipulative, insulting and told half-truths to her. Morrigan’s personality is also in large part due to her background, Flemythal’s influence, treatment and teachings; it’s why she values survival and power above all, thinks that love is a weakness and makes some off-color, heartbreaking comments about love as a concept. It speaks of both the reality of what the Evanuris were like (compared to the Dalish conception of them as the Creators), the impact the murder of Mythal had on her as a being and of the further impact functionally fusing with the intensely aggrieved/angered human Flemeth, that this is the kind of parent that Mythal the Protector and All-Mother, goddess of love and patron of motherhood, was to Morrigan. Thinking of it in those terms makes it seem sadly ironic and puts me in the mind of the perversion of spirits of Justice away from their purpose towards Vengeance (not literally exactly, but thematically?).

Prior to the murder, Mythal in her fullness was the “best” of the Evanuris, according to Solas’ account, but even then... The best of a bad bunch is not exactly much of an accolade, and although she cared for and protected her people and was often a voice of reason compared to other Evanuris that would mitigate the worst of their whims and excesses, she was still... a false-god divine-pretender, and essentially the queen of their extremely classist empire system. She may have had slaves marked with slave-brands. She struck down some Titans and gave their “land” to the People, and did “something” ominous-sounding to the Titans and/or the dwarves. She was a patron of vengeance as well as justice. Some accounts paint her as dark and vengeful, and Solas admits that she was “both of these [both the ‘good’ and the ‘bad’ versions of her from the tales] and neither.” (“It’s more complicated than that”!) To add, Mythal being the best of them is Solas’ opinion, no doubt partially colored by his personal history with her. It’s difficult to comment on Mythal in her fullness and the Evanuris in general though, as all we have are partially biased accounts and scraps like misremembered tales and Codex entries which each come filtered through the respective lens of their writer.

Flemythal did seem to express sadness or regret in her DAI encounter with Morrigan. This is another one of those situations with nuance and where two things can be true at the same time. Flemythal was a bad parent and was abusive towards Morrigan. Flemythal also seems to care for her, in a way. I make no comment on other peoples’ experiences or on the majority of cases, and in no way would Flemythal’s treatment of and dynamic with Morrigan be acceptable in a real life situation, just, speaking from direct personal experience, there are sometimes instances where the abusive relative did care about their respective family member at the time, and later felt sad and regretful about the things they did to them and the impact it had on them. And she did intend the essence of her godhood as a gift for Morrigan, not hostile possession.

Her abandonment of the elves is something that can come up both with Lavellan and other Inquisitors in those scenes: “If Mythal is a part of you, why haven’t you helped us? We’ve called to you, prayed to you.” “[looks away and looks sad] What was could not be changed.” “What about now? You know so much.” “You know not what you ask, child.” // “If Mythal is within you why not reveal yourself?” “And to whom should I reveal myself?” “To the elves, to everyone!” “Hah... I knew the hearts of men even before Mythal came to me. It is why she came to me. They do not want the truth, and I... I am but a shadow lingering in the sun.” I do wish she had interacted more with the elves in Thedas, especially given the lot of modern elves there and especially considering Dalish tales of and reverence towards her as Asha’bellanar (Merrill bowing to her in DA2, how Marethari sought her out in 8:82, the clan that turned Maric and Loghain over to her, the way Lavellan can mention their people speak of her legend).

The writing in that conversation is kinda frustrating in that it’s intentionally vague and more of a non-answer than a sufficient explanation to the question posed. But there’s some Thing we don’t know yet, something we’re not supposed to know about Mythal right now. It sounds like the truth of why and of the matter isn’t simple or... pleasant (“You know not what you ask” - that sounds like worshipping her, the reality of her, wouldn’t be good). In DA2 when Merrill bows, Flemythal asks her if she knows who she is beyond the title Woman of Many Years. Merrill replies that she knows only a little, and Flemythal says “Then stand. The People bend their knee too quickly.” It sounds kinda like “If you knew I was Mythal, and if you knew what Mythal and her compatriot gods and by extension our society was like back in the day, you wouldn’t be bowing to me and wouldn’t want to worship me.” sefesjfesfeksj this gap in our knowledge is maddening lol. Or perhaps she thinks that the elves wouldn’t want the truth, would reject it or would feel worse after learning it? The revelations in DAI that the gods are false and were actually jerks, that vallaslin were originally slavemarkings, that an elf caused their downfall (not humans) and that their ancient society practised slavery and all that - it’s a lot. If so, I do wish she would’ve let them make up their own minds about it though.

There’s also the question of whether the Dalish would believe her claims if she came forth with them. Some would, but her appearance is outwardly-human as the Inquisitor can note, and Solas didn’t make any real headway with most of the Dalish he encountered when he tried to talk about some of his knowledge with them before joining the Inquisition, and that was without including the undoubtedly seismic “btw, I’m one of your gods” part. Would she even be capable of doing much to help them in her current form? A shadow lingering in the sun sounds like she’s barely a fragment of what she once was, and only has a fraction of her old power. In the modern day she’s a powerful mage who can shapeshift into a dragon and cheat death with a Horcrux, sure. Is that enough to, say, destroy the human kingdoms, or radically alter the social position of elves in Thedas? To add, if you subscribe to the belief that there’s a connection between Flemythal and Andraste (with Shartan) and/or Tyrdda Bright-Axe (with her “leaf-eared lover”), it seems that she’s tried to change things before in the past along these lines and failed.

Who are “the elves” to her, anyway? She mentions to Lavellan and Merrill how they are of the People, but we can see a back-and-forth on that subject with Solas during DAI, who at times says modern elves are his people, and at other times says they are not. Who’s to say who “the elves” or “The People” are to Flemythal in her mind, millennia later, really? If her conception of her people is ancient elves, not modern elves or both... Recall Abelas, one of Mythal’s lead acolytes: “'Our' people? The ones we see in the forest, shadows wearing vallaslin? You are not my people.” Maybe that’s why she hasn’t done much to help modern elves? If her people are the ancient elves, and if Solas’ plans don’t include modern elves, perhaps that’s why she didn’t do much for modern elves all this time but /does/ help Solas power up so that he can carry out his plans to help the ancient ones (along with the fact that her desire for vengeance depends on his success, of course). She knew he would come after all. An alternative reading is that his plans do include modern elves, but in order to save the People (and again also to get her revenge) she needed him (to gift her power to and do The Thing), and so until he woke up from his many years of slumber, all she could really do was wait for that moment? Their respective natures in the modern world are different; she’s just a spark of a dead goddess in a formerly-human vessel, a shadow lingering in the sun, and he’s still his proper full self, albeit temporarily weaker than usual. He specifically says in Trespasser that his situation isn’t comparable to Flemythal’s - “Are you a fragment of what Fen’Harel once was, like Mythal?” “No, this is all I have ever been”. It’s a stark difference in their two conditions, and it ties back to the question above of whether Flemythal’s abilities in the modern age would have been Enough to do anything concrete. In this reading, Flemythal’s nudging and influencing of history along a certain course through time, which she’s been doing in order to line up events just so so that the Evanuris will be unleashed again by Solas, take on a secondary motive too: lining up events just so so that Solas will be able to carry out his plans and in so doing, save the People.

Mythal’s relationship with Solas is another one of those things that’s difficult to comment on, as we only have hints and pieces. They were close, that much is clear from the intimacy and familiarity on both their parts in the post-credits scene, from how he speaks of her in Trespasser, and from his desire to subject the Evanuris to an eternity of torment as a fitting punishment for the crime of murdering her. Fen’Harel statues in the Temple of Mythal, which Morrigan says is a thing that seems like naked paintings of Andraste in the Chantry. Wolf ‘guardian-like’ statues on either side of her Altar. The eluvian in the post-credits flanked by both a dragon and a wolf. Statues in the Deep Roads: “Many of them are for Mythal, though. And Fen'Harel. Not in a spot of honor, but guarding, attending. Protector and All-Mother, why are you honored here, so far from the light of the sun? And why was the Dread Wolf at your side?” Cole’s words, if they’re about Solas and Mythal: "He did not want a body. But she asked him to come. He left a scar when he burned her off his face.” Legacy dev notes stating that he was once her oldest friend. These are fragments and we can only try to infer. Were they involved? Was he her second-in-command, her spymaster, her consort, her enforcer, her confidant, the leader of her ‘kingsguard’, her right hand, her advisor, the ‘guardian wolf’ to her ‘Emerald Knight’, what? Was he once a spirit and he manifested a body at her behest? What events led to him burning her vallaslin off his face? Did they have a disagreement? To what extent was she using him? The specifics of their relationship and their respective positions therein aren’t, but what’s clear is that once, she needed him, he was in her service, and that there was fondness between them.

(For the record I don’t believe she possessed him in the post-credits, or that he absorbed her essence/Mythal-spark and now the Well-drinker is bound to him. I think she passed her godhood through the mirror to Morrigan and allowed Solas to take her power/strength, that’s all.)

There’s an undertone that Flemeth may not really have full autonomy in what she’s doing (or was doing), at least where her broadstoke actions and goals are concerned. After her angry rant about vengeance, [worldstate dependent] she looks up at the statue of Mythal. In both scenarios her expression then becomes kind of sad, and she looks to the side. “Alas, so long as the music plays, we dance.” That sounds kind of like she has no choice? Like something’s fated or she’s bound to her cause? Before Flemeth’s end, Mythal was to her as our hearts are in our chests. They are intrinsic and carry out their function - beating - no matter what, until death. Given the dichotomy of Justice and Vengeance as explored by the nature of spirits and demons, and the ‘spirit-adjacent’ nature of elves, it feels like she’s compelled to do what she’s been doing all these centuries, in pursuit of the goal of getting that all-important revenge. “Our destinies are not so easily avoided.” She gets so incensed when she rages about her vengeance, it’s like she’s consumed by it. The burning desire for revenge is what kept her wisp alive through the Ages, after all.

#dragon age #bioware #abuse #abuse mention #abuse cw #morrigan #queen of my heart #solas #cole #spirit boy #mj replies #anonymous #video games #mj meta

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