#THIS META IS AMAZING.

[hellfridge]

this meta is amazing holy shit I wasn't ready ok ok SO. i absolutely fucking agree and this was my interpretation as well BUT ALSO the missing piece that makes this fit within arcane might be that Jayce's arc can be seen through a Luddite lense.

Viktor being the pro-machine humans must be efficient herald of a future with basically automated "humanity" -- Jayce being the Luddite pro-worker's rights guy breaking machines and advocating for humans to just get better working (and living) conditions instead of being pushed towards higher efficiency until they die etc.

That said, the interpretation that makes the most sense to me (that Viktor literally decided to eradicate emotions because loving Jayce had hurt him too much) is almost more sad and messy if there's no homophobia? Like, truly, internalized ableism and comparing himself to Mel made him feel so unloveable he thought it was literally impossible and never made a move?? But he loved Jayce (and their dream) so much he couldn't make himself leave???? It was affection that kept them together???????? Then Jayce brings him back and he's been making weapons and this thing that's part of him now killed Sky and he's been so so selfish staying with this guy he has to GO he has to DO SOMETHING. But then he sees Jayce and immediately caves and wants to see him because he's been thinking of him constantly and????? Letting him close means Jayce fucking kills him??????????? Yeah no fuck feelings-- oh nevermind I still want him with me tho think of all we could accomplish lemme just walk in here all dommy and give it a go with my new hyper-abled body I'm ready to fucking compete BITCH SAID NO, FUCK FEELING. BECOMING GOD NOW. Also he hugged her I want a hug oh wait it's nice to see him, wait no it's ok WE CAN BE OF ONE MIND JAYCE C'MEREEE LEMME FEEL YOUR FOREHEADDDD oh nvm he hugged me I want to be loved now let's die together or teleport across worlds or become one with the arcane etc idk

Like. ????????????????🌈?????????

I don't know if I want to make a video about this because it's SO subjective obv but also like. I've NEVER felt compelled to write a "homophobic au" where I take a tolerant fantasy world and make it bigoted. As a kid I used to complain ALL THE GODDAMN TIME about how fantasy writers could imagine a world with talking dragons and magic powers but always drew the line at equal rights for gay people. And here I am PUTTING THE HOMOPHOBIA BACK into a fantasy world WITHOUT homophobia. And I was like.

do I feel so compelled to do this???

I knew I didn't NEED an excuse to insert homophobia into Arcane. Write whatever you want etc etc. But I was so curious, since my preference up 'til now has always been for casually queer fantasy worlds. And uh yeah honestly I think this pivot stems from like, a disconnect between my understanding of systemic bigotry as a queer disabled autistic woman and the way Arcane appears to pick and choose its world's politics from a salad bar.

In the real world, social issues are all tangled up in each other. Racism and classism and queerphobia and xenophobia and ableism and misogyny and misandry and ageism...all these 'isms bud off each other in a kind of swirling feedback loop, necessitating an intersectional approach to activism.

At the end of Arcane, no one broke the cycle of violence. The council chamber table is shaped like a gear, symbolizing its members' status as a "gear train" for all change within Piltover and Zaun. Jinx's bomb destroys that gear with the rest of the council room, only for an off-screen contractor to glue the pieces together between scenes. Piltover adds more "progressive" representatives to its gear train, but the underlying oligarchical mechanism remains. If the cycle of violence ever breaks, it will be because these new "teeth" convince the council to trade their power for democracy. If the elite don't give a real voice to the marginalized (I'm not sure one or two non-elected representatives makes the cut), the marginalized will take to more radical measures to be heard, and the conflict will start anew.

Arcane's hostile oligarchical world sculpted Viktor into the perfect time bomb. Its proud disgust for immigrants; addicts; the poor; the disabled, taught Viktor great shame and hate for who he was and where he came from. These lessons are at least cousins to Social Darwinism, fascism, and the politics of eugenics. Viktor aimed to "evolve" himself and his people into a "perfect" final form. He equated "progress" with the eradication of disability and sickness...then emotion.

Here Viktor branches off from the emotionalism central to fascist ideology, declaring passion ("Our emotions...rage, compassion, hate...") the "cause of [humanity's] greatest evil." Viktor describes emotions as Freudian "baser instincts," dirty and corrosive in their "self-corrupting" force.

To deserve love and admiration, Viktor believes he must become perfect. And for all he waxes poetic re: science and reason and the people of Zaun, Viktor still bases his definition of "perfection" on the ideals of his oppressors. It says a lot to me, that Viktor's idea of "progress" looks like the total eradication of sickness and disability; the rise of an obedient, docile, dogmatic collective; the dominance of Viktor's dome amidst the modest shelters of his followers; Viktor's sleek, agile, white and gold robots. Viktor's goals share a springboard with those of the Piltover elite. Both systems place undue value on power and purity. Both depend on a complaisant, malleable public, and both punish individualism. Piltover pretends to champion movers and shakers and out-of-the-box thinkers, immortalizing key figures like "Stanwick Padidly" and Jayce, but Jayce was only allowed back into the world of the wealthy once he proved

a. he had something to give

b. he was deemed suitably manipulable.

The moment Jayce tried to clamp down on Piltover's rampant corruption (aka wield his newfound powers in service of the less fortunate), Mel was there to reinforce the status quo. It was made very clear that Jayce's options were either to fall in line or lose his job—along with the chance to make any kind of positive change. Behind the curtain Jayce and Viktor were only puppets in service of the wealthy and powerful. Hextech didn't better the lives of marginalized people. It upgraded weapons for the police and generated new trade opportunities for employers (the economy would've undergone a hell of a shakeup with the sudden flush of consumer goods and access to overseas labor. From the state of Zaun and Piltover post-time skip, I assume the new trade routes shuffled money around but didn't make necessities like medicine or shelter any more attainable for your average citizen).

"You used me, and Viktor, for Hextech. You called us 'investments.'" "Two brilliant young inventors who shared a penchant for impossible surprises. Carrying magic from myth to machine. Rallying the hope and hearts of a nation. You were a wise investment."

Anyway. Why is Viktor so threatened by his ability to feel "affection?" Every other goal aligns with a kind of supercharged version of Piltover's oppressive value system, but this one...not so much.

I guess you could say "civil society" frowns on explosive emotions like rage and hate because they threaten the docility of a healthy status quo. Compassion poses a similar threat. It makes sense for Viktor to fixate so hard on emotions when they're the only weapon powerful enough to snap him out of his Hexcore power trip. But I'm more drawn to the reading where Viktor recognizes queerness within himself (cough his love for Jayce cough) as another barrier on the road to perfection (as measured by the standards of an oligarchical regime).

It seems to me that Viktor's goals are all symptoms of a society steeped in ableism, classism, xenophobia, and queerphobia—but only three of those conditions manifest in Arcane's worldbuilding.

I dunno, man. What resonates with my queer experience will totally contradict someone else's. But I guess I can't envision an oligarchical system like Piltover's—a system founded on classism, ableism, and a weaponized fear of the dirty "other"—would somehow evade racism and queerphobia. Like..."We're fine with black people and gay people. But god help you if you're poor or sick or disabled or from Zaun!" Bigotry is irrational and contradictory, so there are surely examples of this pick-and-choose phenomenon outside of Arcane. And good lord, I don't think anyone should feel "obligated" to fill their fantasy worlds with homophobia! But Arcane definitely sparked enough cognitive dissonance in me to make me crank out some "what if this world was also homophobic" fanfic.

(There's also League of Legends' legacy as an alt-right cesspool. Before I even knew what an MMO was, I'd been warned about a game called LoL, the supposed "worst of the worst" when it came to voice chat culture. Not sure how I feel about that context yet.)

[endomentendo]

IT IS A SPOOKY MONTH!

[miscellaneoussmp]

Despite its flaws, the qsmp had really good representation, especially for communities often under or misrepresented in popular media.

There were a decent amount of genderfluid/genderqueer/nonbinary characters, mostly through the Eggs/Federation Employees/Other NPCs, but there were players like Maxo and Mike who use mutliple sets of pronouns. Pepito had no pronouns in English but preferred masculine pronouns/terms in Spanish. Most people referred to Richas with masculine terms, yet Pac and Mike affectionately referred to Richas as their daughter multiple times. Leo and JuanaFlippa openly had name and pronoun changes to reflect their gender identities. There was even discussion of preferred names with Lullah, who, as far as canon goes, is a cis character. There were openly accepted instances of cross dressing, that weren't even made into a big deal. Famously Mariana and Foolish, both masculine characters, are referred to with feminine terms. Mariana is referred to as Charlie Slimecicle's wife, and Foolish is referred to as grandma by both Richas and Pepito.

There were multiple aspec characters and multiple instances of queerplatonic/ambiguous relationships. Jaiden was very openly aroace. Her and Roier said they were partners. Cellbit came out as ace because he was worried that Roier wouldn't find their relationships fulfilling without sex. Roier responded that sex didn't matter to him in their marriage. Pac and Mike, who canonically share a soul, never defined their relationship and went with whatever people called them even if that defining word was boyfriends, despite Mike being aroace. Also, Mike had a nontraditional relationship in his relationship with Mine. Their relationship being that of goddess and devotee. Maxo openly had sex with Pierre while being an ace character. Empanada was an openly ace child character, and that was very accepted. Not to mention all the characters who could be interpreted as some form as aspec.

Qsmp also showed off many different forms of families. Platonic co-parenting basically defined the qsmp as we know it. Single fatherhood defined both Bad and Fit as characters and showed them having healthy relationships with their children. The rocky relationships of Charlie Slimecicle and Mariana and Maxo and Pierre were treated as serious parts of their stories despite the silliness also present in their relationships.

Sorry for the rambling, I just think that the qsmp is praised for its representation of queer relationships without mentioning its other forms of representation.

[leilanigarcia1]

These renders of them are so cute!

If you guys want to see more renders of the others you can find it on Twitter.

[youhavethesun]

I love buffy summers so so much. She’s so perfect and so incredibly complex and flawed.

She loves her sister more than anything in the world. She makes terrible puns. She wasn’t able to kill her soulless ex-boyfriend when she first had the chance. She blames herself for his murder of her father figure’s girlfriend. She wears bedazzled beanies while hunting demons. She always believes children when they tell her about the monsters under their beds.

She’s patrolled in a halterneck many times. She has a multitude of cross necklaces which she switches out depending on her outfit. Sometimes she fears she’s just a glorified killer. She was murdered when she was sixteen and died to save the world when she was twenty. When her mother died she waited until she was alone to do the dishes and let the running water cover the sound of her cries. She’s terrible at undercover.

She wears hoop earrings while fighting for her life. She was reduced to a catatonic state when she believed that she had failed to protect her sister. She’s isolated herself from anyone she believed cared about her more than once. She’s suffered from severe ptsd and depression. She critiques old kung fu movies from a fight choreography standpoint.

She is an expert in denial and suppression. She came back wrong - or at least she thought she did. She desperately tries to keep to a code of honour even when everything she believes about right and wrong is constantly shifting around her. She bears the weight of the world on her shoulders. She sleeps with a stuffed pig named Mr Gordo. She’s feared that her duty as the slayer would turn her to stone, that above all else she would lose her ability to love.

She loves more fiercely than anyone in the world.

[ananke-xiii]

No disrespect to all the other actors (I seriously love them all) but can we take a moment and appreciate Misha Collins and Mark Sheppard's acting skills?

I mean, let's just think about it.

60% of what Cas says is "Dean" in infinite inflections, the other 40% literally makes zero sense and it's totally unfunny if the lines are not delivered to perfection. Yet, Misha slays every effing time.

On the other hand, 60% of what Crowley says are sexual innuendos, the other 40% are pop culture references that I personally don't get half of the time (I'm not from the US). Yet, Mark eats and leaves no crumbs every effing time.

And they both have spent 8+ years in the same frigging costumes.

I mean, I'm just blown away, they literally carried the show on their shoulders and I'll appreciate them forever.

[miuleen]

My submission for the Glitch Inn contest !!

ft. Nuzi uwu

[randomness-is-my-order]

i like that mdzs is actually not a tragedy. a tragedy would have ended at wei wuxian’s first life with no one but the antagonists getting some semblance of an happily ever after. but mdzs is unique because it gives a chance of healing and growth after the tragedy, after the heartbreak, after the soul-crushing grief. if wei wuxian had never come back to life, almost every character would have been worse off. jin ling would continue to be an angry teenager who’d become an angry adult while having authority and power he wouldn’t be able to handle. jiang cheng’s thirst for revenge would remain and worsen and become uglier and many more would fall victim to his animosity against perceived demonic cultivators. lan wangji’s mourning wouldn’t ever end. sizhui wouldn’t reunite with the man who’d he once thought of as a father and he wouldn’t reunite with his uncle and he maybe wouldn’t even learn of his true past until much much later. jgy wouldn’t be as easily exposed and lan xichen would remain blind to the wrongdoings of his sworn brother. maybe nie huaisang would still find his vengeance but it would have to be another way, a messier way. in general, the resentment of many people would continue to fester––there would be no reality checks for the cultivation clans as they did during the second siege (not that their collective shitty behaviour was corrected, but atleast there was some reckoning involved.) the history would still be the winner’s and the wronged parties would be continued to be vilified. but wei wuxian does come back and that kickstarts every single character’s journey once again. his resurrection throws a wrench into the complacency of tragedy and makes the characters hope again. i like mdzs because it is about second chances. because it doesn’t succumb to the absolute narrative of ‘why do good people always suffer?’ by giving the protagonists an ending that is not perfect but an ending that is rewarding, despite everything. i like mdzs because it is not trying to sell you a tragedy and deliberately play with your emotions but a story about hope, about betterment, about renewal. the second chance may seem like the one wei wuxian got, but in truth it is a second chance for every single character and some rightfully learn to be better and get better endings while some stick to their ways and for them, even a third or fourth chance wouldn’t be enough. i like mdzs because it tells you that yes, tragedies happen and yes they are allowed to deeply affect you but you can move on some day and you can find happiness again and you can live your life as if you were reborn, even if it’s just metaphorically.

[shippyo]

Kirby of the stars! 🌟

`

I rememeber i did this art two years ago for the 30th anniversary of kirby,,I still absolutly it i remember it took me ALOT to finish,i may can do better nowadays but i enjoy how pure cute it is<3

Sadly i deleted the file on ibis paint so i can't show the speedpaint but thankfully i has the pic saved in all the good quality :'3

Also if i recall i based this drawing on the second opening of the jp anime that is so joyfull<3

[secriden]

Style in episode 4 made me soft in a way that I truly did not expect. I’ve used the word “guileless” (def: innocent and without deception) before to describe him but I don't think that has been shown more clearly then in this episode.

He tries to be manipulative and lasts for all of one single morning and then comes running to Fadel the second he hears about Fadel asking about him. He's so excited, so exuberant at the thought that Fadel misses him, so happy that his little (terribly obvious and juvenile) plan worked.

Which is why I think he was genuinely taken aback when Fadel only had harsh words for him as a reply (this is not a criticism of Fadel; in this he has been consistent. Doesn't mean they weren't hurtful though). Look at the way Style's grin slowly dies. Watch the way he straightens and backs away a bit, like he wasn't expecting the clawed swipe of Fadel's dismissal.

But Style is resilient. He's tenacious. We see him rally and steel himself to resume his pursuit: because Style is nothing if not determined to hold on to the thinnest thread of hope that he's breaking through Fadel's shell. And can I just take a moment to get emotional about Style offering forgiveness even when Fadel hasn't asked for it?

This, though. I do think this was uncalled for (this is a criticism of Fadel). You can make the argument that Fadel has tried honesty and blunt rejection and it hasn't worked, but I would have respected Fadel more if he'd stuck to his guns and kept rejecting Style in the same manner. Especially when everything else about his character shows he's actually very up front and direct. With Bison, with Kant, hell even with himself.

Fadel is mocking Style's clear and wanton desire for him. Look at the sardonic little grin Fadel gets right before he says, "You won't ever get what you want." Consider the way he was touching Style with that gentle, focused intensity; how he cuts up his shirt and tears it open and leans in close in a way that suggests purposefulness while having zero intention of seeing it through. Fadel knew what he was doing and he did it on purpose, to hurt.

And you can see that Style is genuinely hurt here. I think he has always been prepared for Fadel's rejection, but not his cruelty. Not Fadel making sport of him and his very real emotions and desires. Because Fadel has been rude and condescending before, but he's never been contemptuous like he is here.

And I wonder, partly, if this is because both times we see Style and his dad, his dad is scolding/chiding/correcting him to some extent. Perhaps that's just how they interact. Or perhaps, as implied by the way Style sarcastically said "Thanks, dad" as Fadel drives away in episode 1, Style doesn't enjoy the way his father scolds him and always has criticisms or corrections for him. Perhaps Style just wants to be accepted for who he is, especially by the man he is starting to have real feelings for.

Edit (after Ep 5): I'm so sorry, Papa Style, I did you so wrong. ;u;

@lazzarella made a post recently about Dunk's phenomenal acting in this scene (among others) and I concur so hard about how intense and scorching and "both fiery and steely" Style's anger feels in this scene. He's furious and wounded and you can see it in his gaze, the tension in his jaw, the way he bares his teeth up at Fadel when he says "...punch me in the face? Go on!"

And honestly, he is justified. Fadel's incredulity has no basis here: he stooped back to using public humiliation, something which Style very pointedly has not engaged with since his conversation with Bison in episode 2. Every instance of approaching Fadel since then has clearly been aimed to involve himself in Fadel's private life*.

*Yes even or maybe especially the support group in episode 3. Because while Style may have been treating the whole thing too lightly, all of it is directed privately to Fadel with his secret looks and winks. As far as the other support group members are concerned, Style was a somewhat overdramatic new member that had no connection to Fadel.

But what Fadel did by cutting up his shirt and sending him out in shame regressed them back to their early dynamic, which was far more antagonistic.

This is why Style lashes out at the support group again. Look at the anger simmering in his eyes. The way he makes direct, insistent eye contact with Fadel as he speaks, returning again when he talks about feeling used. Style, overall, is a character that doesn't take anything too seriously so it's almost shocking to see him this visibly angry and so pointedly challenging Fadel in a space where Fadel cannot easily brush him off.

But even now, even in all his rage and hurt, Style is true to himself and his heart. He doesn't want revenge or an apology, he wants Fadel to acknowledge that the thing between them, fragile as it is, matters; that what they did meant something to the both of them.

And this is why I was so broken about Style offering forgiveness without Fadel asking for it earlier: because all it took was Fadel admitting that he missed Style for him to unreservedly offer reassurance and safety for Fadel's heart. There is nothing ambiguous about what Style says at the jeep: he makes his own intentions clear by offering certainty, taking responsibility, promising the very commitment he was asking Fadel for.

He makes himself vulnerable to and for the man who literally just mocked and humiliated him that morning. Style really just let all his anger go immediately like that.

And no, I don't think he was doing all that for the car. This is just how Style talks. He has a flair for the dramatic, and this was the perfect way to reveal his news to Kant. But look at how delighted, how filled with boyish glee he is while he tells Kant the news about Fadel agreeing to be his boyfriend. Consider the way he reacted in the moment: the joy in his voice and the wonder in his eyes when he said "Really? We're dating now?", the way he covers Fadel's cheeks in a hundred butterfly kisses.

Also, a thought that occurred to me - could this be Style's first relationship? We know from episode 1 that he sleeps around, but there's seemingly no mention of a previous serious/committed relationship so far. His dad seems surprised to hear Style is seriously pursing someone. Could Fadel be the first person to capture his interest for long enough that Style developed actual feelings?

Which is also why his fear is now so visceral. He is genuinely terrified of Fadel, but I don't think it's just because he's realised how dangerous Fadel is (after all, he's known that to some extent since he watched Fadel break a man's arm with his thighs). No, his fear stems from the fact that Fadel now has reason to hurt Style.

In the face of the betrayal of his own trust, Style answers Kant's plea to friendship and entangles himself with Kant's lie willingly... and thereby forfeits all rights to the safety he was so confident of in the middle of the woods by an abandoned factory. Because now Style knows that if Kant gets found out, it won't matter that Style didn't intentionally mislead and take advantage of Fadel's vulnerability in the forest. Because he still chose Kant over Fadel here, and that makes him undeserving of the open door he asked Fadel to give him.

Style is incredibly transparent in all his thoughts and emotions and this is why I say that Style is guileless: he is incapable of true deception. His heart is too close to the surface, his desires too obvious, his thoughts too clearly broadcasted on his face.

He is the perfect foil; not only to Fadel (who until this episode held everything so buried inside his chest that we only understand his true feelings in snatches of memories or moments when Fadel is certain that he is truely alone) but also Kant (whose deception, whilst cracking under pressure, is intentional and calculated - thinking about that bowling alley accomplice right now - in a way Style never could be).

And this means that any success on his part in the upcoming episode(s) in deceiving Fadel is going to fall on either Fadel's own willful blindness or the suspension of disbelief the genre requires of the viewer -- but it won't be because Style is actually any good at playing the role now that he knows the full truth.

This is why my heart breaks for Style. Because Kant forced a burden on him that he was in no way prepared to bear. And eventually Style will have to choose between his loyalty to Kant and his burgeoning feelings for Fadel and, regardless of his choice, the narrative demands that Style sacrifice a piece of his own heart in the process.

[shelfperson]

while i see where some if it comes from, i feel like way more people took “as a former sex slave, armand is disgusted by teenage daniel’s sexual behavior” from the torture scene and not “daniel has been prostituting himself for drugs presumably for years, and armand both relates to and is repulsed by daniel as a form of projection” and i think that’s extremely fascinating.

like it’s a very consistent vampire trait that they only really get up in arms about social issues that affected them in their mortal life, and even then only when it would directly affect them now. i.e, claudia and louis being aware of and condemning racism but not really caring about european nazism despite very real parallels.

and there is. a big difference. between the ultimately consensual gross misogyny of the paper bag incident and armand being sold to a brothel as a child, then kept as a rich man’s catamite experiencing regular sexual assult.

AND armand is a man who does not experience that kind of day-to-day indignity. those are completely separate circumstances and armand doesn’t give any reaction to the memory aside from what it means for daniel. in fact, that remark has very little to do with how armand feels and everything to do with daniel’s lifelong feelings of guilt for constantly being a fucking asshole.

and the vampire armand, specifically, is not a creature prone to sympathizing with people who share his struggles anyway. especially not strangers he doesn’t know. look at the way he treats claudia, specifically. she’s in a spot similar to him, both growing up and now. constantly robbed of agency, both infantilized and adultified depending on what’s convenient, and in the books of course they’re both child vampires. and he doesn’t offer her any compassion whatsoever because he’s the type of person to take his suffering out on others and reenact his trauma with himself in marius’s place.

like mr. i-constantly-mind-control-my-lover, duchess of unsafe bdsm practices, is not offended by daniel’s understanding (or lack thereof) of power dynamics or safe and respectful sex. he’s throwing the boy across the kitchen because he doesn’t understand what makes danny special when, despite all similarities, he himself is not.

edit: i went into a whole rant in the reblogs about the importance of sexuality and sexual autonomy and sexual perversion as a theme in this show if any one interested

[fitilechka]

Kirby32.exe is starting up...

Success!

[endomentendo]

Wip

[shoyueggs]

DARK META KNIGHT!

Honestly, the scar through the mask makes him 500% cooler.

Art by me on Instagram! @over_easy___

[queen0fm0nsterz]

Ok so I have only watched TADC once and the first thing I'm drawn to right off the bat is Kinger.

He's quite the guy and I think moving forward he will be one of the more interesting character to delve into. One of the things about his personality that immediately comes off is that, in spite of his mind being a bit all over the place, he is actually fairly knowledgeable on the world they find themselves in.

Jax does express confusion when Kinger begins explaining to him how the food in the DC works, which could indicate that either he didn't take enough interest in Kinger to hear what he was actually saying most of the time (this could be the case as he seems to be super dismissive of just about everyone), or that Kinger doesn't express his knowledge often. I think it could be a mix of both.

Honestly, his mental state doesn't seem to be an act. I believe that, due to being in the Circus for so long, his mentality is verging more towards that of the npc characters like Caine -- wacky and nonsensical at times -- while also still retaining the capability of deeper though like the playable (player?) characters. I wonder if he kept the knowledge he has acquired overtime mostly to himself and just recently started to express it randomly because of the previously mentioned change in his mind.

When talking about Kaufmo, he is the first of all of them to realize that something was "wrong" with him and reaches the conclusion that he was going insane (which was later revealed to be correct as Kaufmo turned into an Abstraction). During that instance, he expresses his concern for Pomni's own mental state.

He's been here a long time. He's probably seen many others become Abstractions, just like Kaufmo: he knows what the warning signs are. The fact he also outright refuses to go check on Kaufmo indicates to him having an ounce on what might have happened to him, as well as the possibility of him knowing what the effects of being caught by an Abstraction are. Ragatha said she was in a lot of pain while glitching; it might be possible for Kinger have touched by an Abstraction in the past, or he watched it happen to someone else.

((Either way, Ragatha and Jax don't really seem to consider Kaufmo's Abstractification (?) at all when going up to check on him, meaning he might have been the first actual companion they had who turned into one.))

Another thing that shines through in his personality is that, in his own way, Kinger is a caring guy. When doing rock-paper-scissors with Gangle to decide who would have to save Zooble, he celebrates his victory before sprinting into action.

Gangle is visibly confused by this, as she was expecting to be the one who would have to help, but Kinger interpreted it differently and was more than happy to get Zooble help.

He's such a strange guy. I love him.

[meraki-yao]

listening to this RWRB video essay podcast and this:

"And once they dance, this is the happiest that we see Alex in the entire movie. And I would say his smile here is the biggest, broadest smile we see from any character in the whole movie. Because, I would say this is where Alex is getting exactly what he wanted all along, which is for Henry to let him inside."

Me: WATCH ME FUCKING SOB

(^^^the smile in question)