#also sorta implied

[bloomeng]

no one asked but these are the given names in my lesbian au:

Eden “Ed” Teach

- Like canon she also goes by Eddie and sometimes Eden she’s not picky.

Stephanie “Stede” Bonnet

- Stephanie started going by “Stede” after meeting Ed and thinking she was cool decided to emulate her.

- She doesn’t particularly mind people still calling her Stephanie.

Isabel “Izzy” Hands

- No one refers to Izzy as “Isabel” only her mother.

- She doesn’t particularly like her name but she’d never admit that bc her mother was the one who chose her name and she would never admit to disliking something her mother chose for her.

- Once Stede learns her given name she abuses it— mostly to get under her skin— until Ed has to finally tell her “yeah so maybe don’t do that.”

- Over time it become less mocking and more their “thing.” Stede only uses her full name in private.

Jackelyn “Jack” Rackham

- Jack is not fond of her name, which is why she never mentions it.

- The only person she’s told real full name to is Anne.

- Ed never stopped to consider any alternatives. Jack has always just been Jack.

- Izzy sorta just assumed Jack wasn’t tied to her real name and that she named herself that, bc it seems like something she would do.

- Stede guessed her full name, only bc she automatically assumes the names people introduce themselves as must be their birth names, unless it’s extremely obvious. So to her it was just common sense that Jack’s full name would be “Jackelyn.”

- And seeing as Stede has a habit of full naming people she’s not fond of, I think she would refer to Jack as Jackelyn in front of Ed and Ed would literally laugh it off like “that’s rich.”

[sukuna-dees-nuts]

this is for @nessieartss!! based on this (it was me that asked, surprise) and also the first part of this art

i hope you enjoy!! older brother sukuna lives rent free in my brain right now and i love him being a bastardman

---

“Ay, what the fuck was that?!” Sukuna shouts as Yuuji cackles in glee. His character races into first place, winning the Grand Prix. Sukuna' goes from first place to fourth. “You threw a red shell right after a blue shell! That's fucking cheating!”

Yuuji shrugs, lounging back against the couch and drops the controller next to him. “Don't hate the player, hate the game,” he says with a grin and pulls out his phone. “Those dishes aren't gonna wash themselves.”

Sukuna grunts as he tosses the controller onto the coffee table. “I hate both the player and the game.”

“And the game hates you!” the younger boy calls out after his brother's retreating figure.

Turning his attention back to his phone, Yuuji’s grin melts into a soft smile when he sees Yuko's name on a Snapchat notification. He glances over his shoulder to make sure that Sukuna is still in the kitchen before tapping on the notification. It won't be anything inappropriate, but he knows for a fact that if Sukuna saw that his younger brother was texting a girl, Yuuji wouldn't hear the end of it. 

The Snapchat shows a picture of a latte with the classic tulip foam art and a caption that reads: ‘I think I'm finally getting the hang of this latte foam art!’

Yuuji holds his phone out to take a picture of himself, giving Yuko a big smile and a thumbs up. 

‘That's so good!! Ur a professional now. If I ordered one, would u make me a cat???’

“Yo! Can I put this cast iron pan in the dishwasher?” Sukuna asks from the kitchen. He waits for a response and gets nothing. “I’m about to put this pan in the dishwasher!” Again, no response. Rolling his eyes, Sukuna makes his way back out to the living room. “Dude, if this pan gets ruined, it’s gonna be your fault—”

Sukuna cuts himself off when he catches sight of a picture of a girl on his little brother’s screen. Immediately, he reaches over the couch and snatches the phone out of Yuuji’s hand. “Oh! Who is this?” he gasps, bringing the screen closer to his face for a better look. “Do you have a girlfriend little bro?”

“Hey!” Yuuji scrambles, turning around to lean over the back of the couch in an attempt to grab his phone back. Sukuna places his hand on Yuuji’s forehead, keeping him at arm’s length as he looks over the picture. “Give me back my phone!”

Smacking Sukuna’s arm away, Yuuji vaults over the back of the couch and decides to try and wrestle his phone back from his brother. It doesn’t work, however. The two grapple for a few moments and the next thing Yuuji knows, Sukuna has his arm wrapped around his brother’s neck, holding him in a firm headlock. It isn’t enough to hurt him, but it’s enough to keep him from trying to escape, knowing that it’s futile. 

“Who is she, huh?” Sukuna presses as he slides Yuuji’s phone into his pocket and begins rubbing his knuckles on the top of Yuuji’s head. 

“I’m not gonna tell you!” Yuuji laughs, trying in vain to smack Sukuna’s hand away from his head. 

“Well, I’m not letting you go until I get some answers,” the older boy states, rapping his knuckles against Yuuji’s forehead. Then he pinches Yuuji’s nose. 

Weighing his pros and cons, Yuuji relents. “Okay, okay! I’ll tell you! Just let me go.”

Sukuna snorts. “Nah, if I let you go right now, you’ll just try to punch me and I won’t get what I asked for.”

Yuuji groans. His brother knows him too well. “Her name is Yuko. She’s just a friend. I haven’t asked her out… yet,” he grumbles the last word.

Satisfied, Sukuna releases his hold on his brother and hands Yuuji's phone back. 

In the midst of the struggle, Sukuna hadn’t noticed his own phone had fallen out of his pocket. It dings and Yuuji is the first to snatch it off the ground, curious to see who would be texting Sukuna. His jaw drops at the name displayed on the lock screen.

Sukuna quickly plucks his phone from Yuuji’s hand and goes back to the kitchen as Yuuji shouts after him, “Dude, why is Megumi texting you? And why is there a heart next to his name?!”

[razzafrazzle]

strange old men!! theyre married for tax purposes (and gay purposes but thats less important)

[image description: a drawing of human designs for coach z and bubs from homestar runner. coach z is depicted as a lanky pale-skinned older man with a tooth gap, a five-o'clock shadow, and balding curly light brown hair with a grey streak through it. bubs is depicted as a bulky, dark-skinned older man with short greying afro hair and a short beard. end id]

[curiostars]

If you understand that, I am sorry.

I’ve been sitting on this for like a year because it was a kickoff for a larger au/story. however. I waited so long that I’ve changed the actual story, and Giratina isn’t even involved anymore. I really like this anyways unfinished as it is.

This is LAST TRAINS HOME, which in the original draft was essentially “Emmet makes a deal with the devil to bring Ingo home, Ingo just wants to go back to Hisui because He Lives There”. The current draft has more nuance than that now (and jirachi is involved) and it may become a full fancomic one day.

[twistedappletree]

Lan Xichen: and what should you do when you’re feeling sad?

Lan Wangji: Wei Ying

Lan Xichen: *sprays him with a squirt bottle* NO

[sysig]

Blood sugar levels (Patreon)

[my-name-is-apollo]

Why is Hera so hostile to Leto in a manner that she isn't with the other lovers of Zeus? I can't think of any other woman who was targeted so much by Hera. One could say she didn't want Leto to give birth because her children would be a competition to Hera's children, but why bother her even after she had already given birth? Is it because Leto herself is also a threat to Hera?

Sort of I guess?

I don't think Leto would ever be a threat to Hera's role as the queen of the gods but Hera might see her as a competitor for Zeus' affection, even though I think Zeus would not marry someone else and replace Hera.

The twins are definitely a big reason why Hera begrudged Leto - it is outright stated in the Callimachus Hymn to Delos that the reason Hera especially targeted Leto was because she was told that Apollo would be dearer to Zeus than Ares is. Zeus is very proud of Artemis as well. As he himself puts it, he doesn't mind facing Hera's wrath for children like her.

But the continued hatred even after the birth of the twins (like sending Tityus to rape Leto) could have been for different reasons. This wasn't like one of those affairs Zeus would have with mortal women where he'd leave them behind once the child is conceived. Neither could Hera, despite her many attempts, get rid of Leto like she did with the other lovers. Not only did Leto give Zeus children that he loves dearly, she also stayed on Olympus despite Hera's hatred towards her (which isn't directed to any of Zeus' other divine mistresses, btw). It might have also been because Leto herself is dear to Zeus, if the way she's treated on Olympus is any proof. In the Homeric hymn to Apollo, Leto stands next to Zeus - in the Olympian assembly - to welcome their son. Hera is completely absent from the scene, as if Leto had taken her place even if temporarily. Now you could say this is because Apollo himself is such a powerful and glorious son in a way that no other son of Zeus is, so of course Leto would get such an honor (the hymn itself presents it this way).

But here's another instance - in the Iliad, when Hera goes to seduce Zeus, he is obviously very smitten but before getting into the action, he lists some of his lovers (I believe these were his favorite lovers, as a lot of others are not mentioned):

"for never has such desire for goddess or mortal woman so gripped and overwhelmed my heart, not even when I was seized by love for Ixion’s wife, who gave birth to Peirithous the gods’ rival in wisdom; or for Acrisius’ daughter, slim-ankled Danaë, who bore Perseus, greatest of warriors; or for the far-famed daughter of Phoenix, who gave me Minos and godlike Rhadamanthus; or for Semele mother of Dionysus, who brings men joy; or for Alcmene at Thebes, whose son was lion-hearted Heracles; or for Demeter of the lovely tresses; or for glorious Leto; or even for you yourself, as this love and sweet desire for you grips me now.’ (Book 14, trans. A. T. Murray)

Notice how when talking about most of them, he also mentions the children they bore to him but when Demeter and Leto are mentioned, he doesn't bring up their children at all despite them being some of the most accomplished kids of his. What's more, he takes Leto's name just before Hera's. I mean, this is an interpretation but it looks like not only did Zeus love Leto the most out of all his mistresses - giving her a place second to that of his wife, but also his love for her wasn't necessarily only because she gave him two amazing children.

Nonnus does something similar in the Dionysiaca (but this time Zeus is enamored with Persephone instead of Hera) but more notably, when Typhoeus attacks Olympus and Zeus is discouraged, Nike takes the form of Leto to encourage him and it's pretty telling of what Leto meant to Zeus.

One interesting similarity between Hera and Leto is that they both had a giant try to rape them. Porphyrion tried to violate Hera (Zeus inspired him to do this) and Tityus tried to violate Leto (upon Hera's order). Though both of them were killed, only Tityus got an eternal punishment in Tartarus of having his liver/heart eaten out by vultures so Zeus seems to have taken a greater offense at Tityus trying to assault Leto.

Again, I don't think Zeus would ever take anyone other than Hera as his permanent wife - she is irreplaceable to him. There's an entire myth about Hera leaving him and Zeus winning her back. Their relationship is obviously complex and involves all kinds of emotions including love and hate. But Leto is continually dear to him as well and that's something Hera can't do much about.

[kaitobromota]

I've been thinking about the Future Foundation watching the events of Jabberwock Island lately.

This is specifically meant to be the first murder. I imagine no matter Byakuya's actual feelings on the imposter, seeing someone who looks like you get murdered is pretty jarring.

[specialagentartemis]

The Murderbot Diaries and Terminator: Dark Fate: What Does a Killer Robot WANT, Anyway?

The Terminator (1984) is probably the most famous killer robot in media, setting the image for a what a killer robot is.  It’s shaped like a bodybuilder, weapons built into its metal skeleton, eyes hidden behind cool and impersonal sunglasses, a threateningly “foreign” accent, and no feelings, no remorse, and no desires besides killing its target.  Kyle Reese describes it to Sarah Connor bluntly: “That Terminator is out there! It can't be bargained with. It can't be reasoned with. It doesn't feel pity, or remorse, or fear. And it absolutely will not stop... ever, until you are dead!”  And the film supports this wholeheartedly.  We get a few scenes from the Terminator’s perspective, and they do not really indicate that it has much in the way of personality or free will.  It’s scary because it is a ruthlessly efficient, tireless, and analytical machine built to kill.  It will not stop until its target is dead, or it is.

Terminator 2: Judgement Day (1991) gives us a nice Terminator, a Terminator captured from its controlling Skynet and re-programmed to help Sarah and John Connor rather than hunt them.  This Terminator gives slightly more suggestions that it has a personality of its own, but ultimately it is still now ruthlessly efficient, tireless, and analytical in protecting its charges, but it still dies at the end in the course of fulfilling its objective.  It was, after all, programmed by the human rebels to protect John Connor, and it did.

Did the Terminator want any of that?  The second film halfheartedly cares a little, and the first film certainly did not at all.  It’s an irrelevant question.  It’s a robot; it’s incapable of truly wanting anything, it just does as it’s programmed.  It fulfills its objective.

In modern sci-fi, that’s not really a satisfying answer anymore.  It looks like a human, has human organic parts built into it, and it clearly has the ability to process large amounts of information and make complex and reasoned decisions.  Why do we write it off so thoroughly?  Does a Terminator like what it does?  Would it choose this?  What does a Terminator want?

The Murderbot Diaries (2017-present) by Martha Wells isn’t a direct answer to this question, but it sure is considering it.

The titular Murderbot is very similar to the Terminator: a human-form cyborg, a robot with human organic parts built in, a machine with guns in its arms made to do a job and that job being to protect and/or oppress humans.  But as a thinking, feeling, complex entity, it has opinions about that job.

You know what else is a clear response to early Terminator movies’ fundamental uninterest in the Terminator’s inner life and personal opinions on things?  Later Terminator movies.  Specifically Terminator: Dark Fate (2019).

The fact that The Murderbot Diaries and Dark Fate came out at roughly the same time, in the same sci-fi AI-story zeitgeist, looking back critically at the 80’s and early 90’s Terminator and asking, well, what would it do if it didn’t have to murder, who would it be if it had the choice, is telling.

The Murderbot Diaries stars Murderbot, a SecurityUnit owned by a callously greedy and corner-cutting company that uses such SecUnits ostensibly to protect but in reality to intimidate, control, and surveil human clients.  It calls itself “Murderbot” and all SecUnits as a whole “murderbots” for a reason.  The world of the books sees SecUnits as mindless killer robots kept in check by their programming, in a very similar way that the Terminator was presented in 1984. We see the story from Murderbot’s point of view: it’s snarky, depressed, anxious, bitter, funny, and very opinionated.  It also really, really hates intimidating, controlling, and surveilling people, and it specifically broke its own programming meant to keep it compliant so it wouldn’t have to hurt people.  Instead, it wants to half-ass its job and watch soap operas… but it’s sympathetic to humans in danger despite itself, and when it chooses humans it cares about, it will go to great lengths (ruthless, but very tired and full of fear and pity) to protect them.  What does it want?  To be given space; to not be given orders; to have the ability to take its time and watch its shows and determine what its job as Security means to it.

Terminator: Dark Fate takes a different tack.  (It’s actually about three badass women and I’m very sorry for focusing on the man-like character here BUT) Dark Fate presents an alternate timeline off the main series, where the Terminator succeeded in killing young John Connor.  Previously, we had seen Terminators that would not stop until they were dead; this one fulfills Reese’s other warning.  It will not stop until John Connor is dead.  Well…. it succeeded.  John Connor is dead.

Now what?

In the opening scene, we see this from his mother Sarah Connor’s perspective.  The Terminator appears out of time, ambushes and kills young John Connor, and then stands there looking impassively at the destruction it wrought while Sarah screams.

It looks cold and satisfied when that scene is first presented.  But when we see it again from the Terminator’s perspective, it seems to just stand there, staring stupidly, suddenly with no direction in life.  It fulfilled its objective.  It followed its programming.  Now it has no more objective, can receive no more orders, and its programming has nothing more to tell it to do.  It eventually disappears into the woods, learns more about humanity, grows a conscience, lives in a little cabin with a woman and her son fleeing an abusive husband in an apparently mutually very supportive relationship, chops wood, drives a truck, and gives Sarah Connor insider information to allow her to track down other incoming Terminators as a way of atonement.  It does have remorse, if given time to think for itself and realize it.  It doesn’t really want to hurt people, and even, similar to Murderbot, has a drive to use its strength and intimidating-ness to protect the people it chooses.  It mostly wants to be quietly and safely left alone.

Both the Terminator and Murderbot are killer robots left adrift, aimless, reeling, suddenly having to decide for themselves what to do with their lives for the first time.  Both are stories that circle back to the original Terminator premise and say, okay, but that killer robot isn’t killing for the sheer thrill of it, it was forced into doing that by a top-down authority in control of its programming.  That would kind of fuck someone up, actually.  It’s a hopeful narrative: these things are people, and they don’t want to be hurting other people.  When given the option, they just want to rest, make amends, understand the truth, find a place they belong, and see the people they care about safe.  And I think it’s fascinating that not only is smaller, literary sci-fi asking this question and telling this story, but so is the Terminator franchise itself.

We also just as blatantly see the evolution of Sarah Connor as a character.  In The Terminator (1984) the Terminator is sent to kill Sarah Connor.  When I was watching it recently with some friends who had never seen it before, they guessed—almost correctly—“oh, it’s because she’s the rebel leader in the future!”  Sorry guys, this is a 1980s mainstream sci-fi blockbuster.  Her as-yet unborn son is going to be the rebel leader.  That’s why the robots in the future need to kill her, before she gives birth to the hero of the humans.  Blech, I know. 

Over the course of the movie, though, she becomes tough, fierce, and brave, the type who can and will survive the apocalypse; in future movies and tv series (like The Sarah Connor Chronicles, 2008, where she gets to be the eponymous title character this time!), she gets to be a strong leader in her own right.  This is particularly true in Terminator: Dark Fate, where Sarah Connor is a tough, grizzled, middle-aged Terminator-fighter, who steals heavy weaponry from the government to track down and kill Terminators arriving from the future.  She becomes a mentor to the new woman being hunted down by the new Terminator threat, Dani Ramos.  This time, though, Dani isn’t fated to be the mother of the human rebel leader—she is destined to become the human rebel leader herself.  Along with Dani’s own Kyle Reese figure, a cybernetically-augmented human fighter from the future named Grace, women get central action-hero and rebel-leader roles in Terminator: Dark Fate, feeling like an awkward apology for the sexism inherent in the premise of 1984’s The Terminator.  (However, Dark Fate stops short of committing to the Dani-Sarah/Grace-Reese parallel and letting them be lesbians.  It’s still a mainstream action movie, I guess.)  We even see the development of a curt but resentfully respectful understanding between Sarah Connor and the Terminator that killed her son.

I lay this out because in the same way I see the literary DNA of the Terminator in Murderbot, I see elements of Sarah Connor in Dr. Mensah.  She’s the human protagonist—the one who would be the protagonist if All Systems Red had been from the human perspective—and feels like the answer to a similar question to “what does a killer robot want?”, namely, “what if, instead of enemies locked into battle to the death, the badass human and the killer robot worked together and came to an understanding? What if they could be friends instead of enemies?”  Mensah also feels like a feminist response to some of the issues I had with Sarah Connor—that she didn’t get to be the leader herself, that despite her own strength and tenacity being the mother to the leader was the most important thing she would do—and responds to them in a similar way that Dark Fate somewhat apologetically does. Mensah is the leader of her society (her planet).  Mensah is a mother and she is a scientist and a leader and gets her badass action-hero moments (MINING DRILL).  She is the first to reach out to Murderbot.  To ask it how it feels, and calm down the others later when they’re afraid; her relationship with Murderbot is unique.  She’s a foil to Murderbot in a parallel but opposite way that Sarah Connor is a foil to the Terminator.  And while in Dark Fate they are not friends (the Terminator did still kill Sarah’s son, even if it didn’t specifically want to) we see the same kind of desire reflected: what if they were at least allies?  What if they were working together?  How would that relationship go?  What kind of understanding could they come to, about what it means to be human and to be machine? It's a smaller part of the movie and they don't give a whole lot of answers, but it's there.

Both All Systems Red (and the subsequent Murderbot Diaries books) and Terminator: Dark Fate were released in a very different sci-fi zeitgeist than The Terminator was.  They’re both looking back, and reacting to it: Dark Fate directly, The Murderbot Diaries indirectly.  And they’re approaching the concept of the Terminator and its Sarah Connor figure with similar questions: What does the robot want, aside from its programming to kill, and if it could be freed of its programming to kill, what kind of relationships—with society, with the concept of self-determination, and with its human woman foil—could it potentially be able to develop, with that freedom?

[ganondoodle]

(been rewatching some of those totk critique vids i liked in the past and now seeing the cutscenes again, espeically when compared to botws, ......... the way the characters move and everything is so stiff?? like i didnt rly notice it when i played the game bc i watched each scene once and never looked back bc i was so bored but now i see just ... like sometimes it feels like all thats missing is the mouse someones using to slightly move the model on its rig in real time- or the way the characters talk feeling alot more like the classical mouth open mouth closed bwabwabwa- especially on rauru and mineru

i dont wanna sound like im literally trying to find something wrong with everything of that game but ... it looks so static- like the way the champions in botw moved while talking already gave you a bit of extra character but in totk they all just kinda .. do the basic movement and move their jaw enough to imply talking?? am i crazy?? like its not that extreme in every single moment but for most of them ... right?)

-not really the point in itself but also bc i just saw the first cutscene you get after zelda gets to da paaaast again ... how the hell do sonia and rauru even find zelda.. like, its possible she was lying on the ground for a while but even then, hyrule is so BIG what are the chances that the king and queen just where there exactly, its not like she was carried by a giant bird and dropped into a tree (ww), she just kind materializes and gently plops into long grass. like its not even a cosntruct that finds her, or some hylian, no its them specifically (couldnt you have used the lil heehoo look how rich in personality da king is actually bc he sneaks out to hunt sometime info for that? .. he was out on a hunt and found her or sth? no? another case of plot shortcuts or whatever you want to call it?)-

[sporadicspores]

just some damp, sweaty boys because i was compelled by homosexuality as well as this post by @astarionformayor ദ്ദി ˉ͈̀꒳ˉ͈́ )✧

[bunningchaos]

A silly little follow-up to this post

Dust belongs to Ask-DustTale, on Tumblr!

Killer belongs to RahafWabas, on Tumblr!

Cross (Xtale/Underverse) belongs to Jael Peñazola on YouTube, otherwise known as jakei95 on Tumblr

Jax, Kinger and Pomni belongs to The Amazing Digital Circus, created by Gooseworx/GLITCH

[cleocatrablossy]

Next Summer :D

And some alt versions for the sake of it: without the glare and also just the photo not ‘in the scrapbook’ lol

And the original sketch because honestly it got the vibe better lol

[neon--nightmare]

SO EACH FRESH PARASITE CANONICALLY HAS LIKE,, ONE ‘POWER.’ fresh doesnt have one bc he can use the abilities/magic of the host body, which his other parasites can’t!! the powers also get stronger the more they age, but not only is it rare for fresh parasites to even live long enough to take a host (fresh usually produces them involuntarily, spits them out into a bucket, and crushes them all into powder bc theyre competition and put him directly at risk) they tend to either get tracked down by him later or well. die due to other circumstances bc they were just born and tend not to be the best at subtlety/controlling and using their power with zero experience <- I NEED TO MAKE A FRESH PARASITE OC LORE GUIDE SOMETIME

toffee’s (my fresh parasite oc) power was literal emotional manipulation (e.g. if they touched you they could make you feel what they wanted, not by overwriting your current emotions BUT more just. adding them on top.) but they also had all the subtlety of a steamroller because they were barely a few months old AND could only do the most basic emotions (happiness, sadness, fear, anger)

oh toffee my toffee.. iirc if they lived long enough for personal growth theyd end up with DEBILITATINGLY low self esteem. if someone you cared about was sad and you had the ability to smother their misery out with happiness, calm them down and make it easier, wouldnt it be at least a little tempting to take it?

especially if all your life, that was your gift, your solution to every problem related to others you had, and your ticket to survival in a world that wants you dead merely for existing. you never knew anything else, how to comfort, help, how to be genuine. how to care, when being cared about, any living thing knowing the abomination that you are - it’s terrifying, it’s risky. you’re not very strong, you’re small, and you’ve never known one day of peace in your own short life. never the kind word of a parent, of a friend, of a partner. since the day of your birth, wriggling away like a leech as all your ‘siblings’ were crushed to dust behind you, the only one you’ve ever had is yourself.

and how would the other beings even react if they found out that the whole time they’d known you, any of your emotions weren’t theirs? the joy with you, sadness, fear was magically induced, and you never told them. they can’t trust any of their memories with you. it’s a defense mechanism, but you still did it. you still made the choice, over and over and over again. how could that ever be forgiven? tampering with minds leaves marks, after all.

and if just by being around you the people you cared about felt supernaturally happy, how could you trust that they actually liked you for YOU and not just what you could do for them? they don’t even know you’re a parasite, that the host body you’re forced to take for survival is in constant pain, agony, where the only alrernative is rolling over and letting yourself die. how could you trust if anything they say, the love they profess is true! everyone adores you, but they don’t adore you. they’ll never like you, so does it even matter?

isn’t it easier to shut down, not get attached, not let yourself care? it hurts less that way. treat them all like toys, keep yourself on top. no, better not to think about it at all. you’re just doing what you can to keep yourself alive, to see the sun crest the horizon again tomorrow. distract yourself, take advantage, manipulate, run, run, little thing, and never stop to think. or the awareness of what you are and what you’ve done will destroy you, and there’ll be nothing left.

(slushie’s under the cut so this doesn’t get TOO long!!)

while slushie’s (second fresh parasite oc’s) power was fast regeneration (if their host body was hurt it healed much faster than normal, usually without scars or visible cracks/fractures!) they were very clumsy and developed a very, very high pain tolerance. since unless they were wounded enough to actually lose a limb or something, which they hadn’t yet, there were no consequences besides an unpleasant yet deeply familiar sensation that faded in like, an hour maximum. in their mind that’s how it is for everyone, just a fact of life.

whatever accidents you get in, whatever happens to your host body, it doesn’t matter! you’ll be fine, without a scratch. the idea of a life where you don’t bleed magic every day and wake back up in the morning is nearly impossible to fathom. you nearly die, let yourself be torn apart willingly by those you latch onto with a smile, and get back up, again, and again, and again. you can’t trust anyone who doesn’t hurt you, it’s too unfamiliar, it doesn’t make sense, that’s what you live for. why do others look so horrified when you mention it?

that’s just the way things are, were, and always will be.

[eyestrain-addict]

Debating on whether certified freak Godwyn would have fallen in love with Fortissax immediantly upon seeing his 'humanoid' form (the closest elden ring can come to human that is) or immediately fell in love with him upon seeing him full stop and the humanoid disguise was just a plus.

[aipurjopa]

one thing i see people ask all the time is “how did uu!ken escape proton?” when talking abt uu’s continuity problems. um but while uu does have some continuity problems (example: how tf did parrot get out of the end) uu!ken getting out of proton isn’t one of them.

after parrot gets out, they get a message from ken that basically tells them to go to his base and pull his stasis. they go to what they assume is ken’s base and it most definitely is ken’s base from the yellow and green decor, the signs about dementia, the fact that everyone agreed this was a very kenadian base and pull said stasis chamber at that base. obviously parrot cuts to black do we don’t technically know if it was ken’s stasis but it is very heavily implied to be so. also ken was walking free in the next parrot video so it definitely was his stasis.

another thing is that after the stasis is pulled and parrot cuts to black this track is played. its then played again when parrot and ken meet up to move villagers in the civilization vid. the usage of the track sort of creates this continuation from the proton escape, picking up where we left off (pulling the stasis chamber). it basically also further lets us know that yes, it was ken’s stasis, yes ken is okay now.

idk it was bothering me lol.

anyways now the real question is how tf did parrot get out of the end. my 2 main theories are 1) ash decided he wanted parrot to join him so he undid whatever tf he did to parrot and then allowed him to return to the overworld (to then lure parrot into his vault) or 2) when clown respawns the dragon in wemmbu’s escape room vid (which was posted between the civilization and the vault heist so i’m assuming it falls there in the timeline) and wemmbu kills it and reopens the portal it fixes parrot’s problem. yeah. anyone else got anything?