#trauma narrative

[thewitchofwonders]

— Raymond M. Douglas, On Being Raped

[m1soku]

Vox Headcanons — when he has a crush on you

Request are open! <3 Opinon Poll about my serie

♡𓆝 ♡𓆝 ♡𓆝 ♡𓆝 ♡𓆝

♡𓆝 ♡𓆝 ♡𓆝 ♡𓆝 ♡𓆝

• The media Overlord falls for you because you’re different. Unpredictable. Not easy. A challenge. And Vox loves nothing more than something he can’t immediately control.

• Vox is the last one to realize it’s a crush. To him, it feels like strategic interest. Until suddenly, it isn’t anymore.

• He invents reasons to see you. Business meetings that aren’t necessary. “Accidental” encounters that are anything but accidental.

• Vox stops really listening to others when you’re in the room. Valentino talks, Velvette plans — but his attention belongs only to you.

• He becomes territorial without noticing it. Someone flirts with you? Suddenly that person has technical problems. Permanently.

• Your social media activity is uncomfortably familiar to him. He knows what you’re doing before you post it. He calls it market research — or protection. It’s probably stalking.

• When you smile at him, he forgets what he was about to say for a second. His screen freezes. Just briefly. But it happens.

• He buys things you mentioned. Casually. Weeks later. “Had it lying around” — a lie. He searched for it just to see you again. Just to see that beautiful smile on your lips.

• Vox gets jealous over the stupidest things. Your favorite café. The show you watch without him. Anything that gets your time instead of him. He’d love to destroy every screen you own so you’d only ever look at his.

• He dreams about you. Even during the day. Vox imagines the most romantic things he wants to do with you. Of course, he’d never admit it.

• When you say his name, he stops. Completely. As if he needs to preserve the moment before he can continue.

• Vox invents problems that only you can solve. Just to have an excuse to ask for your help.

• He gets nervous when you look at him directly. Too much eye contact and his circuits overheat. Literally.

• Your opinion suddenly matters more than before. In decisions that should belong only to him. “What would you do?” — a question he asks no one. Except you.

• He saves every message from you. Reads them again. Analyzes every word, every emoji, every period. Overinterprets everything.

• Vox becomes generous. Only with you. Favors without expecting anything in return. Gifts without a reason. He hates how transparent it is — but he loves your smile and your joy.

• When you’re hurt, he turns cold. Not toward you — toward the world. Someone made you cry? He finds out who and uses his power as an Overlord to put them back in their place.

• He imagines what it would be like to wake up next to you and have you be the first thing he sees.

• Vox practices conversations with you. In his head. Simulates scenarios. Calculates the perfect response so nothing goes wrong. And then forgets everything when you’re actually standing in front of him.

• He gets softer when you’re alone together. The mask slips. Just a little. Just for you.

• Your perfume lingers in his memory. He smells it even when you’ve been gone for a while. It drives him insane.

• Vox hates uncertainty. But with you? With you, he knows nothing. And somehow, that’s the most exciting thing that’s ever happened to him.

• He deletes photos of himself he doesn’t like before you could see them. As if your opinion matters more than his own.

• When you’re sick, he shows up. Unannounced. With everything you might need. “I was in the area anyway” — another lie. He always brings you a shark plushie too, smelling like his perfume so you won’t forget him.

• He watches you laugh with others and wonders if you’d ever laugh like that with him. Really laugh. Without caution.

• Vox becomes possessive over things connected to you. Your favorite spot? Your favorite food? Somehow it belongs to him too now. At least in his head.

• He hates it when you cry. It makes him feel powerless. For someone like him, that’s the worst thing imaginable. He’d do anything to make it stop.

• Your absence is noticeable. Rooms feel emptier. As if you took the color with you when you left.

• He talks to Valentino about you. Tries to sound casual. Fails miserably. Val just grins — he knows exactly what’s going on.

• Vox imagines kissing you. Constantly. In the middle of meetings. While working. It annoys him how badly he wants it.

• When you compliment him, he plays it cool. Inside? Fireworks. Complete system reset. He’ll never forget it.

• He wants to be your first. In everything. First choice. First thought in the morning. First person you call. It eats him alive that he isn’t.

• Vox carries things you forgot. A pen. A lighter. Little things. He doesn’t give them back. Trophies of his closeness to you.

• He would never call it “being in love.” But when you leave, it feels like a system error.

♡𓆝 ♡𓆝 ♡𓆝 ♡𓆝 ♡𓆝

Want that Vox is obssesed with you ? Then read more here ! Autors Note:

Hello everyone!

I hope you enjoy today's blog post. It's a bit different from my usual story. But I promise I'll keep working on it!

Let me know which headcanons you'd like to see! Write them in the comments or use the request button on my blog. Love you all, bye! <33

More Vox ? 📺🦈

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[scarlett-fire-cat]

The "Mad Woman" Machine: How Multiverse of Madness Proved the MCU Hates Powerful Women

Is everybody comfortable? Good. Because I am entirely out of customer service patience, and today we are going to talk about the absolute creative bankruptcy currently rotting the core of the Marvel Cinematic Universe.

Welcome back to the dash. It's your local realist scarlett-fire-cat, and today we are placing the "Mad Woman" trope directly into the surgical theater.

I want to look every single Marvel writer in the eye and ask a very simple, very blunt sociological question: Why is a man’s grief in your universe treated as an invitation for a heroic redemption arc, while a woman’s grief is treated as a psychological death sentence?

Let’s be profoundly real: Doctor Strange in the Multiverse of Madness didn’t just fail Wanda Maximoff as a character; it was a violent, structural insult to media literacy. It took ten years of meticulous, high-utility character building—a journey of a young woman of color surviving a wartime bombing, losing her twin, murdering the love of her life, and processing catastrophic mental health struggles—and reduced it to a one-dimensional, screeching "hysterical mother" trope because of a spooky book.

Meanwhile, Tony Stark can traumatize the planet with global defense grids, create killer AI, and weaponize his PTSD, and the narrative still kneels at his feet.

The double standard isn't just whispering; it is shouting through a megaphone. So pull up a heavy-duty chair, turn your headphones up, and let’s look at the canonical data of how the MCU weaponizes patriarchal storytelling to punish the most powerful woman on their roster.

Let's unpack the absolute tomfoolery...

1. The Stark Contrast: Systemic Imperialism vs. Localized Grief

Let’s line up the data sheets and look at the absolute peak clownery of the MCU’s moral compass. We need to talk about the difference between billionaire, industrialist, weapons-manufacturing systemic destruction, and a traumatized refugee woman’s localized coping mechanisms.

Let’s start with Anthony Edward Stark.

Tony Stark spends the first half of his adult life literally profiting off global mass murder, making millions off a military-industrial complex that drops bombs on innocent children—including a little girl named Wanda Maximoff huddled under rubble in Sokovia for two days. When Tony develops severe, textbook PTSD after the Battle of New York, how does his grief manifest?

He builds a completely unchecked, illegal global surveillance state.

He undergoes a narcissistic, paranoid hyper-focus that leads him to create an unhinged, genocidal artificial intelligence named Ultron.

Ultron proceeds to literally lift a city into the stratosphere and drop it, causing mass casualties, global terror, and the death of Wanda’s twin brother, Pietro.

What is Tony's punishment for accidentally engineering a global extinction event because he couldn't manage his own panic attacks? Nothing! He gets a sympathetic shoulder to cry on, he gets to lead the Avengers, and when he eventually makes a fatal mistake in Civil War and locks children in a supermax prison without trial (The Raft), the narrative still treats him like the ultimate paternal authority figure.

Now, let’s flip the lens and look at Wanda Maximoff.

Wanda loses her parents, her country, her brother, and then has to personally murder the love of her life, Vision, only to watch a purple alien reverse time and rip the stone out of his skull anyway. She is an absolute psychological raw nerve. When she hits her breaking point in New Jersey, her magic creates a localized hex.

Let’s be profoundly clear about the scale: Westview is a town of roughly 4,000 people. Wanda did not build a murder-bot. She did not build a weapons system. Her brain subconsciously constructed a defensive, retro-sitcom coping mechanism to hide from her devastating sorrow. Was it wrong to trap those people? Absolutely. It was a violation of their autonomy. But look at the resolution: the exact second Wanda fully internalizes the real-world harm she is causing to those citizens, she actively chooses to dismantle the hex. She sacrifices her own children, her own husband, and her only chance at a peaceful life because her moral compass demands she stop hurting people.

She walks away into isolation to heal, having saved the universe multiple times and actively corrected her own mistake.

And how does Multiverse of Madness reward her for this profound act of tragic self-sacrifice? By turning her into a literal slasher-movie demon who murders sorcerers and hunts down children across dimensions.

Tony Stark’s trauma resulted in global weaponry and systemic fascism, yet he gets a heroic sacrifice, a tear-jerking hologram speech, and a global funeral. Wanda Maximoff’s trauma resulted in a localized mental health crisis that she personally dismantled, yet she gets branded an unrepentant monster and crushed under a mountain.

The MCU doesn't hate destruction; they hate accountability when it belongs to their capitalist patriarchs, and they hate powerful women who dare to express ugly, inconvenient human grief.

2. The Hex vs. The Multiverse: Spitting on the Moral Resolution of WandaVision

Let’s talk about the absolute creative bankruptcy it takes to completely delete a character’s entire emotional evolution between projects. WandaVision was a groundbreaking, Emmy-nominated masterpiece because it treated grief like a complex, agonizing human process.

The entire moral climax of WandaVision wasn’t about a superhero fight; it was about accountability. When Wanda stands in the center of Westview and realizes that her subconscious coping mechanism is inflicting literal psychological torture on the townspeople, her heart breaks. She doesn't double down. She doesn't say "screw them, I want my kids." She makes the excruciating, selfless choice to tear down the Hex. She watches her husband and her twin boys dissolve into thin air right in front of her eyes because her moral compass tells her that her comfort is not worth other people's suffering.

That is the ultimate act of heroism. She sacrificed her entire universe to do the right thing. She went into isolation at the end of that series not to plot revenge, but to study the Darkhold so she could understand her powers and ensure she would never hurt anyone again.

And then Multiverse of Madness happens.

Michael Waldron and Sam Raimi literally admitted in interviews that they didn't even watch the end of WandaVision before writing MoM. And boy, does it show! Within the first five minutes of the movie, Wanda is suddenly rewritten as a ruthless, cold-blooded slasher villain who is totally fine with murdering sorcerers and hunting down a terrified teenage girl (America Chavez) across dimensions.

They used the Darkhold as a cheap, lazy, "the devil made her do it" plot device to completely erase her agency. They turned her profound, self-sacrificing arc of accountability into a joke. It tells the audience that no matter how much a traumatized woman works to heal, take responsibility, and make the hard moral choices, she is fundamentally broken and destined to become a hysterical monster anyway. It is insulting to the viewers, it is lazy writing, and it completely spit on the face of everyone who connected with her journey of surviving loss.

3. The "Crazy Mother" Caricature: Reducing Cosmic Power to a Biological Trope

This is where the high-utility patriarchal analysis comes in, dudes and dudettes. Let's look at the specific, nasty way Marvel chose to frame Wanda’s villainy.

Wanda Maximoff is the Scarlet Witch. She is a cosmic entity forged by the Mind Stone, capable of spontaneous creation and reality warping. She holds the power to reshape existence itself. So, out of all the complex, high-concept, existential motivations a cosmic being could have, what motivation did a room full of male writers give her? 

"I want to cook pancakes for two elementary schoolers in a suburban kitchen."

Are you actually kidding me right now?! They reduced the most powerful, god-like female character in the entire MCU down to a regressive, one-dimensional "hysterical, obsessive mother" caricature. Her entire cosmic threat level was weaponized around a desperate desire for biological replication and domesticity.

Let's look at the absolute double standard here. When Doctor Strange uses dark, forbidden voodoo magic, breaks the laws of space and time, and literally causes an entire universe to collapse in No Way Home because a teenager asked him a question—he is framed as a well-meaning, slightly arrogant mentor who just needs to clean up his mess. The narrative grants him intellect, philosophy, and nuance.

But when Wanda wants her children back, she is stripped of all intellect. She becomes a screaming, bloody, barefoot monster crawling through mirrors. The movie punishes her for her maternal instinct, framing a woman's desire for family and her reaction to maternal grief as inherently psychotic, dangerous, and irrational. They took a complex survivor of war and structural trauma and turned her into a patriarchal warning sign: Watch out, if a woman gets too much power and has a broken heart, she will lose her mind and try to destroy the world.

It is a tired, sexist, 1950s trope wrapped up in expensive CGI, and I am entirely done pretending it was a good movie.

So to every single MCU stan making excuses for the writing in Phase 4: open your eyes and learn some basic media literacy.Wanda Maximoff didn't fail. Marvel failed her. They built a decade-long monument to a woman's resilience just to tear it down for a cheap horror gimmick. But the fandom remembers the receipts. The story belongs to the survivor who tore down the Hex out of love, not the bastardized monster they built to be a punching bag for Doctor Strange.

Period. 🎬💥

[the-wanderer]

[doll-of-decay]

Vault Entry 005: The Crying Boy

CW: manga spoilers, violence (panels), child abuse mention

The final trailer dropped yesterday and it’s tearing me apart to see Tomura animated like this.

To be clear: I don’t excuse or defend his crimes. He caused devastation and he is responsible for that. But he was also a child abuse victim who was taught, repeatedly, that he was nothing but ruin. Both truths can exist at once. And instead of being reached, he was abandoned.

Tomura wasn’t “born evil.” He was shaped by a fake "father figure" who groomed him to mistake power for safety. When every adult says you’re only destruction, you start performing the only role you’re given.

I keep thinking back to when All Might found out Shigaraki was Nana’s grandson, he wanted to reach him. He wanted to try. And Gran Torino stopped him. That moment could have changed everything. At that point, Tomura wasn’t overpowered or “too far gone.” He was still reachable. That choice closed the door.

And then there’s his design versus his role. Early Shigaraki—sickly, grimy, brittle—reads as a neglected boy who never even got the chance to grow up healthy. If he was really just a “vessel” for AFO all along, it makes no sense. AFO, with his suits and vanity, wouldn’t have groomed a replacement who looked like that. It only reinforces the feeling that Horikoshi later reduced him to a plot device, instead of honoring what he’d built.

And so the message we’re left with is: characters like Shigaraki, Toga, Dabi—abuse victims—must die in order to be considered “saved.” That’s devastating to me. If the system won’t reach for kids when it matters, demanding their deaths later isn’t justice; it’s failure. Because what choice did Tomura ever really have?

Tomura’s the only part of MHA that still matters to me. His writing, his pain, his design—everything about him stays with me. Knowing I’ll have to see his fall animated makes my chest feel tight and my stomach sick. I still don’t know if I can even watch.

If someone had reached out then, we wouldn’t be here now.

[hawks-flat-ass]

@autumnmobile12 sent me this amazing fanart piece for Vieras and I am just floored. 😭 It's so beautiful!! I'll be embedding this into AO3 shortly. But, as a little treat, the scene below: ⛔ CW: MCD, Body Horror, Psychological Horror, Eating Disorders, Suicidal Ideation, Self-Harm, Pharmaceuticals, Medication Misuse, J-Horror, Hurt No Comfort

haunted!Hawks A ritual of denial, grief, and control—he won’t look up, even as the air turns to ash. A Vieras snippet. (152 words) (read the full fic here)

Kesäyönä kuutamolla / Katselin minä kotia Puiden rungot maan pajana / Oksat tiellä ohdakkeina

On a summer night, in moonlight / I was looking at my home Tree trunks all over the ground / Their branches like thistles 📻 ~ Jonne Järvelä, Vieras

The room suddenly felt colder as a sinking feeling began to twist uncomfortably in his gut. Reaching forward, he placed another stick of incense on the offering altar and lit it; his shaking hands were the only thing that betrayed his outward calm. He watched that burnt feather with rapt attention as the light, white smoke began to thicken in the air. 

The intensity of the spices—clove in particular—was almost enough to make him crinkle his nose. It wasn’t incense anymore. The smell became something scorched. Sulfuric. Something burned… Someone.

But he refused to leave his spot until he was certain. After several long beats, the feather did not move. He wouldn’t acknowledge that voice.

Instead, he just bowed his head and continued his mantra. “Good.” “Peace.” “Mercy.” “Necessary.”

He heard the incense snap and continued his mantra with growing urgency. Never once flinching. Never looking up. Just the mantra in silence.

[aareselkie]

Original Kenshin vs. Female AU Kenshin

I often get asked what the difference is between the original Kenshin and my female alternative version, so I want to explain it properly.

Visually, the distinction is subtle but symbolic.

The original Kenshin carries the well-known X-shaped scar on his left cheek, a visible mark of violence and atonement.

The female version does not have this scar instead, she bears a cherry blossom–shaped birthmark on her chest, something hidden, private, and only discovered much later.

Narratively, the original character's gender is known from the beginning, just as in the canon series.

In the alternative universe, however, the female Kenshin's gender is revealed much later, adding another layer of concealment, survival, and vulnerability.

Trauma and war memories are where the contrast becomes most clear.

The male Kenshin appears able to suppress, compartmentalize, or quietly process his past.

The female version, on the other hand, suffers visibly from the long-term consequences: Emotional scars that surface through dissociation, exhaustion, and psychological aftereffects.

Fate and relationships also diverge.

In canon, the story leads us toward Kenshin and Kaoru.

In the alternative version, the emotional gravity shifts: The female Kenshin appears closer to Saitō, not as a simple romance, but as a shared understanding between two people shaped by war.

Both versions are Kenshin.

They simply carry their history and its weight, in different ways.

[desolateoath]

The Dark Urge and Relentless Dread

All I wanted to do was write a quick little fan fiction about the Dark Urge, and it's turned into a multi-chapter character study on villainy and a suffocating psychological horror with no release valve. I did not realize this is who I was. This is my first writing project. I am learning as I go, and one reoccurring concern of mine is reception. Not because I want everyone to like my story, but because I still have that human desire to want enough people to like it to feel validated. I recently found myself (after 31 chapters) attempting a decompression scene, only to completely disengage, bored out of my noggin. I don't want to talk about Astarion's grooming habits. I want to talk about how he's emotionally and sexually manipulating a warlord who's already tried to kill him twice-and the subtext surrounding that, given his 200 years of trauma. Am I a drama king? Absolutely. I don't want to change. Who else lives in the pit of despair and swipes at any hand who tries to pull them out, like a rabid raccoon? Is this a thing?