randomwankystuff

This is the first time anyone, especially an adult harrow respected, has implied that opening the tomb was a normal, understandle thing to want to do. This is one of the central sin of harrow's life, it is her greatest betrayel, and yet abigail is happy for her without prying about the personal private pain.

- “What? No tongue in your head, you—you mutant, you mistake, you great big calf-eyed fuck-up?!”

mercymorn is the funniest person to ever live probably dfhasjkfas (moira quirk’s delivery of this in the audiobook is out of this world, please experience it for yourself one day.) the metatextual layer that she’s essentially saying this to locked tomb jesus, and that she would 100% still be saying it if she knew just how much she’s talking to locked tomb jesus, because that is the very essence of who mercy is as a person… fucking immaculate

- God said, “Summarize, please. You both do tend to go overboard on the foreplay.”

no actually John Gaius is the funniest person who’s ever lived (and died and lived again etc.). in the middle of his ancient lies finally being exposed and all his death empire and personal life about to come crashing down around him as he gets exploded, he still takes a moment to be completely, comprehensively, needlessly, astoundingly and utterly petty. inspirational, in a way. if you commit the profane act of resurrection you, too, could spend ten thousand years working on becoming your very worst self 

(also a definite indication that God is terrible in the sack, what the fuck)

also, Mercy throws John’s own ‘You’re trying to start a fight with me to get out of the fight I’m trying to have with you, which is a painfully domestic tactic’ from the beginning of the book back in his face here at the end, which shows that even so, John is merely a novitiate in pettiness, she will brook no comparison <3 I love her so much

- Upon seeing God getting exploded, Pyrrha straight up stands there with her cigarette until it burns down to ashes in her hand fhsdkjfhas. god this poor woman she’s been dying for a cigarette all that time and she’s too shocked by everything going on to even get to smoke it!!!

can you imagine what a mindfuck all of this is for her, though. she’s been doing the same thing as Gideon has this whole book from the back of her necromancer’s head for ten thousand years, she lost her necromancer like half an hour ago, max, and is figuring out being in the driver’s seat of his body (his corpse??? technically???) alone for the first time, she just mercy killed her ex, she found out that at least she and her necromancer didn’t kill both their lover and their child twenty years ago (and also it wasn’t their baby, it was baby jesus in a space pod, phew, that makes it… better? no, no not really huh), she finally got a cigarette… and then her siblings in death empire seemingly upend the entire natural order she’s known as long as she’s had consciousness. 

“It was complicated.” she’s saying what we’re all thinking. if she simply wants to settle down on a farm somewhere and live a quiet life, no fucking wonder!

A lot more thoughts behind the cut Because Of Who I Am As A Person

Many thanks to @ghostlypawn for posting their audio of Hadestown on the West End :) Keep in mind these are from a preview performance and the production wasn't finalized until Feb 21st, so things may have been altered further since then.

Tanaka is (no surprise) my absolute favorite Ajin character. When he’s introduced, he’s pretty obviously supposed to be a villain. He looks creepy, he acts creepy, and he’s one kicked puppy away from being the most obvious villain of all time. It doesn’t help that he’s basically helping out a complete lunatic.

But as the manga (and the anime, for that matter) progresses, we’re seeing that things are not quite as they seem. 

This post is going to focus primarily on Tanaka Kouji, with heavy focus on Li Naomi, and just how the forge security arc effects them. There will be heavy manga spoilers, so please don’t read if you’re not up to date.

So it’s up to each individual reader as to what he or she believes happened to Brittana at the end of Chapter 15. I’m not going to tell you what happened to either them or Quinn Fabray at the end of the story.

I will, however, tell you what happened to pretty much everyone else, seeing as a lot of people have asked me concerning the fates of various minor characters.

This post contains spoilers for TKTD Chapter 15, a'ight? If you don’t want to see them or don’t want to have your view of what happened to the circus after the events of that chapter altered, don’t read this, okay?

Lots of feelings under the cut!

A lot of analyses propose that the overwhelming predominance of male/male ships over female/female and female/male ships in fandom reflects an unhealthy fetishisation of male homosexuality and a deep-seated self-hatred on the part of women in fandom. While it’s true that many fandoms certainly have issues gender-wise, that sort of analysis willfully overlooks a rather more obvious culprit.

Suppose, for the sake of argument, that we have a hypothetical media franchise with twelve recurring speaking roles, nine of which are male and three of which are female.

(Note that this is actually a bit better than average representaton-wise - female representation in popular media franchises is typicaly well below the 25% contemplated here.)

Assuming that any character can be shipped with any other without regard for age, gender, social position or prior relationship - and for simplicity excluding cloning, time travel and other “selfcest”-enabling scenarios - this yields the following (non-polyamorous) possibilities:

Possible F/F ships: 3 Possible F/M ships: 27 Possible M/M ships: 36

TOTAL POSSIBLE SHIPS: 66

Thus, assuming - again, for the sake of simplicity - that every possible ship is about equally likely to appeal to any given fan, we’d reasonably expect about (36/66) = 55% of all shipping-related media to feature M/M pairings. No particular prejudice in favour of male characters and/or against female characters is necessary for us to get there.

This is certainly one large factor in the amount of M/M slash out there, and the first reason that occurred to me when I first got into fandom (I don’t think it’s the sole reason, but I think it’s a bigger one than some people in the Why So Much Slash debate give our credit for). And nice point about adding female OCs.

When it’s a male-female buddy show, all of the failed relationships are usually, canonically, because the leads belong together. (Look at early Bones: she dates that guy who is his old friend and clearly a stand-in for him. They break up because *coughcoughhandwave*. That stuff happens constantly.) Male-male buddy shows write the central relationship the exact same way except that they expect us to read it as platonic.

Long before it becomes canon, the potential ship of Mulder/Scully or Booth/Bones or whatever lead male/female couple consumes the fandom. It’s not about the genders involved. Rizzoli/Isles was like this too.

If canon tells us that no other relationship has ever measured up to this one, why should we keep them apart? Don’t like slash of your shows, prissy writers? Then stop writing all of your leads locked in epic One True Love romance novel relationships with their same-sex coworkers. Give them warm, funny, interesting love interests, not cardboard cutouts…

As in, people gravitate to the characters given the most depth, complexity, and satisfying interactions for their shipping needs, because those characters are most human, and we want the realest characters to play with.

In a lot of media, the most depth gets handed to male characters.

And, oftentimes, even when the screentime and depth and interactions are granted equally well to female characters, there can be a level of, for lack of a better word, dis-authenticity to those female characters: they are pared down, washed out, or otherwise made slightly less themselves than they could be, in the interest of making them decorative, or likeable, or “good,” or keeping them from upstaging or emasculating their male companions, or just that the writer whose job it is to write them doesn’t know how to write women the way they write men.

And you get the characterization equivalent of that comparison chart where so many animated female characters have the same facial features because the animators and designers are so worried about not letting them be ugly.

When you have a group that’s allowed to be themselves, warts and all, and another group that has to be decorative at all costs, the impression given on some level is that the decorative quality is making up for a shortcoming. That they wouldn’t be enough in their own right.

And sometimes that cost is authenticity. The interesting, striking, awe-inspiring, bold and glorious unapologetic selfhood that draws the viewer most particularly to those characters who are unapologetic in their particular existence, standing clear of the generic and bland and unchallenging “safe” appearances.

It is authenticity, not beauty, which powers subjectification. The love for a character, not because they are perfect, but because they are them.

They can be pretty, sure. They can be sweet. But being pretty and sweet is not a replacement, and too many female characters have been written by writers who think it is, while the interest—in appearance, in personality, in interactions, in plot development—goes to the men.

You have to do so much of the work yourself, because the canon left them unfinished, with huge gaps or unexplored contradictions that you have to somehow resolve. Every female character you decide to integrate into your fanwork in some major role constitutes an undertaking in her own right as you patch together an understanding of her sufficient to model a consistent set of reactions and priorities &c.

The dudes just get handed to you. Even the ones whose canon is a mess have properly developed character cores.

god imagine seeing this happen like every single day

bonus: