“average Person Eats 3 Spiders A Year” Factoid Actualy Just Statistical Error. Average Person Eats

The Values of Moirallegiance

Okay, so I’ve been pretty stressed lately so I’m just going to ramble about how I view moirallegiance.

The first thing I want to talk about is how: MOIRALLEGIANCE IS ROMANTIC. Too often I see people describing it as the bro quadrant, legitemately, unlike how whichever character calls it to enrage Karkat in the comics. What really ends up bothering me now though is this: it’s so oftenly used as a midway point between just friends and matespritship.

Never mind that it concerns a totally different part of the human (or i guess troll) experience, it’s treated as just the path to a greater thing, it has no value but what it can get you to: “pure human romance”.

This is especially prevalent in davekat fics, wherein they are both so concerned about their own queerness regarding sexual attraction, suddenly have no problem being romantic with each other (again, with moirallegiance being treated as if it was the friendship quadrant).

It’s used as a tool to get them to be physically close with eachother without revealing their true feelings. That’s not really moirallegiance.

The people that don’t write Karkat as panquadromantic/panquadrant and just like to write him as vacillating do this so often, and it feels so much like they’re just projecting human experience onto it (which in the end I understand, I do not guilt any writers for doing this because I do find it interesting anyways most of the time, it’s just in the ideal portrayal of it I see it differently).

I think this also ties into the fact that, moirallegiance is about learning to be a better person. What happens in most fanfiction is that: all the characters are saints unless they’re vriska or whatever other controvertial character you think of.

If the relationship doesn’t require the pacification of a highblood rage, it mostly just turns into a cesspool of vulnerability that never ends in any of the characters progressing (unless they reveal their insecurities, which are then validated and reaffirmed).

Since there is such a fear of writing imperfect, actually imperfect and not Mary Sue insecure characters, who’s only flaws are: omg i dont feel beautiful, omg im so stupid, omg im a horrible person (they’re not), etc. Then the potential for moirallegiance loses so much of its spark.

I’m not saying that writers should stop writing those kinds of stories, again, it’s not anyones responsibility to satisfy my prticular hc about it, and I know how important those kinds of stories can be for other people. But if anyone were to ever write a pale romance novel, to make it really interesting the characters would have to have a myriad of flaws.

I also think it’s interesting to see it tied into kissmessitude more. Pitch romance is also one of the ways that characters build each other up: they are confident in each other’s potential and will push their kissmessis into being better through competition. Moirallegiance is a way to do that, but through confrontation.

While kissmessis take an indirect approach to bettering their partner: goading, attracting them to a goal, making the other jealous, moirallegiance makes one come face to face with the obstacle.

I don’t really know if I had anything else to add, but the summary is this: moirallegiance is undervalued and misrepresented most of the time. It’s treated as a relationship wherein both prtners have to constantly reassure and cheer up the other, and not a relationship where they tackle the mistakes they’ve made, the roots of all their actions, what drives them, really (and what makes them sad or anxious too). It saddens me to see moirallegiance, a direct window into the characters psyche, being used as the midway point to matespritship, when they are actually seperate and distinct end goals of romance.

tried making my own troll alpha kids omggg. I don't really like how rose came out, i love jade and john though,,

Short thing before bed lol

havent posted in a while, take some original shit

these are zara, lexi and zero. zara is the okder model robot, zero is the new looking onw and lexi is human, might explain more, but this is me trying to put down what they might look like

more little guys!!

If I had a nickel for every time i drew a close up of an unhinged woman at a 3/4 i'd have two nickels, which is not totally weird that it happened twice, but it sure did happen

small doodle

sneak peak for the comic i'm working on hehe

When Harrison told Lázló twice within the same ten minutes that he found their conversations "intel·lectually stimulating" (Lázló hadn't said shit), I leant into my friend and told her: "yeah, he wants to stimulate something else". Lo and behold, I was right.

Every movie that starts out by emphasizing the heterosexuality of the main character is bound to be a bit wierd, if you know what I mean. At the halfpoint, I was upset that there weren't any compelling female characters. 

The Brutalist is a film about a man, like many a movie. Specifically, László Tóth, a brutalist (ha) architect with a very baroque character. It's a story about his survival, ascent and downfall, all told by the entering and leaving of people from his life.

First, Atilla, the kind family that was going to host them until they could get settled. I really loved how affectionate they were with each other, it contrasted with the previous scene (the "i'm straight guys" scene i mentioned) and defied my expectations. I really enjoyed the relationship they had, and was sad at the betrayal of Audrey. This marks a period of relative happiness at having a place to express his creativity, and is what eventually gets László into contact with Harrison.

Second is Harry Lee Van Buren, who made me laugh so much when he started talking. I don't live in an english speaking country, so people that talk like game show hosts probably exist, but it was just so funny to me and i don't know what to think about that. Regardless, I liked his character and it provided a good segway into knowing Harrison.

Harrison, the third important character of the first part, is a rich architecture snob that reallyappreciates László's thoughtful humming. At this point, I really appreciated the sincerity shared between Harrison and László, Harrison seemed very human.

The second part is where everything comes crashing down. Firstly, we meet László's wife, Erzsébet. I really really liked her. One of our first impressions of her is that masturbatory scene and I was like,,, you go girl. I do think that this movie falls into the trope of "women are interesting because they're tragic" (Erzsébet spends most of her time upset about things or being upset by other people), but most of the characters of this movie are tragic, so... it's fine? I guess? Also, I found the depiction of her chronic pain satisfying (I don't have any chronic pain, but Felicity Jones is an amazing actress, and it seemed realistic from what I've heard from other people).

The disappointment in the second part was that, I really thought the drug addiction and such would go into a different direction, I mean this in two ways: even though I accidentally "predicted" the rape, I insinuate homoeroticism in all the characters ever; basically, it came a bit out of nowhere? And, I loved that the reason Erzsébet died was because of László's vice, and also one of the only moments she seemed completely satisfied.

This film didn't have a clear cut moral, or a point (or maybe I'm just blind), but it was an amazing story. I liked all the characters overall, and it was just that: different personalities interacting in the Penisvania of the past. I remember thinking that the film ended a bit abruptly, but nevertheless, I enjoyed it.

pink alien queens with homophonous names lesgoooo