kind of metaphor

queerbaiting is when someone leaves a tasty snack underneath an upturned box propped up by a stick and when i go for the food it falls, trapping me

hi op here. im seeing a lot of people talking like this is some kind of metaphor? that simply isnt the case. this is something that literally happens to me at least once a month blease don’t belittle my circumstances. ok thanks bye.

  • <p> <b><p></b> <b>Person A:</b> Babe, I'm sorry, but your cooking is awful.<p/><b>Person A:</b> It tastes like I bit into an old lady.<p/><b>Person B:</b> Dafuq kind of metaphor is that??<p/><b>Person A:</b> DAFUQ KIND OF COOKING IS THAT??<p/><b>Person B:</b> Touche<p/></p><p/></p>

I had the honor and horror of explaining/proving today to my local comic book store owner, who is a born-and-raised Jewish dude, that the Black Widow is Jewish. I ended up making a drive home and grabbing my copy of the 83-87 run of her origin story and then going back in person to prove the point today (a week after the original argument)/sit there and watch him repeat, dumbfounded, again and again, “I thought she was Russian Orthodox or something.”

So then I had to explain that Marvel eventually retconned her into having had the Red Room rip out all her memories of life before her parents’ death and thus left her unaware of her heritage. He had a copy of the new version of her origin story. We went over it together in-store, curious, and left mutually disappointed. There’s not one hint of her original origin left other than her very Jewish patronymic still remaining part of her name.

As a Russian-descended person I find that kind of a fitting metaphor for how the Russian government has treated Russian Jews - Natasha can succeed, can be the best in her field, can be beautiful and praised for her moral fortitude, but only if she has all Jewishness forcibly removed from her. It’s sort of befitting the era in which her character would have grown up, especially if Marvel pushes forward with the idea they’ve hinted at that the Red Room’s treatments have stalled her aging and she might be nearly as old as Steve and Bucky.

Out of universe, though, please never forget that Marvel took out all the women from the Avengers except one for their cinematic adaptation initially, and the one they left, they made either atheist or secular enough to casually refer to Loki and Thor as gods. They had a chance to put the first Jewish superhero to the big screen and didn’t even consider it for a second.

Then they made the Scarlet Witch not only not Jewish but Christian in the sequel. Just to twist the knife a little deeper, they made her non-Rromani and went with a fake nationality to top it all off.

And thus I stood before a man whose job was (in part) to live and breathe Marvel and he had no idea Natasha Romanov was Jewish. This new and improved origin story that has no trace of her Jewish roots (in freaking Novosibirsk where there’s a large Jewish quarter of the city, are you kidding me with this Marvel) comes during the same year Marvel published a storyline headed by writer Nick Spencer where Captain America was a Nazi/HYDRA agent all along, a storyline that only got canceled because the fan protests and outcry was so great that between the petitions, boycotts and actual Marvel actors like Clark Gregg (who is Jewish and who Nick Spencer sent the issue personally) publicly stating disgust with it that Marvel realized they weren’t going to be able to sell overt antisemitism. Covert antisemitism, though, we’re still buying - the Iron Man anti-villain/anti-heroine The Mad Thinker/Rhona Clytemnestra Cohen had her surname changed to have always been Burchill and her backstory retconned into her family being the victims of ‘a criminal car bombing’. Not ‘an antisemitic car bombing motivated by the fact my mother was a brilliant Jewish scientist whose coworkers had it out for her’. Just ‘a criminal car bombing’. I have seen all of three people complain about that even though it takes her motivations as a Jewish woman who hates that superheroes don’t save or stand for people like her and turns her into another generic supervillain.

I see what you’re doing, Marvel. There’s a reason I go out of my way to buy my comics from a place that will let me leaf through comics before purchasing them. If you want to keep going down this path, please just be aware that one day, kids will be shown that Captain America panel of him saying ‘Hail HYDRA’ in history class as they learn about the 2016 antisemitic upswing. You are made of the same stuff videos labeled ‘crazy propaganda cartoons’ on YouTube are.

(And yes I know one person’s rants are another person’s no big deal but I am not merely out of fucks to give, I am deeply, deeply in the red right now.)

So hey, Coming Out Day. That’s tomorrow. But as anyone who knows me already knows, I like to be early. Get it from my dad. Just one of those lovable things about me.

Anyway. Realizations. They can hit you hard and several times in a row, all in a short period of time. Like standing in a three-way intersection when all the lights suddenly turn green. One minute you think you’re one thing, then another you think you’re another because you definitely aren’t this third thing, but hey let’s imagine that you were, and then suddenly everything clicks and half your life suddenly makes a hell of a lot more sense. Then you have to take stock of other things you assumed about yourself, and get some perspective, and figure out where everything fits through your new worldview. It’s a process! A process with slow periods and fast periods, and a lot of pain and introspection. It’s ultimately for the best, though. Going back to my earlier metaphor, about getting hit by three lanes of traffic at once - yeah, it hurts, but if you survive you’ll probably come out stronger and better than before. Like with a robot arm or something.

In hindsight, not my best metaphor. Kind of got away at the end there.

Anyway, the point is this: I may not be done figuring things out, but I feel confident enough in a few things to pretty much state them as fact. They do kind of require a reintroduction of sorts, so here goes:

Howdy, my name is Alice Zachary [LAST NAME REDACTED], and I’m a trans lesbian. Hope you don’t mind!

You just gotta break the egg - Trying to understand Eto and her revolution

I have been reading past comments made by Eto about the revolution and change which she wants the world to go trough. The world sure could use a change, since at it`s current state it`s basically a cycle of violence that keeps hurting and twisting the people living in it. 

However, as I have read Eto`s lines, there is something that puzzles me. When she is talking about this upcoming change, most of the discussion is surrounded with rather violent metaphors or word uses in general. To me it seems that by change, Eto means the destruction of the old system. Not, reform, not change but destruction. From the ashes of the old corrupted world, a new one shall rise. Let`s look at some of her word choices:

“Our enemy are the the Doves of CCC. However, eradicating the warped root that lurks behind all of this is my true aim.”

“In the destruction of this twisted birdcage, is the key to returning balance to the scales of the world. I would like you all to become the foundation of that destruction.”

“Because I want to take this fucked up, piece of shit world, fuck it up even more and then give it a factory reset.”

 “To give birth to something, you`ve gotta destroy the world right before your eyes.” 

This old world that needs to be broken, does not seem to be the CCG, but the warped root behind all of it that I guess is causing all this. What is that root? Is it the Washuu family that has held up a system for decades? Is it the mysterious V organization, which members said in the new chapter that some secret project they are conducting is related to keeping world at peace? Do all of these need to be destroyed that you can create something new, because I think a simple reform was not something Eto had in mind when she started to plan this. 

Why then Eto uses such such a violent words and metaphors, seeing destruction as the way to change things? I guess a lot of has to do with how she grew up. Eto grew up in a harsh world, that probably made her see it trough a warped perspective. Her massive kakuja tells that she has done a lot cannibalization over these years, so she has lived a rough life. Her father leaving her alone with Noroi affected this too, making Eto very bitter.  As has been discussed before, this manifest in her writing:

When you think about, I guess you could say that most of Eto`s creations end up having a tragic fate, as do the characters in her books. When she molded and re-created Kanae/Karren, I think Eto knew that she molded her in a way that she would not live very long after that.  Aogiri Tree, a creation of Eto too, perished at the of Rue island mission by the hands of the CCG. Probably this was partially planned so that the empty space of power left by AT could be filled by the One-Eyed-King, Kaneki. King Kaneki is also Eto`s creation, so I wonder what will happen to Ken…

So to wrap this up: the thing is that Eto, whatever she sees that the warped root is (the CCG/Washuu/V..?) that keeps twisting their world, needs to be destroyed. Not reformed or changed, eradicated. In a odd way this reminds me a bit of the mentality that the Communist had. If you read one of the most famous manifestos by Lenin, a good chunk of the text is just talking about how the previous order/system etc… needs to be destroyed. A simple change is not enough, destruction is needed. What is also an odd coincidence is that this kind of “breaking an egg” metaphor used by Eto has also been used by the Soviets too in the past. I can`t remember who said, but the massive amounts death in the Soviet Union were told by a needed sacrificed, and the process was compared to making an omelet: You can`t make an omelet without breaking a few eggs. To make things clear, I am not saying that Eto is a communist. Her violent word choices and talk about destroying the old system just reminded me of those instances. 

But are the current actions taken by Kaneki doing this? He has talked about bringing the CCG to the negotiation table, by force if he has to. Is this the thing that Eto wants to happen? Possibly a peaceful discussion how things should change?  

Why Eto uses these hard words is likely because of her hard life, and as has been seen in the past, the life of ghouls at it`s worst is very violent. Even the wars she used to live in, the 24th, has been said to one of the most dangerous and violent places to live in. 

In the end, I guess Eto herself summarized it the best in a quote from Dear Kafka:

“What cannot change can only be broken. “

Things are too corrupted to be changed anymore, so they need to be broken instead. 

what have you done

flvffs  asked:

please, tell me a little more of your feelings on cersei burning the tower of the hand (if this is already in your tags, i am so sorry: mobile gives me the useless "there is nothing here")

Are you. Sure you want my feelings on this. Because I have. A lot.

Ok, so, one of the things that I love about ASOIAF is that it’s a story about stories.1 The Frog Prince, the Evil Queen, the Beast, the Huntsman, the Wicked Stepmother, Cinderella, Snow White, Red Riding Hood, the Witch – they’re all here. GRRM takes these timeless stories and twists them and turns them, telling them from the POV of the villain and other distortions. We glimpse their dim reflections over and over in GRRM’s dark funhouse mirrors, in Sansa and Arya and Lysa and Quentyn and Sandor and Tyrion and so many others.2 But obviously the character I want to talk about here is Cersei.

Cersei’s story is shaped and I would even say weighed down by fairy tales and famous literary figures. She is the Evil Queen, she is one of GRRM’s Wicked Stepmothers, she is Guinevere and Lady Macbeth and Clytemnestra. 

But I think one of the most interesting fairy tales Cersei embodies is Rapunzel, the Maiden in the Tower. Rapunzel, “the girl with the impossibly long golden hair” “is a story about sexual desire and obsession and cruelty. […] ‘Rapunzel’ is largely a story about feminine power.” And Cersei’s story is her navigation of power in a world that actively denies her power, and it all ties into the Tower of the Hand. 

Keep reading

Can we just acknowledge that the last lyric on 1989 (if you don’t include the deluxe version) is “I think I’m finally clean” and now Taylor has wiped her social media clean of everything and is starting over fresh


microsuedemouse  asked:

I'd love to know/see something about Jacob takes in a stray? bc I'm a sucker for anything about Jacob's relationships to the Burners/basically anyone tbh

rollerskatinglizard said to livelivefastfree: Art for Jacob takes in a stray!  

heee! :D  I would do more than one since more than one person asked for this fic, but this ficbit is literally only one scene long, haha.  Not much to illustrate.

The kid backs up a step from the advance like a frightened mutt, glancing around like he thinks Abraham is going to jump out of an alley for him.  Jacob would bet he doesn’t even notice the way he sticks to the pool of sunlight from the distant dome above—like he’s scared the dark will burn him if he touches it. “Are we safe here?”  he asks instead of answering.  “Is it—okay I’m here?”

That guarded caution is Deluxe all over.  No charity, up there.  Nothing for free.

“…’Course it is, kid,” says Jacob.  “Come on in.”


Badlands was about this girl living in this postapocalyptic society and not wanting to escape and knowing she should, which was kind of a metaphor for a mental space, Some people find themselves, myself included, comfortable in their depression. You know what it means to get better and what you have to do, but sometimes it’s easier to just kind of, like, wallow in your misery. For me hopeless fountain kingdom is a story of two people who want to be in love so badly they’re willing to change themselves for their love and in doing so, they let the real versions of themselves die. It’s a Romeo and Juliet story.

Thanks to @liohnelmessi for this amazing template!

  • <p> <b><p></b> <b><p></b> <b><p></b> <b><p></b> <b>What I say:</b> I'm fine<p/><b>What I mean:</b> why are there dinosaurs in the new opening of Shingeki no Kyojin/Attack on Titan? Where did they come from? Are they some kind of metaphor? Will they go in battle riding dinosaurs now? Are they related to Zeke? His new pets maybe? Or have I started watching Jurassic park without noticing? What is gOING ON?<p/></p><p/></p><p/></p>

you lend someone your heart and there’s always one of three things that happen to it

i. they take your heart and immediately cast it aside without a single glance. they pretend like they’ve read it from cover to cover but in all honesty they haven’t even seen a single page. they’ll never understand you and that’s how it goes. that is how it will always be.

ii. they take your heart and crush it. your heart has been altered to a broken heap you no longer recognize. pages have been torn and scorched; words have been scratched out and blackened. you regret giving your heart out and vow to never do it again.

iii. they take your heart and treasure it, like it’s worth more than all the gold in the world. they bandage it and care for it, as if it is their own. you smile and you know. their heart has been broken, but do not let their brokeness let them break others. they treat you differently. not like the others with their hushed whispers and side glances. no, they treat you differently once they see the marks and scars. they see you as a stronger person, a more beautiful being. you love them for it, and for once in your life, something loves you back

—  be careful with my heart
Common Literary Devices

Reading through A Tale of Two Cities made me want to revisit some AP English notes, so here you go:

  • Allusion: an indirect reference to an existing work
  • Apostrophe: speaking to an inanimate object (ex. Hamlet to the skull)
  • Hyperbole: exaggeration
  • Irony: in simple terms, something that happens that wasn’t expected (ex. a firetruck catching on fire)
  • Juxtaposition: placing two contrasting things or ideas close to each other
  • Litotes: understatement used for emphasis, usually involving a double negative (ex. “Not unkind”, meaning the positive “kind”, but in a lesser way than simply saying “kind”)
  • Metaphor: an illustrative comparison, usually involving the words “is”, “am”, “are”, “was”, or “were”
  • Onomatopoeia: words that read how they sound (ex. sizzle, slosh, cuckoo)
  • Personification: giving human characteristics to an animal, object, or intangible concept (ex. Mother Nature, Father Time)
  • Simile: a comparison involving “like” or “as”
  • Symbolism: using objects or animals to represent ideas or qualities (ex. dove as purity, innocence, and/or hope)

Rhetorical/Persuasive Strategies

  • Ethos: establishing credibility/authority (ex. “I’m an expert.”)
  • Pathos: establishing emotional connection (ex. “Save the cute animals!”)
  • Logos: logical reasoning (if “p”, then “q”); deductive reasoning (general to specific; think Sherlock Holmes); inductive reasoning (specific to general; think scientific method, start with hypothesis, find info to support it)

Syntactical Devices, deal with sentence structure

  • Alliteration: a sequence of words that begin with the same letter, usually a consonant (ex. “the snake slithered silently”)
  • Anaphora: sentences or clauses that begin with the same word (ex. “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness…”)
  • Asyndeton: a lengthy sentence with successive words/clauses not connected by conjunctions (ex. “she packed shirts, pants, socks, her trusty alarm clock; with these, she was fully prepared for her journey.”)
  • Repetition: self-explanatory
  • Parallelism: sentences with the same structure (ex. “girls danced in yellow dresses; men stood with stoic stares” Structure: noun, verb, prepositional phrase)
  • Polysyndeton: a series of clauses connected in a single sentence by conjunctions (ex. “I am a certified doctor and nurse and psychiatrist and neurologist and a murderer of assholes.”)

anonymous asked:

It's crazy how the song reversed sounds like it has an oriental origin, like the phonology and melody kind of make it sound Arabic or Turkish.. And then the song is about being misunderstood.. Like reversing the song itself is kind of like a metaphor about cultural clashes and misunderstandings, when at the end of the day, we're all just the same more or less..


@tallulalusa​ re FP vs. Clifford and Jason the Drug Mule (I’m trying to parse this out, so feel free to ignore):

To me it still seems like the same thing.  Yes, Clifford is running a large (international?) heroin drug trafficking ring, but Jason doing this ‘one time thing’ for FP to support Polly and the babies is still the same to me.  In one scenario Jason is threatening to send his father to the authorities, but does not actually do so.  (Why? If he was really against it, why threaten your father at all?  Why not just go to the authorities?  He has to have some ulterior motive - money? Power?) 

In the other scenario where Jason’s running drugs, he’s now getting his hands physically and metaphorically dirty by doing the exact same thing his father does.  Selling drugs for money.  Drugs that might have come from his father’s own drug ring, sending the money right back into Clifford’s pocket and further fueling his empire.

The only difference is scale.  Yes, Clifford sells to a larger client base and has a greater negative impact overall.  But Jason was planning on either handing the drugs off to dealers or becoming a dealer himself, thereby doing the same thing his father does, albeit on a smaller scale.  (Of course this also folds very neatly into the narrative parallels of the kids becoming their parents.)

Not only that, but Jason is now putting himself in greater danger by agreeing to run the drugs for FP, especially in regards to getting arrested and/or hurt by people wanting to get the drugs without paying, robbery, etc. etc., for doing so.  And since Polly was to meet him at the car that still had the drugs in it, the drugs he’s yet to deliver, he’s now putting her and the babies in danger by doing so. 

Again, Jason had access to liquid assets.  There’s no reason for him to be a drug runner if he’s that against Clifford selling drugs.  There’s something deeper in that refusal (akin to a Greek tragedy/insert son rebelling against the father sort of imagery here?), but the narrative refuses to delve any further on that point. 

The only side I can conclusively come down on is that Jughead still doesn’t know why Jason was murdered and so this is what makes the most sense to him.  That he didn’t want anything to do with Clifford’s drug empire.

 @extraknees made a very good post asking for more of this ship’s content featuring baph comforting dio, so thank you for inspiring this fancomic, macey!!!! :) hope you all enjoy!