#also we wanted a different voice for her

[lilybug-02]

Eimmet High...temmiE high. OMG!

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--Full Series--

Next update may take...much longer! I have finals and an internship and not to mention I have to draw- A LOT :')

[mylove-themoon]

The whole ending for the main timeline kinda sucks for Zaun, even the one good thing they get is backhanded as fuck.

Like sure, Sevika is on the council- but the council relies on majority vote, and every other member of the council only work in the interests of themselves or of piltover. Nobody else cares about Zaun, so nothing will change.

And Piltover shows they will alway protect and prioritize their own over everything else

Cait gets no consequences for her actions from the last two acts, despite doing many, many crimes. She released the Gray on the Undercity- which is going to cause disease, death, etc to many innocent people (the same disease Viktor was dying of, it was a direct result of Piltover’s oppression and the gray- I could go on and on about his ending but I shan’t.), arresting random Zaunites- including children- and just leaving them in prison, and even tho we hate Singed, threatening to throw him under the fucking prison was a little far. She gave him the opportunity to either join her or die. So the people of Zaun are animals and criminals until they’re useful?

And the scene of the Noxian guy (can’t remember his name) literally torturing that Jinxer??? Ambassa’s dead and so is he, so I guess thats their consequence, but nothing for Cait? No, Cait gets to have a nice life, she might feel guilty and maybe she’ll have a couple nightmares but really she’s not facing a single consequences You guys remember when Jayce almost got exiled for Hextech in season one? A crime in which nobody died or was grievously harmed? Yet there are no consequences Caitlyn hmmm

After everything the people of Zaun have gone through, they get nothing- they see their oppressor hailed as a hero, they see their children die of a disease that should never have touched the new generation (or just straight up suffocate while it was actively being deployed- if they get caught in that they are dead- little lungs and little legs yk- if they can’t escape it then they die) they see their only hope (Sevika) repeatedly shot down by the council, they see the abuse will continue. Even after everything they lost- all those who fought in Piltovers war- they get nothing. They helped, they worked with them when working against them didn’t work, and they still get nothing.

I think Ekko’s ending really drives it home- the ONE character who deserves the world above everybody else is sitting alone in the end. He did everything right but was still alone. If he -and Jinx- hadn’t rallied their forces and convinced the people of Zaun to fight then Piltover would have lost to Noxius. He convinced his people to fight and die for Piltover- but Cait’s the hero, and he’s still fighting for his own people.

[snowglobe-system]

Shout out to plural allies. Like. Genuinely. We love y'all. It's so rare for a singlet to really Get It, and oftentimes even after we come out it feels like we're still in the closet. So shout out to singlets who listen and who do their best to understand and who make the effort to treat us like individual people. We love you. We appreciate your efforts a lot more than you probably know.

[miciiq]

Got Aventurine in 60 pulls!

He’s so auxhuehuche I’m so happy I have him now

[silent-sentinels]

we have gotta actually finish the other account, it has been months and we want to tell revi that we're also plural hgkjgk

[lovetogether]

Something we liked about mouthwashing is that it had characters which fit into the “ostracized by society” group but made it very clear these people were much different from the actual perpetrator. It’s too often “social fuck-ups” are lumped together, giving true abusers a place to hide. Pointing that shit out as what it is and that it’s very much NOT the same as, say, being an alcoholic, meant a lot to us. One is a place somebody lands in, the other is an act the person in question has full control over.

[widevibratobitch]

something about being told im 'the leading person at this whole academy when it comes to interpretation and stage intelligence' by the husband of the woman im trying (not really. but i mean. who knows) to seduce... ok boy you got me. lets make it a polycule.

[arabela25]

The Liverpool Songbook | Eurovision Song Contest 2023

[torgawl]

lyney's character story about his vision revealing arlecchino didn't allow him to use a delusion and was genuinely angry that he would do something lynette wouldn't want for him, encouraging him to find other solutions... the way she was also sad lyney didn't feel comfortable relying on her during the quest... she really cares about the kids. her smile while speaking to furina also looked sincere. even though one can debate if this is all an act to make them trust and be loyal to her (as said by her, "good actors hone their craft to mesmerise the whole crowd") or acknowledge the fact she's using the kids by making them part of the fatui, she genuinely seems to cherish them. at least she goes through lengths that aren't really necessary for her not to care. the way she reformed the orphanage, the way she helped freminet get closure on his mother's fate... i just think it goes to show and confirm once more how biased everything/everyone in the game is. sometimes bordering unreliable, really. scara and childe's lines about her paint her in a certain light, which i'm not saying isn't true quite the opposite, but that persona seems to coexists with the version the kids from the house of the hearth know.

[oozeandgoo-art]

everyone is sooo in love with vakori on account of le is so cool and smart and deeply pragmatic and is also completely batshit insane

[bmpmp3]

and since im in a musicposting mood you should listen to jellyfish right NOW

[zappedbywho]

.

[leatherbookmark]

pretend to be shocked if you wish but i don’t even see mxy’s incestuous harassment of jgy as something like... Bad™, twisted or something that proves how Wrong In The Head he was. it’s just sad. chances are jgy was his first and last love, because -- how incredibly easy it would have been. i don’t think mxy was, hmm, mentally equipped to process “half-brother! off-limits!” -- he’s never seen this man before in his life, that’s a stranger! but what a stranger. he’s kind, respectful, capable and brilliant, hardworking despite the way he’s treated in jinlintai -- and mxy probably isn’t well-liked either, so even if jgy wasn’t also handsome, he would’ve gravitated towards this cool older dude who Understands. and hormones do the rest! and it didn’t even have to be immediate, or particularly sexual in nature, because i assume teens often don’t realize their crush is Obviously Showing. i’m just thinking about mxy who likes jgy so, so much and wants to be around him all the time, asks him about things, looks at him, catches a whiff of the incense on jgy’s robes as he walks past, blushes at the way jgy looks at a particular angle... just this sweet, innocent young love that’s so similar to the way jgy’s wife loved him before she was his wife So Fucking Doomed and mxy can’t even process it because he’s not even aware. :(

[idiosyncraticrednebula]

I really wish some of the actresses who have voiced Disney Princesses would stop comparing their princess to the previous ones and claim how she was the "first" one to have *gasp* independence and strength *gasp*. Have they ever watched a Disney movie outside of their own?

[unproduciblesmackdown]

also to go "wow this is just like in pentiment" about absolutely anything and/or "wow this is just like iphigenia crash land falls on the neon shell that was once her heart (a rave fable)" about absolutely anything further:

the Narratives within crash land falls where like, in the end iphigenia being Given the story of both "this is going to happen anyways" and "so why don't you see it as a noble sacrifice to accept." the situation happening to Create a story that she was killed, so her father must be tragic, and sympathetic. that iphigenia does take on that Narrative of taking on the Noble Willing Sacrifice, and it kills her, but she also would have been killed anyways, as everyone also knows. that we even get a bit of pentimentesque [other characters observe & assess things] like, the fresa girls as a chorus, and one at the end like yeah She Was No Saint, i saw everything, but being cut off by The News that's like yeah looks like iphigenia was killed, that seguing into her father saying yeah she was killed, god's will was done, She's A Saint now. seguing to the emcee who introduced the play, but that superceded by achilles, and that superceded with iphigenia's extasis monologue as the end of the play. that whether iphigenia's a saint or not, she dies. that [the whole play] tells us as much, like, this isn't a What If kind of retelling where she escapes her fate, this is a retelling examining itself like, she Will die because the story's preset, so what to do with this as the story that has to take her there, what to do with this as iphigenia who has to go there

that iphigenia takes on another narrative in addition to the one offered by like, violeta as guide and oracle telling her she has to die (As A Noble Sacrifice), that again (as per iphigenia in aulis being like uh hey daughter. let's go to aulis so you can uh marry achilles (it is to be sacrificed)) achilles is this bait, but it's only in the ending that there's any Story about being with achilles, and when iphigenia goes to the mercenary soldier who she knows will kill her, she's the one telling him what to tell her about where she's going and why, i want you to tell me achilles is waiting for me....and she still dies, because This Is The Story. as also applied to the reality, iphigenia as another dead and missing girl following & preceding many; any disappeared deaths when consumed as disposable & replaceable, not given part of any narrative about it. while also iphigenia only gets a chorus of fresa girls from there being crosses put on the factory wall with their names, with one girl even remarking like hey they spelled my name right for once. but at the same time they're also like, both mere Apparitions but also like standins for people who are simply alive. real [shades]esque kind of, i suppose, but like they're not Sanctified for dying either, they'll comment on iphigenia but not with any like, divine knowledge, just as this out of place rich girl. whether iphigenia's A Saint or Not A Saint, she's still dead either way. she wants to be a fresa girl, they maybe want to be her, but everyone's doomed anyways thanks to way larger forces and the Stories that have been told and will be told again

but there's also the moment right before the final section wherein, before she's having to say what she wants within the bounds of [she has to die], there's achilles asking "you still want me" and iphigenia answering with "i want everything" and her vision for, like, getting to be alive actually, i'm on the gulf where the sea is gray, and no one wants a piece of me....the whole inciting event here where iphigenia wants to evade her fate however she can, exiting the bounds of her life, the physical bounds and the family unit and walking away from the rank of status / class / wealth, trying for [have her body for herself] and what the body wants, the sensuous indulgences of (a rave fable), let's hear some more about the roman state like "we don't like the examination and challenge and upending of class and convention in a bacchanalia, so only do the official versions we permit;" the Threat of people's desires for themselves, when that's going to be counter to those in power who'd want these people to be resources at their disposal; the burden on the disempowered to suffer [the only way out is through] with the Additional pain & loss that has to be taken on in pursuit of their autonomy, while also of course suffering for the autonomy they lack, that restricted and controlled and mitigated versions of what you might want are deigned to be provided or permitted so that you have Something, but that everyone's actual undeniable personhood will always be spilling past those bounds, the potential power of transgressive pleasure when one's wellbeing and autonomous choices are counter to the power structures that have to constantly try to suppress and preclude this. achilles just as bait, doomed to die like iphigenia is also still doomed, sex was never going to save everyone and the [recognizing connection as these two parallel people / We're The Same] with your lover here is not going to save everyone but it still makes more things possible for them both; iphigenia does know what she wants, and gets some of it because she wants it, same with achilles in turn, while it can't save anyone from their fates still. but it can mean something even if it doesn't transcend, like even a fleeting night of insignificant dancing that doesn't change anything can mean something, and we all die, but that doesn't mean it's Nothing to be killed any more than it's Nothing to have your desires or choices one way or another to be wrung out of your life before you are

anyways, the stories. the Looking and Presenting here. achilles and iphigenia first encountering each other as images put together and presented by someone else for their own purposes. the presence of what's seen through film/camera/recording versus in person; the potential power relations and even violence in framing, presenting, and the intended looking and assessing. repeated language about eyes/looks that burn, while also that connection between iphigenia and achilles, and their finding the least room in what they do have of their lives for more of their own wants and selves and something genuine and not predetermined, is also connected to eyes and looking and being seen and light and burning. while they're also connected to the protection and possibility of night and darkness, getting to exist and be Without being lit up or seen; that with the power that's still in play, it's never like, well then you should have nothing / no reason to hide; the penultimate moment in the play with achilles being one that's in person and fades into darkness, rather than coming in from the light of a projection / video onscreen as the introduction....iphigenia needing to be guided through a crossroads to even get to achilles in person; violeta giving the Advice and Story and Tradition to pray to eleggua, as iphigenia does before getting to encounter achilles for real, who also doesn't get to break out of a role or a fate in full in any way, but their tragedies are like, pointing towards [autonomy, imagine it] in both the ways they manage to find a little bit of it for themselves, in no small part for simply recognizing each other as in the same boat here, and in the ways they still don't have it and still can't get it

and anyways it's also inevitably saying like, telling a story?? this Play is a told story!! looking? assessing? interpreting? you're doing that in the course of experiencing it! and it's really so fucking true.

[laughinglynx]

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