#( meta )

[rqbossman]

Hey all, bit of a cross post from twitter but I think it is more of a tumblr post if I am honest. In honour of The Magnus Protocol Season 1 Epilogue: Please find my vibe check playlists for main characters from the show. Alice: https://open.spotify.com/track/59OkvZEB9zPsEa6fQL2LlZ?si=d70968099b4945fb… Gwen: https://open.spotify.com/track/5t5m1lX199oLwrA2MkQERn?si=802a42e6d6944a59… Sam: https://open.spotify.com/track/2bNCdW4rLnCTzgqUXTTDO1?si=67ee75b60ad848c7… Celia: https://open.spotify.com/track/39zu6JGd6tvRNsqyK78RLk?si=d5880233bb2c40ca… Colin: https://open.spotify.com/track/1WB1zhaxW3fIZKq032iCjw?si=bc19485540a24051… Lena: https://open.spotify.com/track/1K9yTBoGrKUEt8j5LCI37T?si=527307e52dfc4f08… Teddy: https://open.spotify.com/track/58vnVBWfKWIjSVvKTZJly2?si=07729cb76d6e4061… Sorry not sorry.

[probablybadrpgideas]

Instead of xp levelling or milestone levelling, level the party up when they say a secret phrase only the DM knows

­

[ckret2]

What's your stance on Ford as a person? Honestly, I believe that for thr majority of canon he is a bad person. But I believe he grew. Still not great though XD

(Love him anyways obvs)

I disagree entirely! I think he's equally as good a person as any of the other main cast.*

*Except Mabel, who, as we all know, is always right about everything.**

(**This is a lighthearted joke. For the love of god, I don't want Mabel discourse in my inbox.)

His biggest sins in the show:

After telling his brother that he was thinking about changing their shared life plans, and then discovering that his brother had gone to the high school that night for no good reason and gone to the science fair for no good reason and messed around near Ford's science project for no good reason and broke it and didn't tell Ford about it... Ford believed Stan did it intentionally and held a grudge for it. You know what, it WOULD be pretty damn hard to believe it was an accident.

Hilariously ill-equipped to cope with Fiddleford's mental health. A guy who responds to "I have anxiety" with "have you tried yoga, it helps me" isn't a bad person, he's clueless. "Character cheerfully enacts a bad idea while a loved one in the background goes NO PLEASE DON'T DO THAT" describes half the episodes of Gravity Falls.

Was successfully manipulated by a professional manipulator into believing his best friend wished him ill. Man, what a terrible person Ford is for being manipulated by a manipulator and saying cruel things to somebody he'd been genuinely convinced was trying to harm him.

??? Didn't say thanks to a guy he was still mad at after the guy fixed a problem he himself had caused. This is a solitary example of stubborn bad etiquette, jesus christ. There's half a dozen different reasons why it makes perfect sense Ford wasn't in the right mindset to feel grateful, this is not something worth indicting his entire character over.

He had high ambitions, which everyone seems to lambast him for, but high ambitions that wouldn't have required doing anybody harm! (Until the professional manipulator started manipulating him into harming the people around him, but we are going to demonstrate some reading comprehension and not blame Ford's underlying morality as a person for things he never would've done if not for Bill's bullying, con artistry, and outright lies.) Like, what is it that he wanted to do with his life? Use his talents to get rich and famous? Shit, that's exactly what Stan wanted to do with his life. It's what Dipper fantasizes about doing with his life. Even Mabel, who thinks about her long-term future the least, dreams big with her art & performances and is already making big money off cheap-ass commissions. What terrible people they all are, for—let me check my notes here—uhhh... unrealistically fantasizing about achieving success in life by doing the things they're good at.

When their dad accuses Stan of lying as a child, Ford puts his entire summer on the line to defend Stan even though he knows Stan is a habitual liar and has no reason to believe Stan is telling the truth this time.

When his new college roommate he barely even knows gets laughed at for proposing an outlandish scientific theory, his first emotion is outrage at this injustice and he drops everything to convince his already-despondent roommate that he was right and help him prove it beyond a shadow of a doubt.

When he moves to a new town, he tries again and again to befriend his new neighbors, and fails not because he's rude or a jerk, but because he's awkward as hell, tells terrible jokes, and sucks at identifying phoenixes.

When Fiddleford gets hurt around him, he cares about it, feels guilty about putting him in that position, doesn't want it to happen again, and tries his best to help even though he's bad at helping.

When he gets kidnapped by a weird holiday folklore creature, he concludes without even thinking about it that he's now in charge of protecting and rescuing the kidnapped kids. Yeah, then he immediately starts hollering at the folklore creature for trying to impose his religious beliefs on Ford and the kids—but like, Ford was right tho, he just had bad timing.

When he discovers that the Northwest family committed atrocities against their poorer neighbors a century ago, his first instinct is to march up to their house, find the first Northwest he can locate, and give them a piece of his mind for it. Like, this won't even FIX anything. He's just THAT OUTRAGED over the injustice.

When he sees what he thinks is a fortune telling fraud conning the people, he attempts to debunk her because he's mad to see someone cheating other people with lies—and when he can't debunk her, he just leaves her alone rather than harass her about it. Typically, if assholes think somebody's doing something wrong but don't have any proof of it and fail to get proof when they look, they decide they're right anyway and keep giving that person shit. Ford doesn't give her shit. That's the opposite of an asshole move.

When he discovers his Portal To Knowledge (And Fame & Fortune) is actually a Portal To Doom (But Still Possibly Fame & Fortune, Maybe Even Godly Power), he isn't tempted for a second to keep working on it anyway. There is no moment where Bill manages to tempt him. No matter what Bill offers, no matter how long Bill offers, never, at ANY point, does Ford have a SECOND of "but what if I did make a deal with the devil?" the way so many heroes in similar situations often do.

You ever notice that? So often moral moments in the show are presented as choices the characters make. Will or won't Dipper give Bill a "puppet" in exchange for knowledge. Will or won't Stan fight a pterodactyl to protect Mabel's pig. Will or won't Mabel hand Bipper the journal. Ford is never given a "will or won't he" moment over Bill's threats, offers of friendship, or offers of infinite power—he steamrolls straight past them without a second of consideration—because, to him, the selfish, cowardly, easy choice ISN'T EVEN AN OPTION. He doesn't even SEE it as making a choice because the possibility of doing the wrong thing is invisible. A character who wavers first before turning Bill down would look more noble for "overcoming" temptation—it's harder to notice just how much stronger Ford's moral compass must be to not even feel temptation in the first place.

Greed and pride never tempt him to join Bill's side. Exhaustion, despair, and fear never tempt him to give up. He bears up under weeks, possibly months of extreme sleep deprivation, physical torture, psychological torture, emotional torture, threats of death, threats of brainwashing, threats to his family. He doesn't hold up so that he can pat himself on the back for being a hero—if that was all it was he would've gone "screw it, this isn't worth it and nobody would know I'm the one who gave up" a week in—he does it because he simply knows it must be done and because he's so isolated (half because of Bill's influence!) that he believes he's the one who must do it, all alone.

Thinking he has to do it by himself isn't egotism or pride; it's helplessness. He thinks no one else stands a chance. He thinks he's alone.

And, when he discovers his Portal To Knowledge is a Portal To Doom, he immediately feels guilty. No trying to deny the situation to protect his ego. No shuffling the blame off to someone else. No "maybe the apocalypse could have a silver lining!" No locking the door and trying to ignore the problem. He blames himself for being fooled—he IMMEDIATELY takes full responsibility for his actions—and he CONTINUES to take responsibility FOR THE NEXT THIRTY YEARS.

He takes more responsibility than is even warranted—he treats himself like he's an idiot for believing in an APPARENT GOD who's been practicing manipulating humans for thousands of years and who had never given Ford reason to believe the portal was anything but what Bill said it was. He beats himself up to no end every single time his past with Bill comes up. He even keeps beating himself up thirty years later when he's shoving warning notes to future readers in Bill's evil unkillable book!

When he falls into the multiverse, he dedicates his entire life NOT to finding a way to rescue himself, but to finding a way to permanently stop the CHAOS GOD who's still at the threshold of destroying Ford's world and countless others. He makes himself a hated criminal in the process, just to stop Bill. He's ready to spend the rest of his life trying to protect a world he doesn't think he'll ever see again. He does it because, as he sees it, somebody has to stand in between the children and the obnoxious folklore cryptid menacing them, and he's the only adult in this damn cave with the skills and knowledge for the job.

When he gets home, he doesn't tell his family about Bill and his quest because he's afraid that doing so will get them involved and endanger them too—and because he's too deeply ashamed of himself and his mistakes to stand the thought of his family knowing about the horrible things he's done (AGAIN, WHILE BEING MANIPULATED BY THE GOD OF MANIPULATION).

He loves his great-niece and great-nephew the second he lays eyes on them; he nevertheless tries to steer away from them to keep them safe from Bill; and yet he caves to the very first temptation to emotionally bond with his great-nephew he gets, because in spite of his noble "keep them safe" intentions, he wants so so badly to be close to his family.

As pissed as he still is at Stan and even though neither of them can look at each other without hissing like cats, he still makes an attempt to start bridging their divide by inviting him to play DD&MD.

When the apocalypse happens, he immediately puts his life on the line to try to kill Bill.

And when he's captured, isn't fazed for a second by Bill's offers or threats... until his family is threatened. The exact thing he'd been trying to avoid & prevent from the very start.

And when he's reunited with Fiddleford, his immediate reaction is to point out that Fiddleford's well within his rights to hate him—which isn't a new revelation, it's not like Ford had to do any soul-searching to reach this conclusion, he'd concluded that 30 years ago the instant he realized Bill had played him and that he'd been lied to about Fiddleford.

And then he tries to kill Bill again.

And then he's ready to sacrifice his own life to kill Bill—and the only reason he doesn't is because he has a metal plate preventing him from making the sacrifice... but, Stan doesn't have a plate. If Ford hadn't had the metal plate, he would have gladly done the exact same thing Stan did—and he would have thought it was right for him and only him to make that sacrifice, because it's VERY clear he feels (and has felt from the start) that this is all his fault and he's obligated to fix it.

Over and over and over, these are Ford's two defining character traits: getting so pissed off at injustice that his common sense shuts off and he goes into terminator mode until he's righted this wrong as best he can, even when he can't actually do anything about it; and feeling like he's Atlas, weighed down with the full responsibility of fixing everything he's done wrong and made to believe that, for everyone else's sake, he has to do it all alone. Even when doing so puts himself in harm's way, even when he has to put his entire life on hold for it, even if it might cost him his life. Scrape off his awkward social skills, his loneliness, his nerdiness, his endless curiosity, his zealous love of the strange, his starry ambitions, his yearning for recognition and success—scrape his personality down to the bone and that's what you're left with. A man who believes in defending the exploited so strongly that it makes him a little stupid.

I'm gonna go out on a limb and assume that you probably don't think Stan's fundamentally a bad person, and that you probably think that isn't even worth questioning. Stan's made a whole career out of swindling people, conning them out of as much money as he possibly can, stealing, lying, committing a long list of goofily-named crimes, and attempting douchy pick-up artistry on women; and to cap it all off, he held the safety of the entire universe hostage to demand a goddamn "thank you." Don't send me any "But he had reasons—" "But it was only to—" I don't need it, I don't want the essay, I'm not arguing that Stan's a bad guy, it's fine.

But. You can look at Stan's moments of cruelty and unkindness, his uncharitable thoughts, his character flaws, and think, "that doesn't define him. He's more than his cruelest moments and worst mistakes. He's imperfect, but he cares so much and his heart's in the right place, and beneath all the flaws his core is good."

And if you can't do the same for Ford, it's not because he's a worse person. It's because we got two seasons with Stan and five and a half episodes with Ford—and while we saw Stan yearning to fish with the kids or encouraging Mabel to whoop Pacifica's butt at minigolf or crying over a black and white period drama or punching zombies to save his family, we only saw Ford at the worst moments in his life and under the stress of a prolonged apocalyptic crisis—and, it so happens, all the moments he was pissed at the guy we spent two seasons learning to love.

Ford's got moments of cruelty and unkindness, uncharitable thoughts, and character flaws. But, at his core, he's a good person, and he always has been, and he still is.

[kryaaas]

I think its important to remember that harry's noticable mental decline happened just in the last 4 months

Jean words seem to imply that harry started wearing "disco" clothes fairly recently too

All these years Harry wasnt some wildcard who just did whatever he wanted nor Jean was his caretaker. He had such a violent breakdown because he was so heavily repressing himself, fully dedicated to his work but also becoming more and more disillusioned with it. He is not even drinking or taking drugs for *himself*, he is doing his for his *job*, to be able to achieve better results, save more people, solve more cases despite his work wearing him thin.

"Half the town will be dead" Harry is worried that if he isnt going to give his all to the case regular people will suffer the consequences. Part of the appeal of drinking or taking drugs, gameplay-wise, is that it makes the passing the checks so much easier. So Harry is not even wrong, like there is much higher chances to get an innocent civilan killed in the tribunal if you dont have alcohol or drugs to assist you. is his sobriety really worth risking people's lives?

He did his best to be a good cop, help people as much as he could and had fewer kills about possible

all of this + seasonal depression + realizing that his job doesnt actually make any difference + capitalism + his mind and body and mind not handling the strain he has put himself through for years resulted in Harry's breaking point

[artbyblastweave]

Spider-Man is a lot like Batman in that they've both got rogues galleries composed of guys who'd be decent at being a hero in the same weight class as Spider-Man or Batman. If they'd wanted to

[userautumn]

one thing i haven't seen talked about is how definitively and bleakly the birthday party scene highlighted how much christopher has grown since eddie last saw him. i don't think that's something eddie has begun to confront yet. in some part of his mind, he thinks the christopher that comes back (whenever that is) is going to be the same christopher that left. but it's not and he's not. he's not just stagnating like eddie is. he's living. he's growing. and the type of party that eddie set up with the banner, and the party hats, it was... cute. for a little boy. possibly even for the boy christopher was before he walked in on his dad hugging his dead mom. or who he thought was his dead mom. but that changes a lot, doesn't it? unparalleled hope followed swiftly by unparalleled disappointment is a hell of a thing to live through.

so he's older. not just chronologically. he's older on the inside in ways that could rival most adults. and eddie doesn't realize that. because christopher is, and always will be, his little boy, yes, but. in eddie's mind, christopher has become frozen in amber over the last few months. frozen in anger, frozen at thirteen, paused right in the moment before eddie breaks his heart. and he thinks he still knows his son. so he breaks out the noise makers, and the party hats, and... it's all so fucking stupid.

it's stupid because christopher is not a child, he's a teenager now with teenage interests that his dad's not privy to. it's stupid because a "surprise party" is not really a surprise when you thought for a few seconds your mom was back, and you don't know if you can ever trust another "surprise" from your dad ever again. it's stupid because eddie's kid has grown up, and eddie himself is still frozen in time. and that's a recurring theme in his life. he's frozen in the moment before christopher left. frozen in the moment that shannon died. frozen in the moment she asked for the divorce. frozen in the moment they met.

i don't think he'll know what to do or who he'll become when time unsticks.

i think that scares him.

i think that makes him sick. i think that's why he wants to pretend a little while longer. but time waits for no man, and his life, his son, is passing him by.

he's almost been left behind, and he needs to do a lot of work on himself if he wants to catch up.

[aspiringsophrosyne]

It’s interesting how both the Smitten and the Skeptic kill you.

If you kill the Princess, they both visit the same fate upon you, overriding your input. However, their respective motivations are very different.

The Smitten does it out of distraught, furious bereavement; he kills us as much out of rage and revenge as he does grief. The Skeptic, meanwhile, kills us when the Narrator traps us (the way he does in the good ending). However, the Skeptic is not like the Hero; he does not let us decide when he recognizes the circumstances we have found ourselves in.

Both represent so overwhelming a force that they can make choices without your input, but from completely opposite angles. The Smitten out of passion, anger, and in-the-moment emotion. The Skeptic out of cold, practical logic that's focused on the long game. They are superficially different, but they end up pulling the same stunt; down at their cores, they're not as different as they might seem.

As for the pairs, one of the most generous ways to read the Smitten/Damsel relationship is that it represents the honeymoon phase. Smitten and Damsel have just met, think the world of each other, will do anything for each other, want to make each other happy, and dismiss each other's flaws when the Hero or the Narrator voices them. They are driven not by what they know but by their initial impressions and emotions.

This perspective leaves them both oblivious or apathetic to the Narrator’s machinations; they can ignore or overpower him. The shackle slips right off the Damsel's wrist. The locked door swings open. Even murdering the Damsel is not enough to dampen her love for you; all that does is turn it murderous again via the Burned Grey.

On the other hand, information drives the Skeptic and the Prisoner. They do not know each other. You took the blade when you went to meet her, and she killed you. These two can’t trust each other. Not completely. Because neither trusts without verifying first. And because, besides all that, there’s another factor in play: the Narrator.

Both the Skeptic and the Prisoner are aware of the Narrator. Both know that no matter what they want or do, something outside of them has the power to interfere. And their weapon of choice against him is information. The Prisoner plays dumb unless you “-give away the game,” and even then, she doesn’t reveal her plan. Not even to you. Instead, she hopes you take the hint and figure out what she wants you to do. Likewise, when you try to give her the knife to enact the plan, the Narrator tries to stop you as he did before, and the Skeptic thwarts him by pointing out how well that went the last time.

In contrast to the Damsel/Smitten pair, these two have one of the least emotionally charged dynamics of any Shifty/Quiet duo but have mutual respect and an understated sense of partnership that few other pairs start out with. Though the Drowned Grey’s motivation is not the explicit love of her counterpart, she’s still dressed like a widow to parallel the Burned Grey’s wedding dress.

And speaking of the Greys, they bring home the contrasting yet parallel dynamics between these Princesses and their Voices: one is fire, one is water. One has a passionate affect, the other a flat affect. One leaves behind only bones, the other a fleshy corpse. One is a bride, the other is a widow. Killing the Princess you defied the Narrator to save results in a Grey, a ghost dressed for marriage (future or past), that leads you to the basement of a dilapidated cabin that serves as your gruesome tomb.

The Damsel/Prisoner/Greys have many superficial differences that highlight how similar they are once you look beyond them. If played straight, the Damsel/Prisoner is a route where you continue to defy the narrator. The Damsel wants to leave? Pull off her chain and escort her out. The Prisoner wants to escape her chains? Give her the knife and take her head with you. Both are routes where you've established the best report with the Princess you could; you've literally died to protect her. Following this, you can take advantage of that goodwill and use it against the Narrator.

And in the case of the Greys, while the details are different (rain/desert, widow/bride, bones/corpse, drowning/burning) in both cases you're led to your doom by a betrayed ghost of a Princess in a neglected cabin.

Various Voices and Princesses serve as foils and mirrors to each other (Rivalry and Submission, Terror and Longing, etc.), but none more closely than the Damsel/Prisoner Smitten/Skeptic. It makes them especially interesting and I'm excited to see what their future third chapters have in store.

[biggesthomuradefender]

i often see ppl criticize homura for disrespecting and going against madoka’s wish, but madoka also did the exact same thing to homura, and i literally never see anyone talk abt it.

[youhideastar]

WujiWatch: CQL Rewatch Episode 24

I’ll be honest – I find this episode really hard to watch. Wei Wuxian is so deeply unhappy. He’s expected to do a job that he used to love but physically can no longer do—but he can’t disclose the fact that he can’t do it, so instead it looks like he’s just being an asshole. The two people he loves most in the world keep trying to force him to go back to being the person he used to be: Jiang Cheng pushing him into his old sect role as head disciple, and Jiang Yanli pushing him into his old family role of cheerful jokester. But he can’t be that Wei Wuxian anymore. That Wei Wuxian is—perhaps literally—dead. So instead, he wakes up every morning knowing that this will be yet another day in which he will be a disappointment to the people he loves most… but that escaping the situation—leaving Lotus Pier—would only hurt and disappoint them more. No wonder he’s drinking heavily to self-medicate.

Then along comes Lan Xichen. And for a moment, Wei Wuxian thinks maybe there’s a way out after all. He’ll go visit Lan Zhan! They’ll sit together in the library just like they used to—only this time, Lan Zhan will be the one making copies, and Wei Wuxian won’t have any responsibility except to keep him company. He spins the fantasy out in the air between them, wearing what finally looks like a real smile, thinking of a place he was happy, once – a place where he had, and would have, no real responsibilities at which he could fail. Thinking of a person who made him happy, who doesn’t need anything from him, who saw him at the Yunmeng Courier Station and knows very well that he’s not that happy-go-lucky kid anymore, who wouldn’t be disappointed—

And then Lan Xichen tells Wei Wuxian that Lan Wangji still wants to try to “cure” him with spiritual music; that, if he went to Cloud Recesses, Lan Wangji would expect him to try to pick up the sword path again. In other words, Lan Xichen reminds Wei Wuxian that Lan Wangji, just as much as Jiang Cheng and Jiang Yanli, wants Wei Wuxian to be someone else. That he’d be just as big a disappointment in Cloud Recesses as he is in Lotus Pier.

I am the last person to downplay Wei Wuxian’s sincerely altruistic reasons for helping Wen Qing rescue her brother and her people, two episodes down the road. But man, it also must be such a fucking relief for him to see a person who doesn’t expect him to be Past Wei Wuxian; to have at least one person from whom he need not—and cannot—conceal his brokenness.

[azalawa-scroggs]

About Eddie Fender and why he was a dick to Miles

I first started this post in response to something, but it got so long I decided against inflicting it on OP. This is very long and very meandering and the form is kinda weird, as a warning. It's also kinda spoilery for Ace Attorney Investigations 2.

When we first start playing AAI2 and are introduced to "Ace Attorney Eddie Fender," it's true he doesn't come across as very likeable. The first thing he says to Miles is basically "Oh, look! Here comes Manfred von Karma," and the game happens three years after the truth about DL-6 came out. That's incredibly low, very petty, cruel even. He does start off as a dick to Miles, unfair on him until he gradually realises he isn't as bad as he thought, and as he starts warming up to Miles we start warming up to him.

But also... I kind of get it.

Like... Imagine you're 19 years old. Your boss just died in a sudden and shocking murder. You inherit the law firm even though you haven't even passed the bar yet. You're grieving as you keep working hard to become an attorney, now without the guidance you used to have. Maybe you even blame yourself a little - after all, you worked on that case too, you were likely there for the trial, you left both Edgeworths to take that elevator by themselves. Had things played out differently you would have been there, too.

Did you think of your boss's son, in the middle of this whirlwind? Probably a little, but you're a 19 year-old law student. You're nowhere near a suitable place in your life to even think about fostering a kid. Besides, Gregory Edgeworth was your boss. Someone you greatly admired and whose death you will never stop mourning, but still just your boss.

(It's unclear how well Eddie knew Miles. Enough for Miles to recognise him instantly, but certainly not as close as Miles and Phoenix were.)

You take it on yourself to continue the work he left behind, to help the clients Gregory can no longer help. For ten years you try your best to uphold the reputation and the values of his firm and name, and every day you witness a little more how corrupt the system really is.

Then, one day, you start hearing about this young new prosecuting upstart. Passed the bar at 20 and already has the legal world in his pocket. Rumours of forged evidence, backstreet deals, manipulated witnesses. Not only is that just like the whole lot of them, the tactics you became so familiar with over the years - no, it sounds painfully, specifically familiar to that one long, drawn-out case, the last one you worked with Gregory. It turns out the young prodigy is the student and protégé of Mr. Perfection himself, the man who never lost a case in thirty-five years, even though he should have lost against you ten years ago if the world was even a little fair. You would hate the boy for that alone, but on top of that he's also the son of the mentor you lost, the son of the man you both used to admire so very much.

And that hurts. That none of Gregory's legacy lived on in his son. That this sweet, kind boy, who Gregory always used to worry about not making any friends, became a parody of all they used to despise.

Perhaps you even get to see him. You catch a glance of him in the courthouse corridor as he passes you by without so much as a nod to acknowledge you, or you stumble upon a picture in the same paper that struck Phoenix Wright so deeply. You see that damn suit. That damn smirk. That damn waggly finger. His features may have something of Gregory but everything in him screams von Karma. He's spent a decade trying to shape himself into him, and it shows.

Prosecutors are a privileged bunch, and the Edgeworth kid grew up into a downright brat. Entitled. Rude. Arrogant. Obsessed with his fucking perfect record. You hear he goes around cutting the salaries of detectives that make a tenth of what he does and insulting the opposing counsel in court. He became the worst of them all, taught by the worst of them all, he is everything Gregory fought against and everything you hate

Why would you want to associate with that? Why would you ever think he is not perfectly fine where he is, with his cushy office and his cushy sports car and his doubtlessly cushy pay?

A couple years later you hear he's been arrested for murder. Maybe you follow the trial, maybe you only see the headlines after everything, after DL-6 is finally solved. Honestly, that's when you start having a reason to reach out. When, had you been less embittered and jaded by the thanklessness of your job, you might have wondered what it was like for him to grow up in the shadow of his father's murderer. You might have been stricken with compassion and horror at the thought of fifteen years spent in crushing guilt, believing he killed the father he used to love so much. You might have empathised, despite your contempt for von Karma, with how his ward might feel to be so cruelly betrayed, thrice over, by the man who raised him since he was nine, who taught him everything before throwing him away like a piece of used junk.

But you still think of how he was like a son to von Karma, of how he got to spend fifteen years in wealth, following a shiny, easy, corrupt new path while you grieved and desperately tried to keep the pieces of your shared dream together. You think of how uneasy Gregory seemed with the idea of von Karma as a teacher, you think of how eager Miles seemed to follow in his footsteps and how much Gregory would have hated it. You think of the many defendants this boy callously condemned with barely a thought, just like his mentor. Of how he may not have his father's blood on his hands, but with the way he acts you'd think he had his murderer's in his veins. And you really, really don't want to deal with any of that.

You think, somewhat unfairly, that maybe Miles ought to have seen it coming. It's not like it's much of a secret that Manfred von Karma is a piece of shit, and good riddance to him.

Three years later, you actually have to interact with him again. It's been 18 years since you last saw him in his father's shadow, looking at him like he hung the stars in the sky, back when everything was so simple for the three of you. It's been 3 years since the truth about his oh-so-esteemed mentor was uncovered. He still wears the cravat. His brow is still furrowed, his eyes are still piercing.

But slowly, begrudgingly, you talk to him. You start realising he actually has some honour to him. That he's not really the Demon Prosecutor the papers made him out to be, that maybe you misjudged him a little bit, in you grief-stricken, angry bitterness. That maybe he can be trusted, after all, with his father's legacy.

Why would you think he ever needed saving?

[nerdishpursuits]

And people actually thought Marta would turn to the dark side once she ascended? Have we been watching the same show? She's not stepped over dead bodies to claim her crown, nor has she put on the one ring. I'm going to repeat myself with what I've already mentioned: Marta’s entire character arc is one of a champion for justice and honesty. She roots for the underdog and finds deceit, lies and backstabbing abhorrent. She values truth, honesty and loyalty and Isabel rightly deserves to be on the receiving end of Marta's wrath. If anything, Marta is made of integrity and she's proven that time and again. There's no corrupt bone in her body. On the contrary. She may come across as aloof and cold, but deep down she's a bleeding heart who cannot stand injustice and cruelty. Much like Fina, she's devoted to compassion, sincere in all intention, fierce in her convictions. To go against that would be do deny who she is at her very core. With every step and decision, Marta proves that Fina has every reason to be proud to call Marta her own. And vice versa. As for this scene: Isabel never understood the assignment. We expected nothing less from Marta and, damn, did she ever deliver!!!

[honeycreammilkshake]

say what you want about this final chapter but i'm taking it as confirmation that yuuji was the one who finally taught sukuna about love.

this whole time sukuna has been trapped by his own thinking, his unshaken belief, that he was just as much a curse as someone like mahito.

but it's very telling that right after we see yuuji's face, his words that everything will end up alright, that sukuna appears. and more than that, he looks far more at peace than i would have expected him to be after losing.

yuuji is the only one to have treated him like a person, to open up with him, to show him true kindness and empathy. and unlike everyone else who saw sukuna as nothing but a monster, yuuji said sukuna could have a new start. that it was only a matter of chance that sukuna was the monster in all this.

yuuji humanized sukuna. he saw something inside the king of curses that nobody else could understand. yuuji saw himself in this monster, that they could have been two of a kind.

and it really did get to sukuna. not only did he fully acknowledge yuuji by calling him by his full name and not just "brat" but he also referred to himself as a "curse" as he died in yuuji's hands.

he chose death because he saw himself as only inhuman, but now in the afterlife he's reflected on yuuji's words. he finally realized that he has two paths he can go on, he has a choice. and yuuji was the one to give it to him.

and i think this change in heart is all owed to yuuji, who cradled sukuna even in his final moments and awoke that understanding inside sukuna. because yuuji out of everyone was the most sincere and understanding of sukuna, perhaps the only one who ever showed him real love. and in death, i think it comforted sukuna. he's gone "soft" and he's accepted it, because yuuji was the one who impacted him the most, who finally broke down sukuna's philosophy. (which is ironic considering how sukuna threatened to break down yuuji's). out of all the people who thought they would teach sukuna love, yuuji was the only who really could and really did.

this chapter was by no means fully satisfactory to me, but it's not what i fully expected and more than i could have hoped for, given the direction i feared we were going in.

sukuna's character finally being able to show that growth, learning what love is from yuuji, being able to accept everything because of yuuji's warmth even at the end... we won. yuuji really did teach sukuna how to love, and it started with making sukuna realize that he was capable of such a thing, that fulfillment was what he needed after all.

and just maybe this isn't the last we see of the both of them. i still have this crazy hope that their story isn't fully over yet. and even if it fully is, than it's far more of a happy (and hopeful) ending that i could have imagined.

[probablybadrpgideas]

Make a multilingual characters, speaking common as a second language

Demand players to roll for being able to communicate via language from time to time

[demon-country]

One of the saddest parts of the stolitz miscommunication debacle to me is that for all his bluster and all his denial, Blitz never managed to fool anyone into believing that there were no feelings involved and he was doing it solely for the book, including Stolas. That is, until Ozzie's, at which point he finally fooled the one person who he didn't even think he needed to.

For all we talk about how Stolas let his fantasies of romance run wild, which caused him to accidentally run roughshod over Blitz (especially at first), he wasn't exactly wrong, in the end. Blitz did develop feelings for him, and given how excited and enthusiastic he was that last full moon, their nights together were probably the only times he felt safe actually showing that. Because he could always tell himself and everyone else that it was just an act, he was just giving Stolas what he wanted and keeping him satisfied enough that he'd let Blitz keep the book.

Stolas thought, up until Ozzie's, that Blitz enjoyed their deal just as much as he did. Because Blitz did. If Blitz was showing up basically every moon as hyped and ready to go as the time we saw him, it's not really a surprise that Stolas didn't catch on to the times when Blitz was actually unhappy and uncomfortable because he felt objectified. After all, Blitz snaps at and is abrasive to everyone, and any annoyance probably seemed pretty par for the course, especially for someone as oblivious, ignorant, and autistic-coded as Stolas. But Stolas also got special treatment on top of that, and it's easier to focus on the stuff that stands out rather than the stuff that doesn't seem too far off from Blitz's standard behavior. He got times where Blitz was genuinely happy and comfortable and excited to see him, we literally see that in the memory fragments and Blitz's behavior during the last full moon. He got times where Blitz seemed to find him so hot he'd grab him and turn things sexual on a dime (Truth Seekers and The Circus). He also got times where Blitz was caring and attentive, and where Blitz accepted care and gentleness during aftercare (because there's literally no way that didn't happen, not getting aftercare after BDSM scenes can be legitimately traumatizing for both the Dom and sub).

Like, that's not to say that Stolas shouldn't have taken the numerous hints that his condescension and baby talk were highly unappreciated, because yeah that shit was very uncool of him and ignorance doesn't excuse it. But look at how Blitz gently caresses Stolas' cheek in Truth Seekers. Look at how thrilled he was to be with Stolas again in The Full Moon. Look at the photo Stolas has of the pony drawing Blitz seems to have made while at his palace. Look at the memory fragments where Blitz is so fucking into kissing him or gleefully showing off toys or making that big shiny eyed blep I'm dying to know the context of. How else was Stolas supposed to take all that every full moon and however many nights Blitz came over outside of that, and not be convinced that his feelings were returned?

Because they were. Not immediately, of course, but the were. They were on the same page about that. There were plenty of things Blitz didn't like, related to Stolas' unconscious racism/classism. There was plenty of "things for [Blitz] to teach and [Stolas] to learn". There were plenty of things that went unsaid and unheard and misinterpreted on both sides. But the love was there, Stolas didn't make it all up. It wasn't the perfect fantasy he was initially picturing (although I'm pretty sure that illusion didn't actually last very long, not with how dejected he looks in a few of the memory fragments and at the start of Ozzie's), and Blitz had a lot more hidden under the surface than Stolas knew about (although he did know Blitz had walls he hadn't seen through yet), but the love was there. You don't have to know everything about someone to start falling in love with them. Blitz couldn't fool anyone, but he especially couldn't fool Stolas, who he showed his heart to again and again thinking he was safely hidden behind the alibi of the book deal.

Until Ozzie's. Until the disastrous "date", after which Blitz couldn't hide the hurt he felt thinking that all Stolas wanted him for was sex, when Blitz wanted more. Except Blitz didn't say that last part. So all Stolas got was Blitz ignoring him on their date, Blitz rejecting his offer to go inside, and Blitz tearing up while saying in a wounded and borderline angry voice that their deal was strictly about sex, which finally clued Stolas in that his actions hadn't been taken as cute and flirty like he had intended, they had just served to hurt Blitz and convince him that all he wanted was to use Blitz.

Blitz's pain changed everything for Stolas. He stopped flirting, he stopped calling him Blitzy save for one time, he stopped most of his interactions with Blitz, and he started trying to give Blitz outs. He looked at all the times Blitz was annoyed at him, at how umbalanced their deal was, and at how it may have been just as cruel of a chain as the one binding him to Stella, and quite correctly came to the conclusion that the deal needed to end and Blitz needed to have a way to do his job without being dependant on Stolas. But he also looked at all the memories of Blitz being happy with him, and all the times Blitz showed up excited, and came to the incorrect but reasonable conclusion that it was all probably just an act Blitz put on to keep the book. Just like Blitz had been hoping to convince everyone of.

And then Stolas ended the deal, and Blitz couldn't figure out why so he started to panic. The deal was his safety net and his shield; it was the only way he felt he could get something close to the real relationship he wanted, it was what allowed him to be open with his feelings, and what gave him the courage to let some of his walls down. It probably felt like such a betrayal that Stolas would take it away.

Even though he was the one who dodged all of Stolas' offers to talk, out of fear that things would become complicated if they talked about it, out of fear of rejection after Stolas hid during their "date", and later out of guilt and shame for how he failed to save Stolas. Even though he was the one who was hiding behind the excuse that it was all just for the book. Even though he was the only one convinced that Stolas could never care about him for anything other than sex. Even though Stolas flat out told him he cared about him and wanted him to stay, just without the deal in between them. Even with all that, Blitz still couldn't see Stolas ending their deal any way other than Stolas abandoning him and rejecting him and taking away the only way he has ever been able to openly show that side of himself.

It was more than just his self-hatred talking, it was more than just his insecurities getting the better of him. It was a perceived betrayal of trust and an inability to see how much the deal limited their ability to get what they both actually wanted. The reason it hurt him so much was because Stolas hadn't actually been wrong. Blitz did care, Blitz did enjoy their deal, Blitz did want Stolas just as much as Stolas wanted him.

The tragedy of it all was that the love was real, but the only ones who were convinced it wasn't was the two of them. So it's a good thing the story isn't over for them yet, because I couldn't take that ending for them. After all the shit they've been through in their lives, they deserve their happy ending together, they deserve to have their mutually requited love be realized.

[ckret2]

Decided to shake up the constant Gravity Falls asks on the blog (even though I adore them). What is your favorite transformers continuity? And what's your favorite character from that continuity?

Tough call, but probably IDW1. The comics had room to get expansive in ways the show-based continuities couldn't, and I like that feeling of bigness to the universe. It introduced a lot of my favorite Transformers lore: forged vs cold constructed bots, Functionism (especially as a critique of marrying religion to conservative politics), empurata, really creative uses of holoforms, conjunx endura & amica endura (and queer bots, let's give it up for queer bots!!), the complex network of lost colonies, the idea that the gods definitely officially existed BUT they were just guys, the DJD...

All the work that went into immediate pre-war culture with the turbulent corrupt senate and the corrupt Primes was terrific. LSOTW and SOTW are just so damn good, MTMTE up through Remain In Light was brilliant, and Getaway's coup was great. I'm thrilled we got a look at Cybertron's relationships with the rest of the galaxy and it turns out they're hated, because that makes perfect sense but we never really see that. The post-war politics on Cybertron were really fun. I was skeptical IDW could pull off writing about a post-war Cybertron—I assumed within a year they'd default back to restarting the war—and then that ended up being when the whole series really started to shine.

Introduced some characters I love—Drift, Tarn, Stardrive, Windblade, and Pharma stand out off the top of my head. Amazing artwork, especially whenever Milne had the pen. ABSOLUTELY LOVED seeing Starscream get to rule Cybertron. Even though they had trouble committing to it, I appreciate that they had the balls to make Optimus morph into a well-intentioned villain. Love the tragic former senator Shockwave characterization. Love the lonely logical Prowl who can see the Autobots' flaws too clearly for his own good and in his desperation to compensate for the rest of the army morally compromised his way into becoming the villain. Love horrible amoral Tarantulas with his small shining moments of love and tenderness.

Although by the end it was getting really bloated with other Hasbro property crossovers, I did like some of the crossovers they introduced: GI Joe slid in pretty seamlessly—probably helps that TF & GI Joe crossovers have an established history—and I was surprised a how much I liked Rom. And even though the sheer quantity of crossovers got tedious, the concept of going "they've all been dragged into this story because they were all affected by Cybertron's past colonialism" is GREAT.

Love that they ended the story by swinging from "yay look at all these fun new colonies for us to play with!" to "oh my god the Autobots are colonizers." LOVE that they ended with Unicron—every longform Transformers series could end with Unicron and I probably wouldn't complain—and that they let him eat some planets, let him eat half the cast, LET HIM EAT CYBERTRON... and characterized him not as some random bogeyman but specifically as the karmic vengeance for Cybertron's past colonial crimes. Love that the only way to stop him was not by killing him, but by acknowledging that Cybertron was wrong and showing him compassion.

IDW didn't always get things right with their attempted grand messages about politics and injustice and oppression and colonization—but, hell, even when they didn't quite hit the bullseye I love that they were playing with that dartboard.

Favorite character from IDW is Prowl (albeit not without stiff competition). I'm a gleeful Prowl apologist. Yeah he did those terrible things but he was right tho. I started picking up RID & MTMTE right when Prowl got Devastatored, and that was both the thing that made me go "oh hold on the comics are doing something interesting" and the thing that made me take notice of Prowl as a character for the first time in my life lmao. BIG fan of his messy lovelife. (Personally I go "he's too good for Chromedome" and then ship him with the Constructicons and Tarantulas, who are objectively far worse than Chromedome.) He's endlessly fascinating to me, one of my favorite characters to read and one of my favorite characters to write.

Right up there is Starscream—averaged out across all continuities, Starscream's probably my #1 favorite Transformers character, and IDW Starscream is my favorite Starscream, a perfect blend of the bombastic G1 campy villain and the wary, competent, resilient TFP schemer. And Tarantulas rounds out my top 3, I loved him in Beast Wars and then SOTW 3 happened and I had to stop at nearly every panel Tarantulas was in to go "oh my god, this is canon? They got away with that??" Read like a fanfic in the best possible way. "We were each the muse to the other" still has an iron grip on my heart. "I want YOU. I want US." God. SOTW 3 is a masterpiece of literature. Here, do you want a 130k no-war AU where Prowl and Tarantulas are paranormal investigators together? You can have it. For free.

I just spent a lot of time singing the praises of IDW but shoutout to Armada and Energon/Super Link (I preferred the fansub over the dub) for getting me into Transformers, wouldn't be in this fandom today if not for Starscream's beautifully melodramatic redemption arc in Armada. I'm not saying they're good. I'm saying I love them. Totally different thing.

[metalatias5]

Their first meeting in Hell

Adam: YOU TOOK EVERYTHING FROM ME!!

Lucifer, not recognizing Adam yet with the all new getup, trying to figure out if he even knows this guy: ...??