#I'm sorry if these don't make any sense

[sophieswundergarten]

MBS Characters as Neat Words I Like

So. Listen. Some of these words are going to have fitting definitions. And some of them are just based on how they feel/look to me. Do with this what you will, and I hope you at least learn some fun new words :)

Mr. Benedict - Esoteric: requiring or exhibiting knowledge that is restricted to a small group / of special, rare, or unusual interest

It's very green and a bit orangey to me, like the scenes in S1 where he's sitting in the cabin, or a very nice rock. Maybe something with a fossil in it. But it's a good, slightly rough but ultimately quite pleasant texture. It's got the layers of an old book with age-stained pages and uneven edges because of how often it's been read. It's a really comforting word, and it's warm and inviting, like the feeling of walking into Mr. Benedict's house and seeing all the light come through the glass and the smell of books and the very clear evidence that it is lived in and full of love. If it had a physical form, I would keep this word on my shelf and look at it every day because it makes me smile.

Number Two - Librocubicularist: someone who reads in bed

Definitely a yellow word. It's got some nice light blues, like sunlight on a clear day streaming through a window, and a couple hints of green in there, but this word feels very warm and a bit like running your hand along the hard carved edge of a bookshelf. It's very square and cube-y, like a stack of little building blocks or one of those geometric M. C. Escher kind of designs. (Also I can see her just sitting on her bed and reading when people would want her to sleep when she was a kid)

Milligan - Hugger-mugger / Gallimaufry: Respectively, "secrecy" and "hodgepodge"

The first one is an automatic choice, because it basically sounds like a warped version of the words "hug" and "Milligan". It's a very warm, soft word that's a dusky orange-and-pink, like an old jacket or scarf that's being used to muffle a sound. The second word is chosen more for its meaning, as Milligan himself is a bit of a jumbley hodgepodge when we first meet him. It's coloured like moss covered stones along a riverbed, like the colours of that screenshot in Episode 1 where Milligan emerges from the secret tunnel in the yard. The tumbling of the word also mimics the curved brim of his hat.

Rhonda - Sophronise / Kismet: Respectively, "to imbue with moral principles or self-control" and "a hypothetical force or personified power that determines the course of the future events, fate, destiny"

"Sophronise" is because of how wise and quick-witted she is. She's a role model for the younger kids, and it was a really nice sunset- night-sky kind of ombre, a hint of deep magenta (Like that jacket she wore outside the cabin in S1) and the barest touch of yellow-orange, quickly moving into royal and midnight blue, and a whisper of silver that can almost be stars. "Kismet" is similarly multicoloured and beautiful, but more swirly like a wind-chime or suncatcher made of many different pieces hung just so, in such a way to catch the light and reveal glimpses of what's hidden deeper. It's a mostly wine-magenta and blue kind of colours; jewel tones.

Kate - Rawgabbit: somebody who speaks covertly about a subject of which they know nothing

This one's silly, because it just came to me because of its look. The definition doesn't really fit her at all. It's a helter-skelter word that is racing, fast moving and fidgety. It's a full kaleidoscope of colours, red and fierce and yellowy lemon gold and green like sun through new leaves and blue like daubs of fingerpaint all swirled and tumbling over each other, much like Kate's jacket.

Miss Perumal - Pluviophile: one who finds joy and peace of mind during rainy days

This is a very soft word, and it is a soft, watercolour kind of pastel. It's lavender and cherry blossom pink and a light sky blue, and it feels exactly like one of her nice sweaters or jackets. The lapel of a good, strong, felted jacket kind of feeling, like something you'd find at a thrift store and know that it was well loved, but taken care of so respectfully that you'll be able to wear it for years too. A pragmatic word. It is also very round and swooping, in much the same way her cadence of speech is.

Sticky - Uhtceare / Kenning: Respectively, "lying awake before dawn and worrying" and "a metaphorical compound word or phrase (such as swan-road for ocean) used especially in Old English and Old Norse poetry"

The first word is more because of the meaning, but it does have some hints of his shades of blues. The "uhtc" part is like glass as a lens, and the last part is like little round bits of blue sea glass, all tumbled and smoothed. It's a very pensive and reflective word, and it catches light in many different facets, something to be studied from many different angles in the solitary silence away from other people."Kenning" I chose because of its neat, rhythmic sound, like very even stitches through a piece of stormy blue cloth. It is a deceptively simple sounding word, but it has such a deep history, and I think that's something Sticky would really enjoy learning and knowing.

Constance - Fudgel: pretending to work when in reality one is not doing anything

Come on. This word is perfect for her. It has that hint of sweetness with "fudge", and yet it sounds stubborn and obstinate. It's a "fighting word", so to speak. Stout and short and compact, like a dense piece of wood that someone can heft and throw. And while I would not originally say that it has any of Constance's colours, there are parts of it that can be malleable, and there's definitely a hint of pink in the middle, a reflection and glimmer that comes from it being placed next to her name.

Reynie - Wergild: the value set in Anglo-Saxon and Germanic law upon human life in accordance with rank and paid as compensation to the kindred or lord of a slain person

This word came to me immediately. It isn't coloured so much like Reynie (Being mostly kind of deep purple and shaded forest green with the barest hint of gold, like brambles that have grown and woven themselves into an intricate shape), but for some reason it fits him. Maybe it's the complex depth that's hinted at in the heart of it. It's a wild word, but also very warm and trusting in that it expects the other person to honour their promises. Its etymology is basically "man" + "payment", and the idea of it being the value of a person when in relation to Reynie, who values every person as incredibly important is intriguing. Also, the first time I read it was in a fictional context as part of a spell or binding magic that connected people to one another, which is a much more vague and subjective reason, but it's a little more positive than "murder debt"

SQ - Welkin / Wanderlust: Respectively, "the vault of the sky / the upper atmosphere" and "strong longing for or impulse toward wandering"

Now. These words both start with "w" because "w" and "q" are coloured somewhat similarly to me, especially since there's an "s" involved. "Welkin" is a complex word, like running your hand over a particularly detailed and well-crafted mosaic. It's a very light baby blue fading into purple, a very mystical and soft word, like if you could tough fog. It speaks of walking softly down a grassy hill at dusk, looking up at the stars as they wake up and being able to trust that you won't trip. It's also got these kind of two curves, like the top of the "S" right next to the "Q". "Wanderlust" is dreamy and full of stardust. It's got that bluey-purple touch, but it sparks at the end, gold and shimmering and falling out of sight like a shooting star, just beyond the horizon, where you know you can follow it.

Curtain - Sanguine: marked by eager hopefulness, confidently optimistic / bloodred / consisting of or relating to blood

It's not quite the correct colour for Curtain, but the feel for it is right. It has a bit of dark blue, but it's also slimly and squelchy the "gui" bit makes it kind of greasy and hard to keep a hold of. It also fits him because of the different meanings; originally, "sanguine" meant "cheerful" because of the medieval concept of the four humours governing the human body, and it came from the Latin "sanguineus" which means bloody. The seemingly jarring differences between "happy" and "bloody" are a good representation of Curtain's duality.

Garrison - Gerrymandering: the practice of dividing or arranging a territorial unit into election districts in a way that gives one political party an unfair advantage in elections

This word also came to me really quickly. I kind of "see" spelling in my head, so even though the "g" in gerrymandering is pronounced like a "j" instead of how it is in "Garrison", it works. The word is coloured very much like her: light, dappled green and a little pink and some specks of orangey-red. It's also a strong word, a tiny bit mischievous but with hard lines that won't be crossed, no matter how much trickery and metaphorical dancing around delicate topics is involved to attain a goal.

[revenantghost]

Oh my god, it got worse?!

So to summarize, so far (from what I can remember):

The gold on the covers peels off. They say this affects a small number of copies, but I haven't seen one without a "distressed" look, and Dark Horse has said that very common look is not intentional.

The translation was not updated, which they never promised, so whatever. But there are twenty-year-old, well-known typos and obvious mistranslations. They didn't even proofread it despite adding sound effects and a year of delays. And this book retails at $50 USD.

And on this awful printing note, there are a few copies I've seen floating around with severe binding issues, like the faux leather peeling off.

Friendly reminder that if you are able, you can let Dark Horse know you're disappointed. Leave reviews and upvote ones you agree with. Reply to/@ them on social media and be loud. If you're willing, cancel and/or return orders. It's all about publicity and financial gain in publishing. If they don't get that, they will have to change something.

Trigun doesn't deserve this.

[im-yotsu]

It's them...the creachur

Also a turnaround for Rainer's tattoos

[demodraws0606]

What Cyberpunk DeadBoy Means and What it's Potentially Foreshadowing (aka very complicated analysis that makes a lot of sense and could happen depending on how colorpalet is feeling while writing the story)

Now I'm seeing so many people like running around wondering what this event could mean for the future for multiple reasons and like I've made like one post throwing my hat into the ring.

I've been frustrated with people's unwillingness to realise that this comm is prob foreshadowing because this is not the first time Colorpalet has hidden foreshadowing into comms weither subtely or not

Exemple's being :

-Akito's second comm foreshadowing his third event

-Lower's cover art literally foreshadowing what would happen to Mafuyu's phone in her event

-88 vocals being emurui and nenekasa foreshadowing the kind of dynamic the disbandement arc had with nenekasa wanting to move forward with emurui being scared of isolation

-Probably way better exemples that I forgot

I've seen people make Some assumptions which I don't agree with but there is one thing I think is true

There is 100 pourcent gonna be struggle between corporation/reality and WxS.

Purely because that's been WxS's entire theme since the beginning. They constantly bash you over the head with the theme of compromising with reality and the importance of dreams. In fact the pick of Maiki-P is not at all surprising as he basically has the same message WxS has just... well harsher.

The Big thing people have ignored however is by focusing on the lyrics, they've ignored something that's personally to me even more telling and that's the line distribution

We know for a fact colorpalet loves to mess around with line distribution, weither it's to make characters say lines that fit them or to kind of foreshadow their headspace.

Now something Big happens with the line distribution of Cyberpunk Deadboy that i've seen NO ONE notice and that's in the last chorus (that and also Tsukasa's lines which people have pointed out but it works less on it's own which is why I'm gonna analyse his lines afterwards).

This is the only time the chorus is like that, the others have a much more even distribution.

In fact the distribution choice makes it look like the rest of WxS is Talking to Rui.

It's even more evident considering the lines they chose to make WxS sing compared to only just Rui

Emu/Tsukasa/Nene saying kimi (you)

Rui saying boku (i)

Which honestly makes me think this is colorpalet foreshadowing some kind of issue reguarding specifically Rui. Remember Emu's second event ? The story of Rilley whose imagination was crippled by the industry to the point where he didn't really have any artistic vision until Emu's grandpa helped him.

In fact remember how the flashback that showcases that has Rilley working on a film

Now we get to Tsukasa's line which have been pointed out to be kind of sus but it's not just his lines.

Tsukasa refuses to sing with Rui (unless it's a line they all sing together but i consider those exceptions). In fact pretty much everyone has a duo line with each other except those two.

In fact in the section where Rui has duo lines with everybody, Tsukasa is the only one he doesnt sing with and the visuals make it clear that it's something that we're supposed to find strange

And then we of course have Tsukasa's solo lines

Tsukasa is the only one that say "fuzakeruna" outside of Rui (of course ignoring entire group WxS lines) and i've seen some people pointed out how it sounds like he's saying it in response to Rui's lines. Which I agree with.

Then we got his big boy solo lines

These lines will make more sense with my theory/analysis but right now if we go with the idea that WxS in the last chorus were speaking to Rui and Tsukasa in this comm refuses to sing with Rui then this implies those lines are Tsukasa speaking to Rui.

And this is where the insanity begins because people have pointed out a concerning trend with Ruikasa that I know some people use for shipping fuel but for me kinda feels more so like foreshadowing.

IGNORING all the ARG ass weirdness of the Fixer 2dmv, this choice to switch Ruikasa's colors have to mean something in my opinion outside of just wholesome shipping influence especially considering the two songs they do this are less than jovial.

What this kind of color switching signifies to me is that, Ruikasa somehow are/or will switch places.

And with that let me bring back Tsukasa's lines

These lines stand out because Tsukasa before remembering his dreams was extremely shallow only doing things for fame and probably the money that would come with it.

Now if you think about everything I've layed out I think you can gain a pretty clear picture.

Of Rui falling into the trap Rilley did, becoming jaded and losing the true motivation of his dream (or at least starting to have doubts). Becoming stuck with the struggle of managing dreams and reality.

Rui's costume even has a mask which can be a metaphor for his artistic voice and individuality being silenced .

Which now you get into the line distribution where WxS is implied to be talking to Rui.

And you get to Tsukasa, who is refusing to sing with Rui and in fact seems to be arguing with Rui if we really want to overthink it. In fact almost switching their roles from the main story.

Because Tsukasa has grown now and how else to show that growth than to switch Rui and Tsukasa's perspectives/roles.

Now how this would happen really depends since there are multiple ways they can go about it with the time they have.

There is obviously mystery dude dude (who i know now is sakaki) who still gives me bad vibes. However there is actually two way they can make mystery dude trigger this sort of plot :

-Mystery dude is malicious and actively manipulates/confronts Rui to make him rethink his worldview

-Mystery dude isn't malicious but instead is just jaded/has been through a lot of industry bullshit which ends up rubbing off on Rui accidentally

But you can even just not have mystery dude involved with this at all (which i doubt but still) because you know what loose plotpoint is still lingering over WxS, fucking Asahi

Rui still has not talked about Asahi to WxS, in fact Curtain Call ends on an explicit cliffhanger which is never really emotionally concluded (at least in Rui's own events, technically the arc ender did but there are still a lot of loose threads from that arc). Why would Colorpalet make Asahi come back after Rui graduates, they could've just had him disappear into the sunset but instead they hint at his potential comeback.

Unless Rui will be forced to again confront similar feelings he did during Curtain Call this time with possibly an added layer of whatever happens during WxS's freelance arc.

Anyways yeah this is overly complicated but then again colorpalet is not being easy with us so...yeah.

[rainofthetwilight]

just saw someone call arin selfish gn everyone

[lesbian-rook]

could you draw ragatha comforting an abstracting pomni? like ragatha calms her down enough to make the abstraction go away! thanks :3

🎶When darkness is all you see This is our Sweet Blasphemy🎵

[14dayswithyou]

That is all thank you

ANSWERED: Art credit for da first Ren meme goes to @meo-eiru!!

BUT HELPPPPP THESE ARE SO FUNNY JDSGJH T_T The Moth meme + Uno meme had me CACKLING lmaoooooooo

[rearviewghost]

one thing that really fascinates me about alex is his devotion to art – and more specifically, how he chooses to get some inspiration from scientific works of what he aims to implement in his art. every time one gets to examine some of his lyrics, or even how he explains these lyrics in an interview, they can be greeted by some bits of actual scientific information. an example is how he named his taquería on the moon with the term “information-action ratio”, coined by the critic neil postman, and referenced it in the song four out of five, something that might also indicate an interesting articulation with postman's concept. the line “cute new places keep on popping up”, for example, can express his well-known sardonic discontent regarding the flood of information being generated and transmitted over and over and, as much as it seems visually appealing and does give the idea of benefiting from advanced technologies, it doesn't really add anything substantial to the receiver's critical thinking – and worse, it distances the information receiver from the sender in a communication channel, according to postman.

what i'm saying with this interpretation is, it's known that alex is enamoured with the idea of gathering a bunch of references and condensing them into a mixture of metaphors in his writing, but it's so thrilling how, at times, we can find some bits of science inside of it – and it's even more exciting, just like playing a puzzle game, to find these references and analyse them by doing a similar research to what he did to create his works.

[the-ginger-avenger]

My main gripe about how Ted Lasso handled Jamie and James’s relationship in the second and third season is that, in a way, it contradicts Jamie’s arc from the first season. And I LOVE Jamie’s arc from the first season. I love how sweet Jamie became later in the show, but if I have to pick a Jamie, it would be season one Jamie, hands down. Even with him being an egotistical jerk. Even with him pushing back against everyone who tried to help him. Because that progression he had from the beginning to the end of that season was the most heartfelt, emotionally gut-punching arc for me. And then they ruin it.

Because what is Jamie thanking James for in Mom City? For pushing him to be a better player? Even if you ignore Jamie literally saying in the bonfire episode that his mother is the reason he works so hard, the whole point of his arc in season one was that, while he was a good player, he wasn’t as good as he could be BECAUSE HE WAS THE PLAYER HIS FATHER PUSHED HIM TO BE. Listening to his father, making it all about HIM, acting like he was the only good player on the team, was actually holding him back.  And even in the second season, when Jamie talks to Ted about how James keeps pushing him, it’s about the wrong things: how long he plays, how long he sits on the bench, how many times he scores. Every single thing that goes against what Ted was trying to teach Jamie in the first season. So what is he thanking James for? Why did they have Ted go from trying to get Jamie to stop acting the way James wanted him to act, to telling Jamie that a lot of famous people’s dads were “real pieces of work” as if that was the reason they ended up working so hard or became great (can you imagine if, instead of telling Rebecca that she’s not the only one who could see who Rupert actually was, Ted told her that a lot of strong, independent woman had ex-husbands who were “real pieces of work”? It’s infuriatingly dismissive)? And if he’s thanking James for pushing him to be a better player, then he’s thanking James for pushing him to be the player he was in the first season, which they spent at least eight episodes trying to get Jamie to not be that way??

And I honestly don’t think the writers really knew why he was thanking James. You can compare Jamie’s speech in Mom City with Ted’s speech to his mom. Ted clearly lists out what he’s thanking his mother for and what he’s angry with her about. Which works out great because the audience has never met Dottie before. The show only gave bits and pieces about what she was like, or what her relationship with Ted was like, so they had Ted clearly state why so the audience could understand better.

But not Jamie. He doesn’t have to state why he’s angry with his father because the show went to great lengths to show why. Nothing good or redeeming was mentioned about James once in the entire show. That character had maybe a grand total of ten minutes screen time, during which he threw a shoe at his son, screamed at him, got angry when his son wouldn’t let him and his buddies on the pitch, acted like he was going to hit Jamie, and BEAT UP BEARD. So, no, Jamie didn’t have to explain why he was angry. But then he says “thank you” and doesn’t offer any explanation. The show didn’t even give the audience any reason why Jamie should be thanking his dad. Unless, it’s somehow for pushing him. Which again, goes against his arc in the first season, and, in way, makes that whole scene feel like it was put in there solely for Ted’s benefit.

And they could have developed Jamie and James’s relationship more in the third season. Heck, they could have humanized James more, the same why they did with Rupert (who the show actually kept as a villain, who Rebecca let go of her anger towards but was never told to start a relationship with him again. Honestly, the parallels between Rebecca and Jamie’s characters and yet how differently the show handled their arcs makes me go insane but that’s a rant for some other day), but they chose not to which is honestly baffling considering how much screen time Jamie had in the third season. Nothing about his arc should have felt rushed or tossed in at the last minute.

And it’s so opposite from the end of his arc in the first season that it’s like watching two different shows? Because that season one finale? That pass he made at the end of the game? That decision to not listen to his father? That carried so much more weight and so much more character development than that half-baked forgiveness arc.

Because that pass? That was a CHOICE, man. It wasn’t something he did because he was trying to make amends with his teammates. It wasn’t something he did because his current coach was telling him he had to. He passed the ball, he gave up the chance to score the winning goal and the glory that would come from that, even knowing his dad was in the stands, even knowing how angry James would be, because he knew that was the better choice. He knew that made him a better player. (It was also a very strategic move. He knew Zoreaux, and every other player on Richmond, would never even consider that Jamie would pass the ball. You can even see how Zoreaux was fully focused on Jamie. In way, it’s kinda similar to that decoy play Jamie was so against).

And that moment between Jamie and Ted at the end surpasses any other moment they have because it was actually about Jamie, and everything that followed after (except for bringing Jamie back onto the team in season two) felt like it was more for James’s benefit. But that was Ted reaching out to Jamie, giving him that bit of encouragement and praise that his father should have given him. That was Ted, essentially saying “Hey, your dad is wrong. You did a good job." And it’s a very private moment. It’s not in front of cameras or the press or even in front of other players. Ted himself doesn’t even deliver the note. It’s as far from “mind games” as it possibly could be because the season is already over. Richmond has already lost. It’s a “good job, I’m proud of you, now here’s something my son gave me to protect me that I’m now sharing with you”. It’s something short and simple and quiet from someone who is usually very long-winded and convoluted and loud, and it is so much more sincere because of that and you can see how much that impacted Jamie. 

And wouldn’t it have been more impactful, for both Ted’s arc and Jamie’s arc, if Ted hadn’t told Jamie to forgive James? If Ted had been able to heal enough to take a step back and look at the situation without it getting tangled up in his own trauma and guilt over what happened to his dad? Wouldn't it have been deeper for Ted, who later would learn that yeah, his son might end up leaving him but he still has to try, to have actually seen a situation where a son chooses to not reach out to his father? Wouldn't it have been more profound for Jamie to no longer let his actions be dictated by his anger or his feelings towards his father. He's no longer angry, but he's also no longer striving for his father's approval either. He no longer cares if his father thinks he's weak or not  (kind of like how Rebecca stopped letting her anger and hurt over Rupert control how she reacted, and yet didn't have to start a relationship with him? But again, they paralleled each other and yet they took them in completely different directions). They could have had a moment that had the same amount of emotional weight as that scene in the last season, but no. Apparently we should just forget everything that happened in the first season because James was actually doing his son a favor the entire time.

[canisalbus]

I remember getting nosebleeds every so often last year and it always freaked people out and the only thing I could do was laugh it off while I put a bunch of napkins of some ice cream place to my nose so I absolutely relate Machete in that nosebleed comic

.

[dollsome-does-tumblr]

i think something that frustrates me about ted and rebecca even beyond the whole no-romance thing (crying forever btw 😢) is that they never really got to have a coherent storyline together again after s1 and the christmas episode, and uh ..... i think it would have been cool to have more of those shared between the two leads of the show. like, in a way, i think i would have been more okay with it not being shippy if they'd had more storylines and more of a definitive overall series arc together, because presumably then at least we would have seen them interact regularly enough and in a variety of conditions enough that i would've gotten more of a feel for why it wasn't a romantic thing and what, in fact, it was? i don't know! i just really wish they'd given that dynamic wayyyyyyyyyyyyyyy more to do and way more interest after s1. it just felt like they were deliberately written to be ships in the night, all the time, no harbor ever, which feels crummy. like, s1 sets them up to be very close friends with these parallel struggles, but then they barely have even a shared b-plot together ever again after the christmas ep. the closest thing is one shared scene followed up by one phone call in 3.08, right? and then the series finale, where they do actually finally have three whole related scenes together, shock of all time.

anyway. so weird. SO WEIRD! such a funky writing choice that i am not a fan of.

[ruvviks]

The Dobrynin family is a corpo family through and through, rooted in Arasaka and Orbital Air going back by several generations; though their powerful position within the corporate world ends with the children of Nadya and Matvey Dobrynin. With Vitali and Daniil fired from Arasaka and Kang Tao respectively— the former indirectly getting his parents fired, too— and Roksana having refused to set foot within a megacorporation from the start, the family begins crumbling apart at the very seams when clashing interests lead to grudges, betrayal, and pointless acts of revenge. ↳ read the unrevised fic here if you're interested!

taglist (opt in/out)

@shellibisshe, @florbelles, @ncytiri, @roseeway, @stars-of-the-heart;

@lestatlioncunt, @katsigian, @radioactiveshitstorm, @estevnys, @adelaidedrubman;

@celticwoman, @rindemption, @carlosoliveiraa, @noirapocalypto, @dickytwister;

@killerspinal, @euryalex, @ri-a-rose, @velocitic, @thedeadthree;

@kanos, @swordcoasts, @ordinarymaine, @claudiawolf, @strafethesesinners

[fand0mfever]

OK ok

I noticed something

Out of the 3 he/him characters

These two look perpetually tired

And he looks fucking wired? Like he internally makes his own caffeine? The lack of eyebags says everything.

[gigglesoup]

Thinking about sweet, gentle, innocent lers. A ler who is completely chill and unbothered by tickling. Finds it adorable, fascinating, even funny, but not embarassing. Not even a little bit! Can't help but smile and laugh along with their lee wherever or whenever because they just love to see their lee happy. Is always asking their lee to raise their arms, wear clothes that expose their spots and admit how ticklish they are and just how they love being tickled but never in a teasy way. You'd think that they're just playing dumb and being sadistic deep inside, but no. They're actually just an adorably clueless and genuinely innocent ler who loves the concept of touching their special person and making them laugh about it.

Not an ounce of malice when they say something like "Raise your arms for me so i can tickle your armpits! Come on, you can do it, i believe in you! There's no reason to be embarassed, love, it's just tickling! It's fun. Hm? What's that? You can't raise your arms and take your tickles? Aww, that's okay. I'll help you once again. Now, wrist and bicep cuffs or me sitting on your arms so they're nice and vulnerable for me? You're free to choose, darling."

[homielander]

the most interesting character detail about maeve through which i have extrapolated at least half my understanding of her is that she prefers to be called maeve. i frequently see "maggie" pop up in meta and fic as her chosen name, but quite literally nobody calls her that, including (and most significantly) elena. elena is maeve's tether to her humanity and her refuge away from vought, yet even elena only ever refers to her as maeve. (and in season 2, we learn that maeve started dating elena before she joined the seven -- before queen maeve's popularity would have become so inescapable that she would feel compelled to introduce herself by that name.) it's especially notable that in her final scene, maeve refers to starlight as annie for only the second time, but she is still called maeve by both annie and elena.

here's what we know about maeve's life as maggie: she had a rocky relationship with her father whom she doesn't seem to speak to anymore, she's from a "cousin-fucker hick town" as described by homelander -- i can't imagine this place being terribly lgbt-friendly, and she generally lacks connection with anyone she would have known before becoming queen maeve. she doesn't have fond memories of this time of her life, and perhaps that extends to all associations with it, including the name maggie.

i tend to think that becoming queen maeve was, in many ways, self-actualizing for her. the act that garners her national attention and earns her a ticket to vought is a heroic one -- she breaks every single bone in her right arm to save a school bus from falling off a bridge. and i know madelyn says she is responsible for the mythos of queen maeve, but this character was still aspirational, and likely someone maeve wanted to live up to. in any case, this new identity gave her a purpose and tools to achieve it: she wanted to help people! by her own admission, maeve enters vought bright-eyed and hopeful, not far off from annie. (maeve is also one of the only supes in the seven not to know about compound v -- she doesn't strike me as religious but believing she's among the very few born with powers would have strengthened her internal drive to be a hero.)

it's for the same reason that i think maeve actually... liked having powers? of course she says otherwise in her last season, but season 3 maeve is cynical and weary from about two decades of dealing with vought and homelander's abuse. they've used her first as the token woman and then the token gay person of the seven. after growing largely passive to the brutality of the job, the flight 37 incident forces her to confront all of the violence she's witnessed and tolerated. she's given pieces of herself away and she loathes the husk of herself that's left. i don't find it surprising that she would want to relinquish every single connection to vought, including her powers.

assuring herself that she will be better off without her powers comes with an added benefit: she gets to distinguish herself from homelander, who would be lost without his powers. and i think she is eager to make this distinction in her mind because there are some uncomfortable similarities between their initiations into vought. the mantle of homelander allows him to exert agency for the first time in his life, just as the mantle of queen maeve endows her with purpose for the first time in hers. (crucially, none of his current circle call him john, either.) they both enjoy being the most powerful superheroes in the world, the unending public adoration, and (in my interpretation) each other. they're also both overwhelmingly lonely and they know it -- homelander teases her multiple times about how she has no friends with a bit more bite in every passing season, while maeve is keenly aware of his isolation and exploits his yearning for love pretty effectively.

maeve steadily grows disillusioned with her position at vought because she still has a moral code, suppressed though it may be. even so, she nearly relents to homelander's vision: that they will be lonely at the top but lonely together. she's pulled out of her miserable state of inaction by annie and elena. annie reminds her of what a hero should be (what she was, once); elena offers her a way out of vought, serving as maeve's light at the end of the tunnel, so to speak.

she escapes that tower as maeve, not maggie. she rejects homelander's god complex which engenders his cruelty towards regular people and 'lesser' supes -- no one will call her queen maeve ever again, at least -- but it is still important to her to be a hero, and for better or for worse, she found that as maeve. i feel like she'd struggle to exist without her powers (possibly the self-awareness hasn't settled in yet) for all the reasons mentioned above. i like to think that eventually, she'll circle around to helping people and resisting vought however possible -- albeit on a smaller, more covert scale so she can continue living a peaceful life with elena.

[bigmilkagenda]

Of the many, many plates of pancakes* that were offered to the listener in magp 1-07, this one may be my favourite

[ID: A screenshot of an unofficial transcript to The Magnus Protocol. CELIA is saying "Yeah. I mean, it's an old system, but it could have been worse. It's not like we're wrestling with tape recorders and manila folders." /end ID]

When we meet TMA-Celia for the second time, she's lost her name. She was Lynne Hammond, and now she's not. She doesn't seem to remember Martin, either, but it's not clear how much of herself and her life from before the change she does remember. She's freaked out by the tape recorders that start showing up, and there's no indication that she associates them with the Institute specifically.

If Celia Ripley is, as we are clearly intended to believe or consider, the same Celia as in TMA, why is she making knowing comments about manila folders and tape recorders? Tape recorders in particular are hardly standard equipment at what seems to be mostly a text data-entry and cataloguing job. She could have said typewriters, or carbon paper. Fax machines, if we're dunking on Freddy specifically.

She says "tape recorders and manila folders." Celia Ripley is referencing The Magnus Institute, particularly the outdated technologies in use in the Archives.

Maybe she learned more from Melanie about what the recorders were and did at the Institute, sometime after MAG 190. Maybe she has those specific memories of giving her statement in MAG 100, and little else. Maybe Martin grew an apocalypse beard and she remembers everything, but just didn't recognise him out of context and in a tunnel and during A Pretty Weird Time Overall.

Maybe she stuck around with Melanie-Georgie-Basira for a while after things returned, and that's how she learned about the particular significance of tape recorders.

Maybe she found some tapes and listened to a couple hundred of them.

Or maybe she's simply an AU Celia, with a knack for oddly specific and kind of clunky comparisons, drawn into this through the powers of metafiction and string theory.

Or maybe someone filled her with spiders and sent her to finish the job of spreading Fear to this particular world.

And the reason this particular plate of textual pancakes** (short stack, butter and nightmare syrup) is one of my favourites from "Give and Take" is because I genuinely have no idea! None of these are theories because there isn't enough evidence to point me in any particular direction. It's a mystery!, Jon voice, etcetera.

If you cornered me and paid me to have an opinion about it I could say which options I thought were more likely, I guess. But the odds are high that I'd be wrong, and I think the boat for me getting paid to interpret texts probably sailed fifteen years ago, besides. I'm in this for the love of the game.***

November is the true spooky season in the northern hemisphere.**** Yeah, October ends with Halloween, but you know what month starts with Halloween? Mmhmm. By November of 2019 TMA had been on my list for a few years, and someone I was getting to know and really liked recommended it to me specifically in the days after 159 aired. The conditions were correct for me to get into something new, is what I'm saying. I still remember listening to "Anglerfish" for the first time, walking home from my office job in the blustery November dark. I got home starry-eyed and red-cheeked and thrilled by the story I'd just heard.

It took a couple of months for me to catch up, and though I loved having so much to listen to there were times when I wished I'd started earlier, to have the experience of seeing things unfold.

And now we're back at a beginning, and get to experience the horrible joys of finding out.

[ID: A screenshot of an unofficial transcript to The Magnus Protocol. LENA is saying "Of a sort. I hope you're as ready for it as you think you are. Consider yourself "in." /end ID]

*Sabrina pancake meme

** the best kind, especially if it's a contest between textual and fluffy pancakes. Keep those spongy bastards away from me, I'll take the kind with a typeface instead

***Being a huge nerd

**** For more of my opinions on November, see https://www.tumblr.com/almostmolly/188799234276