The real gen z aesthetic is having a vague memory of Maisy mouse in the back of your head that you’ve completely forgotten about until you see a picture of her and you’re suddenly teleported back to 1999
recognize that your idea of what is and is not “gross” is entirely subjective and based on your own personal moral stance. come to terms with the fact that even things you consider to be basic human morality–even things you think should be universal–are not and cannot ever be accepted universally.
avoid putting so much of your own personal investment in the characters you share in a mass media context. audiences will always interpret your work differently than you originally intended. death of the author is status quo. you cannot be emotionally invested in audiences’ interpretations of your characters, relationships, and themes, to the point that a conflicting interpretation will utterly wreck your ability to produce content or send you into witch hunts after your audience members.
write diverse casts of characters with interesting dynamics regardless of whether or not those dynamics are unhealthy and your audience will interpret them howsoever your audience pleases. make the ships you like canon, or don’t. whatever your story calls for. the audience won’t care either way, and will probably purposefully ignore all canon ships. see bullet point #2.
recognize audiences’ need for catharsis, for exploring fucked-up concepts, and for purposefully engaging in “gross” media in order to explore the darkest parts of one’s subconscious. recognize that even in children’s media, people need to explore fucked-up concepts. even children themselves play-act ordering around slaves, kidnapping love interests, murdering people, marrying family members, all kinds of dark shit.
realize that, given all of this, there’s really no such thing as “gross shipping” in an objective sense.
be entirely free from this concept and this discourse.
the pussycats run a cat shelter that takes in strays/sick cats, employs a whole bunch of vets/volunteers, and adopts out cats (also fosters) to people. ragdoll takes over running it when she loses her quirk, because it gives her something to do and gives her purpose, and also people–kids, especially–love seeing her when they come into the shelter.
aizawa also volunteers there often. ragdoll has a special shelter apron for him to wear when he works there.
This is adorable! Do you think he schedules the class for volunteer shifts after Kamino? (They’d all be on different shifts because putting them together is chaos)
1. YES ABSOLUTELY. some of them like volunteering more than others. some (bakugou) pretend to hate but actually do very much enjoy it. shouto constantly signs up for shifts and then immediately falls asleep in the kitten room and aizawa has to start pairing him with someone else so that work actually gets done during that shift instead of shouto just napping with a bunch of cats on his fire side
2. aizawa’s apron says ‘honorary pussycat’ on it and at first he refused to wear it. he got talked into it, though. like always. and now his students won’t stop making fun of him whenever ragdoll posts a photo on the shelter social media page with aizawa wearing that apron. even if he’s just like, in the background of the photo, aizawa is sure to find an enlarged copy of it on his desk in the next 24 hours.
i love that we and cats share pareidolia (seeing patterns where they dont exist), but instead of seeing faces in everyday objects like us, they see snakes
that computer cord? snake. string? small snake. cucumber? short fat straight snake
snake pareidolia is one of the strongest things in human minds too! people report freezing mid-stride before being consciously aware of a snake in front of them, and the same happens with coiled rope, etc. in humans and other primates. it’s even been proposed that the need to detect snakes was a factor in the development of primates’ insanely good color eyesight
It’s because snakes are wonderful and we must stop and admire them at any cost
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