#all my favorite character die

[rapidhighway]

my love for him is stronger than any other force in the universe

[ewwww-what]

Welcome to the party :)

[norringtondeservestheworld]

Obsessed with Simon sacrificing his life every chance he gets to save Markus but when it's Markus risking his life to save him Simon tells him every fucking time he shouldn't have done that

[carnivalcarriondiscarded]

thinking about Eddie & hyacinths again

[baristabomb]

dungeon meshi characters taking care of each other

:’)

bonus:

[hylianane]

And when OPLA calls back to Zeff telling the crew to read stories to Zoro so he can hear their voices and recover faster, by having Sanji sit by his bedside on Thriller Bark and read him a book about the All Blue. What will you do then?

[old-skyguy]

Every time I see people reduce Franziska von Karma to "haha bitchy immature lady with a whip" I get viscerally angry.

[lady-tortilla-chip]

Nah because I do actually wish more people would recognize that Mu Qing never lacked confidence or belief in himself. What he struggled with was trusting other people to value/trust/want/love him. He never thought less of himself over his background he just assumed everyone else did.

[beatcroc]

what kind of frivolity would you engage in, mecha?

<

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[pumpkinrootbeer]

I just have to sing my praises for Shadow's VA in prime rq I think Ian hanlin does such a fantastic job as shadow I am just. consistently amazed. I think some previous iterations lean a little too hard into the growl but Ian hanlin brings a modernization to the character that I think works really well. Still very clearly Shadow but sounds more natural imo. Genuinely wonderful would love to hear him as shadow in other productions

[rin-solo]

I love. LOVE. Get In the Water

It's one of the objectively best songs in the musical; I will die on this hill.

Poseidon was always, despite being pretty much the main antagonist of EPIC, a really underdeveloped character in my opinion. He just needed a little more nuance and the fact that one (+ kind of one more) song managed to add so much to his characterization pretty much exclusively through subtext and implications is incredibly impressive writing. Because it did!

At the start he's yet again playing games with Odysseus, the way he did in Ruthlessness. In both songs he could kill him easily at any point, yet he chooses not to for the sake of playing games. In Ruthlessness, this becomes his own hubris as it leads to Odysseus escaping.

If you listen closely, at the start of GITW he already sounds slightly different. He's still trying to keep up this "God of Ruthlessness" front that he's so proud of, but he's no longer more or less carefree the way he was in Ruthlessness. He's been obsessing over this feud for ten years, and even if he would never admit it, it's actually clear just from his voice that he really is tired of it too. Not in the sense of it emotionally draining him the way it probably does Odysseus, but in the sense that it's a bother, a loose end in his life, a book that he finally wants to slam shut.

But he still has a reputation to uphold, and he still cannot close this book until Odysseus is dead, so he keeps up the game. Instead of just killing him, he's taunting him to kill himself. He might associate the idea of just striking him down with a sort of loss, like then he'd have to his hands dirty. Then he's rambling about killing his people, his family. He's provoking Odysseus on purpose, likely trying to get him to snap back, to hate him and fear him the way that Poseidon would think any mortal who has consumed this much of his time should. In his eyes, Odysseus deserves nothing less than to curse him with his last breath as his "darkest moment", the god who became the bane of his life.

And Odysseus replies, of all things, with ... sympathy.

Honestly, I don't blame Poseidon for being speechless for three full seconds. He literally just threatened to gauge Telemachus' eyes out the way Odysseus did with Polyphemus, and this absolute madlad of a man replies with an acknowledgement that he (might have) caused Poseidon pain too.

Now, I don't really think Poseidon was particularly hurt over Polyphemus' loss or hurting in any way in that moment. But just the fact that Odysseus acknowledges that he might be hurting too is probably something Poseidon hasn't heard in ... who knows how long? His family is the Olympians. I don't think I have to say more.

It's actually more of a genuine apology than Odysseus' explanation in Ruthlessness ... Now he doesn't say "sorry" because he's still not sorry for hurting Polyphemus, since he still needed to do that in order to escape. But he expresses regret over the pain he caused in a more genuine way than ever.

I am convinced that Poseidon is utterly unfamiliar with sympathy or mercy. He's lived by his "Ruthlessness is mercy" motto for centuries, and he doesn't know anything else. No one would try to teach him something different. The other gods all live by this logic, even if he's the most vocal about it considering he seems to have made it his whole personality. Mortals wouldn't dare to question Poseidon in the first place. And barely anyone would be willing to treat someone with kindness who is in turn treating everyone around them with ruthlessness.

It's very likely that Poseidon hasn't encountered anyone like this until Odysseus. Ruthlessness is simply how he treats people, and also how he expects to be treated back. The fact that Odysseus doesn't, the fact that instead of hating or fearing or cursing him he acknowledges that they have both hurt each other and that it doesn't lead anywhere to still pursue vengeance must have triggered Poseidon in an unprecedented way.

To him, this was probably the most outrageous thing Odysseus could have said in that moment. And it throws him off so much that he is genuinely speechless, and then simply replies, "I can't." ... his most genuine-sounding line in the whole musical.

I cannot stress enough how much it threw me off to hear this line; in the best way imaginable, it doesn't sound like Poseidon. It sounds almost vulnerable. Almost human. Because he is genuinely at a loss so much that he forgets to put up his "wrathful god" facade for just one second. Standing ovation to Steven Rodriguez for his whole performance, but especially this part.

And then Odysseus goes all out, to say something even more outrageous: "Maybe you could learn to forgive?"

... Which is when Poseidon snaps.

Kind of understandable, honestly. There's this mortal whom he has likely fantasized about seeing pleading, hate-filled, and terrified, cowering before him, for ten years now ... telling him that he ought to learn something. Even hijacking his own motif and his instrument in order to turn it on its head, "defile" it if you will.

This f*cking mortal pr*ck took his own "Ruthlessness is mercy upon ourselves" catchphrase and turned it into forgiveness ... Of course, Poseidon is no longer hesitating, of course he is no longer concerned with getting his hands dirty or not. He yells "DIE!" and unleashes his ultimate move (which is really overkill for simply killing a mortal if you think about it) ... But he does it anyway because this time he genuinely means it.

This simple exchange (my favorite moment in the whole musical, actually) tells us so much about both of these characters that it makes me want to skitter and squeal in excitement.

Here is Odysseus—the very same one whom Poseidon specifically tried to teach ruthlessness—becoming the first person in a long time to offer him sympathy despite how Poseidon himself showed him nothing but ruthlessness. And then one song later, here is Odysseus showing him the consequences of not accepting said sympathy.

Six Hundred Strike and what Odysseus does to Poseidon would've not hit the same, in my opinion, if he hadn't made this offer, if he hadn't given Poseidon this way out, even if no one watching genuinely expected it to work (probably not even Odysseus himself.)

Six Hundred Strike is not Odysseus exacting vengeance. If GITW proved anything about Odysseus it's that he does not want vengeance. He wants all of the hatred and pain to be over, to the point where he is willing to let go of, and I am inclined to say forgive, Poseidon for what he's done to him. Six Hundred Strike is simply Odysseus teaching him this lesson that Poseidon couldn't have learned in any other way, because he has proven in GITW that he genuinely does not speak any language besides that of ruthlessness.

It's just the perfect representation of how Odysseus has now finally learned the balance between mercy and ruthlessness, which seems to be the core theme of the musical: Both have their time and place, one simply has to be willing to act in both ways and know when to use either. No one extreme is the solution. I am genuinely exhilarated that Odysseus finally seemed to have figured out that it's been both all along.

[finisnihil]

2.5 spoilers for HSR

I hope Ruan Mei did actually revive Tingyun and also is part of the Luocha/Jingliu gang because it makes the dynamics so much funnier. It's not just an undead lesbian with her purse dog man anymore, it's now two undead lesbians and a mad scientist with their purse dog babygirl who is also the silly meow meow of the god they're all trying to kill with bug type pokemon.

[vagun1ka]

hurt/comfort lukamiku hours

[yourhighness6]

Unpopular opinion but I think in SPOP S2E3 Catra was genuinely trying to protect Entrapta from Hordak after almost being suffocated in the same episode by him

I think the main obstacle to Catra's perspective redemption arc at this point isn't her tendency towards violence or her constant anger, as those are classic character flaws before redemption arcs, but her manipulation tactics and her capacity to treat other people like shit. This is kind of an uncommon way of presenting these sorts of characters, who are often shown as being kind of "dumb" while having a repressed natural kindness. Catra certainly isn't "dumb", she's incredibly intelligent, an excellent strategist, and extremely careful with her words. In this scene I saw not the first glimpse but one of the first of a girl who genuinely cares about those close to her (besides Adora) and may be worthy of redemption. Catra clearly does have a heart, but I'm interested to see exactly how this plays out, as Noelle Stevenson took a huge risk by giving her these traits.

[stimmingandstruggling]

the musical has the best death note ending and i’ll stand by that forever. i love near (i am him) but i firmly believe the series should have ended with both light and l dying. light himself doesn’t want shit after L is gone. they can’t EXIST without each other and that is shown so clearly by how just. lethargic and unmotivated light is after L’s death. which is very interesting to analyze! but in my mind, the canon, most beautiful ending, they die together

[hylianane]

Watching OPLA’s duel at Baratie with my sister, I’m reminded of that time I saw someone misquote Mihawk’s reaction for Zoro bracing for his death head-on as a simple “Good”. And how that lowkey pissed me off, like, no, buddy, he said “Magnificent”. And it’s incredibly important that he says “Magnificent”.

Mihawk doesnt just approve of Zoro as a successor. He is moved by him. He sees Zoro as a once in a life time chance. A man who is so bored with life, with himself, but most importantly his own power, sees Zoro and the Strawhats as the one thing that will make his life interesting. Zoro’s vigor, pride and determination is not just ‘good’, it is ‘magnificent’.