#be free.

[4n631satellite]

it must suck to be a teen mom to a 40 year old man. but someone's gotta do it. i guess.

[boiledegghole]

was in the car with @tic-loud-tic-proud and we didnt have signal so we started trying to come up with fake steven universe discourse. such as: -jasper is problematic because shes butch and kind of like a cop so she perpetuates the butch cop trope

-amethyst getting bitches is problematic because shes short and that makes her childcoded

-connie is problematic because she likes steven even though he looks like an eight year old for 90% of the show

-steven is problematic for liking connie because rose quartz was like 6000 years old and he has her gem so hes like 6014 when connies like 13 and a half

-peridot losing her limb enhancers is ableist

-steven wearing pink is saying that to be kind, one must be feminine (problematic)

-steven playing ukelele is problematic because it approriates hawaiian culture

-ruby and sapphire are heteronormative

-garnet is problematic because she's never canonically confirmed to have did despite being two people in one body

-pearl and garnet promote unrealistic body standards for women

-every villain being a woman is problematic (and kevin)

-kevin being a villain is also problematic because if anybody headcanons him as transgender (in either direction) then his problematicness immediately skyrockets because now he's depicting trans men/women as creeps

-greg not immediately donating everything to charity sets a bad example to kids

-lapis having complicated feelings toward someone that abused her is problematic. no nuance allowed.

-pearl driving without a license sets a bad example

-garnet is problematic because she's british

-giant women are also promoting unrealistic body standards

-peridot is problematic because, despite liking YELLOW diamond, peridot is green

-rose quartz is a pedophile because shes like 6000 years old and, in "greg the babysitter," greg utters the words "man. i AM a baby" and that makes rose quartz problematic

[lovingtogekiss-art]

if you want your scenario to include toons experiencing sexual attraction you might wonder how these children's show characters learned what the fuck sex is. luckily, i have a solution

[clever-and-unique-name]

Stern reminder that you do not owe anyone online a disclosure of your current state of dissociation.

And by that I mean, you do not have to tell people that a younger part is fronting. You do not have to tell them that a trauma-stuck part is fronting. You don't have to tell them anything about who's fronting, at all.

And if they insist on knowing? That's a major red flag. They're not entitled to that information.

Especially if you're interacting online and are bodily adult--you have just as many freedoms as any other adult even when you're feeling 5 years old.

Be safe. Be smart. Don't fucking let other peoples' judgment control you.

[neversetyoufree]

The way Noé Archiviste is written is so good. I'm so obsessed with him.

He's such a protagonist—endlessly hopeful against adversity and filled with kindness and attempted understanding toward everyone he meets. He's a good person! He wants to save everyone! He is genuinely and utterly without any sort of cruelty or unfair bias.

Yet, the more the series goes on, the more he's written as a very obvious parallel to our antagonists.

The most blatant example of this is the Ruthven parallel. Ruthven once happily said that he liked vampires, and in the same way, he liked humans. Noé repeats this exact same line when he has tea with Ruthven.

This parallel doesn't reflect too poorly on Noé, since it's pretty clear that something Happened to Ruthven to change him between his speaking that line and him becoming our antagonist, but it is an interesting way to tie the two of them together. It raises certain questions in readers' minds. In what other ways are Noé and Ruthven still similar, and how might Noé change to become more like him?

Then there's Noé's toxic optimism. The "you should be a little bothered, actually" aspect of him. Noé is the mirror to Vanitas's toxic pessimism. He latches onto the good in the world to a fault, and in this way he detaches from reality and endures an endless series of abuses to his person without even understanding they're abuses.

That is also one of the defining traits of Mikhail. Misha is unsettling in part because he is completely detached from any understanding of severity. Misha happily recounts being abused and watching his mother die not because he's cruel or hateful, but because he doesn't understand what's happened to him or why those things are bad. Misha wants to bring Luna back to life because he's in denial of the reality of their death. He believes he can just resurrect them and everything will be fine, and he'll get to play happy family again.

If Noé went just a little bit more extreme with the over-optimism, he could disconnect from reality just as badly as Misha has.

Finally there's my favorite parallel—the tie between Noé and his Teacher. Noé Archiviste has a tendency to watch others in fascination, trying to figure them out from the sidelines while he fails to understand his own impact on them, and he absolutely loves the Blue Moon. He thinks the Blue Moon is beautiful. Teacher spends his time collecting interestingly damaged children in putting them in awful situations, apparently just for the fun of watching what they'll do next, and he calls The Vampire of the Blue Moon "the most beautiful creature in the world."

Noé's curiosity-driven fascination with Vanitas's trauma and his love of the blue moon—neither of these are necessarily a problem on their own, but when written in direct parallel with The Count of Saint Germain, they become somewhat alarming.

In the same way that Misha is "worse" than Noé because his obliviousness to his trauma leads him to harm others, Noé's teacher is surely a worse person than him because he lets himself harm others in pursuit of his interests. Noé doesn't do that. But what would it take for that to change? He's pushed boundaries before. He learned to hurt Astolfo and Misha in the name of protecting those he cares about. What other strange places could his headstrong nature lead?

What might Noé do when his fascination and his obliviousness intersect? When the parts of him that are Teacher and the parts of him that are Misha overlap? What would he do to see Vanitas again? What might he do without letting himself realize how terrible it was?

Noé is a good person. He's one of the best people. But in his attentiveness and his optimism and his love, there's the seeds of something that could lead him down a very dark road. Each of the above antagonists is a little bit a part of who he is.

Misha wants to bring Luna back to life. Ruthven is working toward some mysterious aim with the dead or dying Faustina. And given how he talks in mémoire 55, I wouldn't be surprised if Teacher also had an interest in bringing back The Vampire of the Blue moon in one form or another.

In all his fascination and love and hope, would/will Noé be able to let Vanitas die when death is preferable to the alternative? This is a story about the inevitability of death, and the denial of that inevitability creates nothing but horror and perversion. Noé is growing and learning to understand both Vanitas and the moral complexities of the world, and we can only hope that he learns enough. We can see through his many reflections in other characters what he might become if he can't accept painful reality.

[and-its-with-one-l-bitch]

Pre-SR1 Tito, a few days before getting recruited by Julius.

THIS one happened because I accidentally hid the main layer and I thought the result was pretty cool.

[aita-blorbos]

aita for being trapped inside aita-blorbo’s askbox?

i really can’t think of a reason why this would be my fault please let me out

AITA?

YTA

NTA

JAH

NAH

ESH

INFO

Voting ended onJul 7, 2024