fake names that skaters have used to check into hotels:
Yuuri: has never used a fake name. He doesn’t believe anyone is interested enough in him to use one.
Victor: while skating, always checked in as “Makkachin Nikiforov”, with a big wink to the front desk employee. As a coach, his current fake check-in name is “Makkachin Katsuki-Nikiforov”, with a big wink to the front desk employee.
Otabek: he doesn’t typically use one, but when he was training in Canada JJ once checked him into a hotel as “Borat” and Otabek was FURIOUS.
JJ: he used to check in as other famous Canadians but once he checked in as “Justin Bieber” and caused an international incident in South Korea. So now he just uses “JJ Logan” as a nod to the greatest Canadian superhero of all time (besides JJ himself, of course).
Chris: checks into hotels as “Victor Nikiforov”. Or “Surya Bonaly”. Depends on how he feels that day. NEVER Stéphane Lambiel, though. (Lambiel knows what he did.)
Phichit: he rotates through a series of obscure characters in “The King and the Skater” series, with the occasional famous instagrammer thrown in. (But never anyone who endorses fitness tea. Phichit knows it’s a scam.)
Yuri: not old enough to have a hotel room in his name just yet, but he’s already thought about it and likes the sound of “Liger Von Darkness”. Maybe “Tiger Ovechkin” to mix things up occasionally.
The words rumble into her ear as she lies nestled against his chest, half-draped over him. Either he’ll say more or he won’t; she knows him well enough by now to know that, so she tucks an arm under her chin and waits. In the grey-white of morn, the lines of his profile are bold and sharp, the lyrium filigreed into his skin stark against it, but the diffuse light that filters through the rain-battered panes does little to clear the clouds that linger in his gaze.
The last time he remembered something of his past he left her—but now his hand is steady on the small of her back, as is the ebb and flow of his breathing, the even flutter of his heartbeat under her palm, where it lies splayed on his chest.
For a long time it’s all she hears over the pitter-patter of the rain, padding the velvety silence and muffling the Hightown bustle outside his window. The quiet of his mansion is unsettling after the constant activity of her own estate: the rattle of Sandal’s enchantment apparatus, Bodahn’s Veil-rending snores, the clatter of Orana’s cooking or the pounding of her carpet beater, the dog barking at shadows, a visitor come to say hello or request the Champion’s help. So whenever Fenris lets her spend the night at the old mansion? Hawke startles at its every squeak and creak despite herself—yet there’s something to be said for the hush of mornings spent like this one, in a tangle of limbs and bedsheets.
“She had green eyes, and red hair like Varania. Not a mage, though, at least not that I can tell from what little I remember. She taught me how to hold a sword. Her hands smelled of cinnamon,” he adds in an undertone.
Katara: It’s not magic. It’s waterbending, and it’s- Sokka: Yeah, yeah, an ancient art unique to our culture, blah blah blah. Look, I’m just saying that if I had weird powers, I’d keep my weirdness to myself.
So I wanted to talk a little about Katara, because I think we often focus on her grief for her mother, and forget her relationship to her culture, and her experience of the Southern Water Tribe genocide (unlike the Air Nomads genocide, which was for the greater partover after four big terrifyingly effective simultaneous strikes, this one took place over a long length of time - more than 40 years? 50? - and it wasn’t total, but it definitely was one. genocide = the deliberate and systematic extermination of a national, racial, political, or cultural group, fwiw)
(Kanna’s village - before and after)
All of the Southern water benders were exterminated or taken away to rot in prison (where they all died eventually except for Hama). Katara was born the only bender left in the whole South Pole. Then when she was eight years old, she survived a raid that was meant to kill her, but took her mother instead (she probably was too young to realize that, to her it must have been a question mark up until she met Yon Rha - gratuitous cruelty? Why her mother in particular? They took nothing else!).
So Katara from a young age had a double burden to bear: that of her mother, and the legacy of her bending (and she was shown as painfully aware of her situation and what it meant on both front). But here’s the thing: Katara could be a mother, she was naturally good at it, and her grandmother could teach her what she didn’t already knew. Her family and tribe demanded that of her, they needed her to be that for them (especially after her father and the rest of the men basically abandoned them). However, there was no one left to teach her how to waterbend - she had almost no hope of ever becoming a master without formal training, her brother thought it was silly and weird and let her know, her grandmother thought it was a waste of time. But she kept practicing, because she knew how important it was, to her and to her tribe, that she kept trying (as the only one left who could).
(…an ancient art unique to our culture, blah blah blah…)
(Of course she would obsess over that waterbending scroll)
When she gets to the North Pole, she meets Pakku, and with him the opportunity of finally becoming a true master. But because she is a girl, he judges her unworthy. He judges her, the only remaining southern waterbender, unworthy of carrying on their culture. The Fire Nation didn’t care about the gender of their prisoners, men and women - they all fought side by side for their freedom in the South, and they were all taken away to the last one, and killed to the last one. In the South, the women had the choice to learn how to fight, or be defenseless. And privileged master Pakku couldn’t possible realize the extend of what he was denying her in that moment.
Katara had to prove herself, she had to earn her right to these teachings. And if she had been less good or less stubborn or not Kanna’s granddaughter - well the North would have refused their sister-tribe the power to use their common cultural heritage to fight back against the nation that destroyed them.
(It’s sexist and terrible.)
Meh, thankfully, she was that good, stubborn, and Kanna’s granddaughter, and she did get to become a master.
But, of course, her story doesn’t end here, and wrt her culture, the next chapter is a much more traumatizing experience. In the Fire Nation, she meets another master. This time it’s an old woman from the South like her (“You’re a waterbender! I’ve never met another waterbender from our tribe!”), and she is, ah, more than willing to help her.
Look how happy Katara looks at the idea to learn from her in particular:
Katara: I can’t tell you what it means to meet you. It’s an honor! You’re a hero. Hama: I never thought I’d meet another southern waterbender. I‘d like to teach you what I know so that you can carry on the southern tradition when I’m gone. Katara: Yes! Yes, of course! To learn about my heritage… it would mean everything to me.
But when Hama starts her lesson, the techniques she teaches have been obviously developed with one goal in mind: survival in enemy territory. They can’t possibly have been invented in the South Pole, where water is abundant everywhere. They are deadly and cruel, and the damage they do to the environment leaves Katara sad and uncomfortable, but Hama waves that off as unimportant. It doesn’t matter, she doesn’t have the time to worry about flowers or beauty or nature. To her that peace and beauty is probably just an illusion anyway, a lie: years after her escape she is still living the war, and war is ugly and rotten and messy (her world is ugly and rotten and messy - this is her comfort zone).
The last technique she teaches Katara is bloodbending. She forces Katara to learn something she finds disgusting, repulsive (just like Hama was forced to learn?) by torturing her (Hama was tortured), by overpowering her, invading her, making her lose control over her own body, bending her blood (Hama herself is clinging to the last remain of control she managed to get back after rotting in prison for years), and finally by threatening to have the two people she cares most about in the world kill each other right under her eyes (Hama lost everyone too, she had to say goodbye).
(Katara: But, to reach inside someone and control them? I don’t know if I want that kind of power. Hama: The choice is not yours. The power exists…and it’s your duty to use the gifts you’ve been given to win this war. Katara, they tried to wipe us out, our entire culture… your mother! Katara: I know. Hama: Then you should understand what I’m talking about. We’re the last Waterbenders of the Southern Tribe. We have to fight these people whenever we can. Wherever they are, with any means necessary! Katara: It’s you. You’re the one who’s making people disappear during the full moons. Hama: They threw me in prison to rot, along with my brothers and sisters. They deserve the same. You must carry on my work.)
And this, this, is the only truly southern waterbending Katara is ever going to learn. This is her tribe’s bending heritage, what’s left of it: blood, grief, suffering, hatred, loss of control over both your body and mind (because it’s terrible, but I think that’s what’s implied by the show: bloodbending makes you lose your mind. Hama’s only mean of regaining physical freedom ended up trapping her in another nightmare). Hama gifts her with a power she despises (but will use anyway in her darkest hour when she loses control) and a philosophy of violence and revenge.
Katara chose peace and forgiveness. As an adult, she will have bloodbending outlawed, she will become the greatest healer in the world, and she’ll teach her daughter, the next avatar, probably many others. These choices matter, and we should talk about them with that background in mind. Katara redefined her heritage - or rather she created a new one for herself: she refused the condition that was forced upon her (bloodbender) and ensured nobody could legally do to someone else what Hama did to her (and it’s implied this law is valid anywhere in the world). She transmitted Pakku’s warrior teachings, the ones she fought for, to the next generations (and did a great job of it!), but she also taught them how to heal, refusing to separate the arts as in Northern Water Tribe tradition - and healing was something she discovered by herself, that she felt was always a part of her. At that, she became the universally acknowledged best. Her legacy, despite everything that happened to her, will never be one of violence.
tl;dr: Katara is one of the strongest fictional characters ever created bye
milo is the product of a society where rebellion has been almost completely commodified and transformed into a purely spectacular activity. spectacular in the sense that it turns rebellion into something passively consumed rather than acted out in one’s own life. milo’s fans are acting vicariously through him through the consumption of his own acts within mass media (the most glaring manifestation of the spectacle). it’s a rebellious energy funneled into reactionary ends because of the lack of any real alternative.
it’s an inversion of the equally spectacular SJW discourse, where individuals live through mass media figures, with equally crafted and marketed personas, performing rituals (call outs, apologies, “checking one’s privilege”), and ultimately doing nothing off of their computer. it’s politics as a spectator sport, where one’s side is constantly scoring victories over the other through social media. it’s pseudo-politics, where one’s affiliation is more important than any ideals, principles, or common material interest.
“The spectator’s consciousness, imprisoned in a
flattened universe, bound by the screen of the spectacle behind which
his life has been deported, knows only the fictional speakers who
unilaterally surround him with their commodities and the politics of
Wanna take over my wife's job after her maternity leave? get yourself pushed out of the company instead.
LTL, FTP. I have almost no direct involvement in this tale. I’m writing it on behalf of my wife.
Sorry for the wall of text… TL;DR at the bottom. This story happened (ended) two weeks ago.
We live in a country that needs a lot of improvement on laws, their application and enforcement…. we are a lot better than a few years back, but still sometimes people can get away with forging some types of documents, like medical records, education degrees etc. Also, english is not our main language, so job titles, degrees and other details are translated to their best equivalence.
According to our country’s labor laws:
All female employees are entitled to 3 months paid maternity leave.
Employers, at their own expense, are expected to cover for the employees on maternity leave, usually with temp workers.
Severance payments are mandatory when firing employees (without justified cause… crime, fraud, etc) with more than 3 months on their jobs, so that’s the time limit to be considered a temp employee.
Severance payment calculation is rather complicated, but for firing people employed 4 years or less, it usually boils down to about 4 months of salary.
To fire Pregnant women, employers have to pay them 6 months of salary on top of the severance payment they’re entitled to.
If an employee quits voluntarily, they effectively forfeit all benefits previously mentioned.
More EraserMight please? With DadMight at a parent-teacher conference?
For: Pairing + AU = Three Sentence Very Short Fic (You must have liked the way I did it the first time XD Thanks for sending another request haha I am a sucker for Dadmight. ;D)
Shouta shuffled his papers, frowning. His head was pounding after the last hour spent with the Bakugous. Katsuki’s grades weren’t even that bad, but he and his mother seemed ready to shout for any reason. Next conference, he’d have to try to get the father. He seemed calmer.
A knock sounded on the door frame. “Mr. Aizawa?” a deep voice asked. Shouta looked up from his papers. The man in his doorway was huge. Broad shoulders and a wide chest and a bright grin. Shouta’s heart beat a little quicker in his chest. His smile was… Behind his leg was a familiar mop of dark hair and a wavering smile.
“Hello. You must be Izuku’s… father?” Shouta asked, raising his eyebrows. The man laughed, and the sound was booming and joyful. Izuku’s smile evened out into something a little more sure.
“No, regrettably, but his mother could not be here today. I’m a close friend of the family.” The man placed his large hand on Izuku’s head, ruffling his hair. “Yagi Toshinori.”
“Ah, Mrs. Midoriya warned me that you might be standing in for her.” Shouta gestured toward the chairs in front of his desk. “Please, have a seat.”
Izuku kicked his feet as soon as he sat down, looking around nervously. Yagi sat down, leaning forward. “How is young Midoriya doing, Mr. Aizawa?”
“His grades are just fine,” Shouta said, glancing over the papers in front of him. “However, he has been having some trouble with one of his classmates.”
“Kacchan is my friend!” Izuku exclaimed, shooting to his feet. “H-He doesn’t–It’s not bullying!”
Yagi frowned, looking down at his young charge. “Young Midoriya, has young Bakugou been giving you a hard time?”
Izuku turned his face away, tears welling up. Shouta sighed. This was going to be a long meeting, he could already tell. When he glanced back at Yagi, he looked like he’d had the same thought. Still, his expression was one of fond exasperation. An attractive man with a soft spot for one of his favorite students…
Dangerous thoughts. He’s your student’s guardian, he thought to himself, in vain. When Yagi turned the full force of that exasperated grin on him, he knew it was too late. He supposed there were worse people.
I always try to have a diverse cast of characters in anything I write, regardless of the genre. But I've received feedback from some people that my mixed-race characters aren't "realistic." One example of this is a character I have; he's Indian and Argentinian. I have a decent story for now his parents met and everything. Is having characters like this unrealistic or like I'm forcing diversity? What's a good way to go about this? Thank you!! And sorry if my words are all scrambled.
“Unrealistic” Racial Mixes? Indian and Argentinian
I’ve met people who are Iranian and Latino, Italian and Indian, and (white) German and Chinese. My Japanese friend and colleague was born in Venezuela. I used to do business with a woman who called herself “Jewban” (yes, she was from South Florida.)
Is the person who told you that white? Because I almost wonder if part of the “forced diversity, unrealistic” kneejerk reaction is white people forgetting that interracial couples don’t have to contain a white person.
That’s not to say that certain groups wouldn’t raise an eyebrow–but for that to happen, they’d have to be highly geographically localized, and you could probably still make that work if you set it up realistically.
I typed in “Indian Argentinian” and immediately got a Wiki article on an Indian community in Argentina. so, y'know, far from unrealistic.
FWIW: there’s Puppity, a comic going around about being multiracial by Kiana Khansmith, a Jamaican-Japanese woman. Also, the last two Miss Japans were Black and Japanese (Ariana Miyamoto), and Indian and Japanese (Priyanka Yoshikawa). My mentor in law school was also Black and Japanese, too, and one of the deans was Black and Korean. A blogger I follow is Japanese-Vietnamese, even, I had a classmate in school who was Chinese and raised in Peru, and also taught a student who was Japanese and raised in Mexico.
tl;dr: agree heartily with Shira.
EDIT: corrected Priyanka’s surname to Yoshikawa and Eliana to Ariana. Thanks so much, helpful followers!
You have the most soothing voice ever. Have you thought about doing a podcast without your brother, or maybe narrating audiobooks? (My topical preference is microbiology, epidemiology, and shark conservation. FWIW.)
hello. first of all, i wanted to say i'm in love with your dio analysis. i think i agreed with everything you've written about him so far. you're truly amazing at getting his character! anyway, i wanted to ask - do you think The World's power fits dio (like his personality, life, etc)? and how? i'd love to hear your thoughts over that. if you answered such question in the past i'd love to be linked. have a nice day!!!
First of all, thank you!! for that. Yes I definitely think The World’s power fits Dio (and there’s a scene in SDC where Enya tells Dio his Stand is a guardian spirit that’s been protecting him his entire life, which I kind of love the idea of). Za Warudo’s my favorite stand so this reply’s a little long and freeform:
For me, it’s always felt like Dio’s been motivated primarily by 2 things – freedom and mastery – and Za Warudo’s timestop taps into both of these. First off, Araki’s explained Za Warudo’s timestop as the manifestation of Dio’s desire to be free from the constraints of Time. That’s a nice parallel to his becoming a vampire in Pt.1, it’s like first Dio mastered time by becoming immortal and then later on he’s actually able to force-stop time and to move through it alone.
One of the cool things about the timestop power is how it creates a stage - not a stage like an actor would have during a performance (it’s sort of the opposite since Dio’s actions during the stop are unobserved), more like a stage in the sense of a space where Dio can take advantage of everything that’s around and set up the most effective and diabolical way to attack. The reason Dio’s been such a formidable adversary is b/c he’ll use anything and everything that’s around him during a fight. The timestop really exploits this fighting style, creating a space where he can set up elaborate attacks on his victims.
The World’s power feels like it’s been custom-built as an enhancement to Dio’s improvisational fighting style. And Dio’s a villain with a strong sense of play - he likes toying with his opponent - so obv The World’s perfect for enabling that too (ie, Polnareff on the stairs). The idea of the timestop setting up a type of gamespace is cool too because it relates way back to Dio’s love of chess in Pt.1, so much so that he literally uses the phrase “Checkmate” after setting up his multi-knife attack on Jotaro.
All this ties back to this idea of mastery, The World’s power lets Dio hone and test out both his skills and his limits.
Personality-wise, the idea of a space in which only one can move relates back to Dio’s confidence and arrogance, really. Dio consistently thinks of himself as a man who stands alone and at the top, and during the timestop that’s pretty much the case. Stopped time is Dio’s alone. That’s why he gets so unnerved when Jotaro moves just one of his fingers a little during that stop, it’s like a personal affront to Dio because no one should be even allowed to approach his level.
(fwiw another element in line with Dio’s persona is it’s audaciousness. “Toki yo Tomare” is a
command-type phrase, Dio’s directly commanding Time itself to
stop. It’s notable that Dio’s less-confident Part 7 counterpart, Diego,
doesn’t use that “yo” command.)
And then there’s just the strength element. Araki talks about how when he wrote Pt.1 he asked himself, “who’s the strongest man in the world?,” the way a child would ask. In Pt.3 and with Za Warudo it’s like Araki’s applying that same question to stands, asking, what’s the strongest stand power in the world? In later Jojo parts the timestop becomes one of many OP powers but in Pt.3 it’s so huge that it’s almost unthinkable. So it’s like both Dio and his Stand have their genesis in this same question.
And ZW’s power is physical. I get the sense Za Warudo’s timestop isn’t just a matter of its master exploiting the flow of the timestream (I think of Kira’s Bites the Dust that way, it’s like Kira and Killer Queen and everyone else slip back through timestream). With Za Warudo though, it’s as if the Stand’s physically forcing the gears of Time to a standstill. It’s drawn this way:
obv it’s figurative but Araki’s emphasizing The World’s raw strength here.
And there’s other stuff, like how elements of The World’s design create a mechanical, robotic impression (versus Star Platinum’s more organic design). Dio’s got a stand that looks a lot like an unkind machine, it feels symbolic of Dio’s own ruthlessness and cruelty.
Anyway that’s a lot of my thoughts on it. Thanks for the ask!
Sam was raised the exact same way as Dean with the exact same shitty parent and yet he has some tact and compassion.
Saw this quote on a post, expressing something I’ve seen before about the differences between Sam and Dean, which (putting aside the suggestion that Dean has no compassion, which, bwuh?) is missing a major point about their respective upbringings.
Yes, Sam & Dean were both raised by John, but they had quite different childhoods. Case in point, compare the flashbacks in “Something Wicked” (with nine-year-old Dean) with “Just My Imagination” (with nine-year-old Sam.)
Sam, at nine, is being left alone in a cheap motel room. He has to feed himself and entertain himself. (He happens to get some help with that thanks to a friendly Zanna, but John had no way of knowing this.) Sam does get calls from Dean checking on how he’s doing, but even so, he’s NINE – it’s a clear case of neglect and it’s terrible. It also sets firm personality traits in Sam – primarily, that he learns he is responsible for seeking his own happiness (though his brother will try to support him in it, doing what he can to help Sam get what he wants.)
Dean, at nine, is being left alone in an even cheaper motel room. He has to feed himself, but before that he has to feed and entertain his five-year-old brother. He gets no supernatural help and no regular check-in calls, that we see. He tries to entertain himself, but an innocuous pastime as going to an arcade nearly gets Sam killed. Dean learns that he is responsible for someone else’s life, and that seeking his own happiness is not only inconsequential but actively harmful, that it lets down the people he loves.
This is not to say that Sam wasn’t neglected or that his childhood wasn’t terrible. He most definitely was, and it was. But if Sam is better adjusted than Dean, if Sam is better at showing tact and compassion, it’s not solely because he’s a naturally better person than Dean; it’s because Dean is a better parental figure than John is.
This gif made me think of Percival Graves striding down the halls of the Woolworth building and a small child shuffling after him struggling to keep up.
And at first he doesn’t react outwardly, but just goes slower and slower to allow the child to catch up until he stops, heaves a long suffering sigh, picks up the kid and off he goes again, business as usual, except now he has a toddler balanced on his hip.
Maybe its the kid he has with Tina/Credence/Newt.
A deaged Tina/Credence/Newt.
Is he a single parent? Does he have a wife and kids he’s just intensely private about. Godchild? Niece/Nephew? The neighbour’s kid he got suckered into babysitting?
The possibilities are endless!
[[fwiw I will be writing some interaction with Percival and his brother’s children in The Fall That Kills You, but not any time soon]]
Ok, this is a simple riddle. As we all know Giorno is a big fan of his "dad" Dio, he is keeping his photo and dyed his hair to looks like padre.They both do "MUDA MUDA" even if they aren't really related. Mother of Giorno has to told him that dio did scream those words, but she obviously didn't see Dio in combat. The question is, when Dio has to do "MUDA MUDA" that she saw him. (my shitty english is shitty pls don't mind)
They are really related though,
Dio isn’t a head on top of a mismatched body the way you sometimes
see in fan art, it’s much more complicated since Araki’s version of
vampires replace the body parts of their host with their own cells expressing their own genes. Giorno’s blond hair is definitely
and it gets expressed around the time his Stand fully awakens.
Re: your ask, stand cries seem like they can be genetically inherited, it’s why when Jolyne’s stand awakens it shouts ORA ORA ORA even though Jolyne hasn’t seen or heard her dad’s stand yet. Pretty sure that’s what’s happening with Giorno - Gold Experience instinctively has the same MUDA MUDA battlecry as his dad’s stand.
But I’m giving you an in-narrative explanation when it’s also Araki doing a callback. By giving Giorno so many Dio callbacks he’s emphasizing that this is Dio’s kid. I think Giorno is a way to explore aspects of Dio’s personality with the evil part written out.
fwiw, besides saying “MUDA MUDA” Giorno also uses the vampire cry, “WRYYYYYY.”
There's lots of lesbian lit out there: Canon classics from the pre-Rubyfruit Jungle era
The Well of Loneliness by Radclyffe Hall. 1928. The mother of all lesbian classics. The story of Stephen Gordon and her “sexual inversion.” So ground-breaking that, due to its lesbian subject matter, it was banned upon its initial publication. I haven’t read it; it’s supposed to be a downer, but some people like it; a period piece for sure.
We Too Are Drifting by Gale Wilhelm. 1935. Subtitled “The Story of a Lesbian,” shocking in its time. FWIW, the blurb on the period cover says “Better than The Well of Loneliness.” I read this a long time ago and vaguely remember being disappointed, but again, it’s a classic and YMMV.
The Friendly Young Ladiesby Mary Renault.1944. A witty romantic comedy of the bohemian set in 1930s England, reportedly written as a response to The Well of Loneliness and therefore may be best appreciated in that context. I haven’t read it; it’s supposed to be good.
The Price of Salt by Patricia Highsmith (aka Claire Morgan). 1952. Ahead of its time, this novel tells the story of a love affair between two women in the 1950s. This book was a powerfully formative one for me, and I have revisited it multiple times over the years. Recommended.
Desert of the Heart by Jane Rule. 1964. Later made into the movie Desert Hearts, about a love affair between two women in the late ‘50s. Not action-packed, but thoughtful, well written, and a landmark in its time. Other lesbian-themed books by this author include This Is Not For You and After The Fire.
Patience and Sarah by Isabel Miller. 1972. A major classic. In this historical novel set in 1830s New England, two women defy their families and their community to make a life for themselves. I remember liking this one a lot.
May Sarton (1912-1995). A lesbian writer, perhaps better known for her poetry and journals, she published several fiction titles as well (not all lesbian-themed). I tried reading her once or twice and Did Not Like; however, lots of people swear by her, so there she is.