#am i actually making any sense

[uncanny-tranny]

The leftism/anticapitalism leaving people's bodies the zeptosecond you imply that disabled people who aren't "productive" still matter in society and need to be treated like intrinsic equals who have a place in this world:

[meamiki]

silly comic based on a time i struggled to read live on stream :thumbsup:

context clip compilation below ASDASDFASA

(cw for brief mention of hospitals/strokes)

[benevolenterrancy]

"Heavens, he doesn't understand again." "Every time he says 'I don't understand', Lui-shixiong grabs someone to demonstrate until he understands..." Ji Jue quietly complained to Shang Qinghua. No wonder the injuries at Bai Zhan Peak had only increased!

so this is obviously Liu Qingge's entire love language, right?

[buttercupshands]

I started drawing this next day after I finished Act 6

13 or so days and it's finished!

Main things are traditional and Loop's body was edited digitally after

Unedited it looks like this

I've been torn on how to do Loop's body for the entirety of lining, also

A bit sad the main lines are visible only as a wip, most of this thing is literally just a ton of sharp lines

I think it's also my first day of drawing, Loop is just a sketch here (feat. my leg)

I even finished the beans before it so they were a moral support, because if you let me things like this take a year

[vaguely-concerned]

on the one hand I think inner demons could stand to have a bit more romanced rook specific content, but on the other hand the underlying in-built implication that 'yours is the one true voice of comfort and safety in my inner world' is a sentiment and intimacy so way beyond the romantic or the platonic or any secret third thing you could care to name that it makes me lose my entire poor little mind a bit. it's so big and fundamental — near-existential — that in that exact moment at least the distinctions kind of seem irrelevant.

all the people lucanis' mind conjures up along the way are relationships he has that are unavoidably mixed and fraught in some ways even when they're also full of love (they are fraught BECAUSE they're full of love) — the good in them inseparable from things that hurt him at the same time. (it's about: the basic disorganized attachment patterns this poor guy is dragging around with him. careful with those, they're dellamorte heirlooms. what you love also inevitably hurts you and you won't be allowed to have one without the other, you have to surrender parts of your soul to hold on to what little you have left: this is the story up until now.) and the idea that rook isn't that to him — that beneath the fear of wanting them when romanced (which is more its own separate thing because within this psychology, actively wanting something and not just clinging on for dear life to even a meager status quo lest you lose it is in itself dangerous bordering on catastrophic), this is a relationship where there isn't resentment, or guilt, or shame, or dread, or rage, or self-hate, or any of the other emotions that keep him paralyzed, unable to move this way or that. no debts, nothing owed of yourself and your soul's substance except what you can freely and safely and happily give. love and freedom don't coexist — but, I mean, you're almost starting to make me think........... unless...👀👀👀. the unconditional and undramatic 'you are here and I am here with you, you can be exactly how you are right now with me and it's safe for us both even though you're afraid it won't be, I'm not going anywhere' acceptance rook shows him here that he returns to them in the big romance scene, when it's rook who needs it. the way he's just. standing there in the center of it all, like a child desperately helplessly waiting to be found, hiding in the place he hopes you'll know to look first. (rook does know. it's one of the first things they say in there.)

in short the most important room in his little mind palace for the romance is the very first room — the one where rook isn't. where, in fact, rook cannot be, because they disprove the entire structure of the place with their existence and presence in his life. with everyone else he's putting words in their mouths about what they think of him, and rook is the one who actually gets to come in to speak their own words to him — and have him listen. ('he'll listen to you, he always listens to you', 'your voice is a comfort'.) of course rook isn't present anywhere else in there — at the risk of stating the obvious to a tedious degree, they aren't one of the locks, they're bringing the key. in the very finest 'the messenger and the message' sort of way.

[stormsthatrage]

Have a Bleach extended-winter-war time-travel-fix-it idea. In this AU Kaien's death happened before the whole turn-back-the-pendulum arc. (Yes, another Bleach time-travel AU, I know, shut up.)

As Ichigo and Kisuke are planning to go back to the past, Kisuke makes sure to emphasize to Ichigo that they have to protect Shiba Kaien. Apparently, it's of the utmost importance.

Ichigo doesn't know exactly how Kaien's continued well-being plays into saving the future. Kisuke never really explains it, or gives him a straight answer when he asks. But Ichigo knows that the Shiba Clan-Head carried a great deal of political power, and Ichigo also knows that Kaien -- according to Kukaku and Rukia -- was highly competent, incredibly noble, and fundamentally kind. It's not exactly unintuitive that a person like that could be important to bringing down Aizen.

So Ichigo listens, when Kisuke tells him to protect Shiba Kaien. He memorizes how Kaien died in the original timeline. He's attentive as Kisuke reiterates for the thousandth time that Aizen will keep trying to assassinate Kaien until he succeeds. He takes notes when Kisuke hypothesizes about what Aizen's various assassination attempts might look like -- poison during a meal, hired assassins at night, an ambush during a mission.

Ichigo ingrains the assignment into his core: protect Shiba Kaien, because if Kaien falls, the mission fails.

So when Kisuke slips a paralytic into Ichigo's tea and places Ichigo in the middle of the time-travel kido array and drains the entirety of his own spiritual energy to activate the array, a sacrifice that Ichigo never would have agreed to--

Well. The first thing Ichigo does when he arrives back in the past, numb and alone and only able to function by focusing on the duty that is his purpose -- is track down Shiba Kaien.

After all, if Ichigo is going to kill Aizen -- and he is, no matter what it takes -- he needs to keep Kaien alive.

Ichigo goes straight to the Shiba family grounds. In true Shiba fashion, they accept him immediately as family. They tend to his wounds and give him a meal and welcome him home. They let him get away with his weak excuses and explanations, and they defend his presence to the rest of Soul Society.

Kaien, in accordance with everything Ichigo has heard about the man, personally takes the newest addition to the family under his wing.

Ichigo's plans to deal with Aizen take shape around his need to keep an eye on Kaien.

Ichigo, instead of running as far and fast as he can from the Shiba clan, accepts the offer to live in the Shiba compound. He gets to know every clan member and retainer, subtly vetting for traitors. He sleeps in a room near Kaien's, allowing him to both guard against assassins at night and place warding runes around Kaien's door without having to worry about being caught somewhere he has no business being.

He joins the Court Guard in the 13th division instead of the 5th, because the only real way to protect Kaien on a mission is to be there with him. Ichigo knows that if there's an ambush, or if the mission details have been tampered with, he'll be more than enough fire power to get Kaien out of it. And it's easy to always get paired with Kaien; Kaien -- reliably taking every opportunity to hover around Ichigo that he's offered -- does most of the work, leveraging his status as lieutenant and Ichigo's combat ability to keep them together.

Ichigo finds himself frequently taking meals with Kaien and Kaien's friends. Kaien always invites Ichigo, and Ichigo accepts so he can subtly check the food for poison.

(Ichigo does not tell Kaien about Aizen. Ichigo is still unsure what Kaien's role is in the whole fight, and in the meantime, telling him about Aizen is a sure way to get him killed.)

Things heat up. Ichigo prevents both Miyako and Kaien's death, killing Metastacia before it can hurt anyone. Ichigo's shadow war against Aizen gets more intense. Ichigo sneaks out regularly to dismantle Aizen's illusions, destroy his labs, and attack his network of power, slowly weakening him.

Ichigo waits for the assassination attempts against Kaien, but they don't come, even several weeks after Metastacia fails. Ichigo takes it as a sign that he's got Aizen distracted.

Things continue for a while. Ichigo falls into a strange routine.

(And Ichigo tries not to break, seeing so many of his loved ones alive and unknowing of him. It is agony, to be around Shunsui, who is not his mentor, and the Visored, who are neither visored nor pack.

But the worst is when Captains Urahara and Shihouin catch on to his war against Aizen. He finds himself working with them as allies.

Allies. Mere allies, instead of --

Well. Not that it matters anymore.

All that matters is his duty.)

Time passes. Aizen weakens. There are no attempts on Kaien's life yet.

And then Aizen's web has unraveled enough for Ichigo to attack.

It's a long battle. It's a bloody battle. It's a very public battle.

Ichigo wins.

And it's only after it's all over -- after Aizen's crimes are revealed and Soul Society is at peace and the future is saved; after Ichigo finds himself still alive and adrift, with nothing left obligating him to keep going and everything telling him to give up; as Kaien refuses to leave Ichigo alone and escorts him to regular appointments with Unohana and forces him to talk about the truth of his past --

It's only then that it clicks.

Ichigo is whispering secrets about the future into Kaien's chest, Kaien's arms wrapped tight around him, when Ichigo confesses that he messed up, that he put the Shiba clan in unnecessary danger. Ichigo tells Kaien about his death in the original timeline. He talks about how Kisuke told him that in this timeline, Aizen would try and kill Kaien again if the first attempt failed. Ichigo promises desperately that he never would have sought out the family -- would have kept the danger far, far away from them -- if he hadn't thought he had to watch Kaien's movements so closely.

And Ichigo admits that Aizen never actually tried again. Ichigo admits that he and Kisuke miscalculated, that Ichigo brought danger to the Shiba's doorstep for nothing.

It happens like this:

First, the words leave his lips, "Kisuke" and "miscalculated" in the same sentence. Hearing himself say it lays bare the absurdity of its premise.

Then, Kaien draws away slightly, to look Ichigo in the eyes. Ichigo sees, plain on Kaien's face, a terrible, damning gratefulness.

Then, Kaien says -- fierce and defiant in the face of what could have been -- "I am so glad you came home."

And it clicks. At last, Kisuke's final manipulation reveals itself to Ichigo's eyes.

The emotions flash through him: the sting of betrayal; a flavor of love that bursts across his tastebuds as hurt; a familiar brand of exasperation that, a split second later, has his knees giving out under the weight of old pain made fresh.

Kaien catches Ichigo before he hits the ground and holds him as he shatters. And Ichigo can barely breathe through the knowledge that Kisuke would have been so smug to see them.

A sob rips itself from Ichigo's chest, and it's followed by another, and another.

Ichigo's older cousin holds him, in the home of their family, through it all.

_________

THE END except not really.

This must immediately be followed by a whole arc where Kaien, much to his own dismay, finds himself trying to hook Urahara up with his little cousin.

After all, Future-Urahara sent Ichigo to the Shiba clan. Future-Urahara tricked his little cousin into bypassing his own self-destructive tendencies to seek out family and love and support. Clearly, Urahara would actually be good for Ichigo.

And, you know, Ichigo clearly loves Younger-Urahara, judging by Ichigo's whole... well, everything, whenever the two interact.

(This whole matchmaking endeavor is made easier by the fact that 1) Kisuke is already infatuated, fascinated, and not a tiny-bit madly in love, and 2) Yoruichi is also, from the other end, trying to set Kisuke up with Ichigo.

This whole endeavor is made more difficult by the fact that 1) Ichigo is in denial that he loves this younger Kisuke since he never thought this younger Kisuke could also fall in love with him, 2) Kisuke is in denial that he loves Ichigo because that is a Shiba and he himself is a creepy low-born ex-assassin mad-scientist, and 3) neither Ichigo nor Kisuke know what it looks like when someone is interested in them.)

Poor Kaien. He succeeds eventually, but not before witnessing truly legendary social ineptitude.

[coldbycrossfade]

MAN THAT REALLY COLORS THIS RESPONSE IN THIS CONVERSATION SO DIFFERENTLY FOR ME

[hauntingofhouses]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[coddda]

Light's relationship with his father is such a heartbreaking multi-faceted tragedy to me I hate it so so so much.

Soichiro loves his son so much, and while he's certainly not a perfect father I know that he cares deeply about Light. He wants to prove Light's innocence so badly but he can't let go of the underlying doubt that he might really be Kira and it gnaws at him. He does not know that from the very beginning he was being used by Light, whether it was to obtain information about the investigation, or to get to L, or to strengthen the foundations of his own lie that he wasn't Kira, this entire time he was simply another resource. He'll hang onto this doubt for years, even after L is dead, even if he doesn't express it in the latter half of the series, until he himself is on his deathbed, with what he believes to be undeniable proof that Light isn't Kira. (It's a lie, of course.) He dies happy, but it's on the foundations of blissful ignorance. His own son brought him here, brought him to the point where he had to sacrifice half of his own remaining life span, to his own death march, and was still trying to use him even now to kill someone else, but he doesn't know that. Soichiro said that what was evil was the power to kill others, and that whoever used it was cursed. Light was that cursed man, of course, and he tried to bring that curse onto Soichiro too by making him kill in his last moments. Soichiro was happy regardless, because he didn't know. He'll never know. (In the manga/anime at least. More on that later).

Light loves his father but it's not enough to turn him away from the terrible decisions he's made, if anything it only fuels them. His idea of "justice" is a twisted model of what he parroted from Soichiro, and he uses his father as another pawn (and a powerful one at that) in his plans. If he can prove that Kira is justice then perhaps his father will no longer call Kira, and therefore Light, evil, so he just needs to ensure that Kira becomes justice, right? It's Light's own actions that land his own father in the hospital for a stress-induced heart attack and yet he says only a few minutes later that he's the happiest he's ever been in his entire life. Even after Soichiro denounces Kira by calling him evil, even after he calls the Death Note's power evil, even after he unknowingly tells Light that he is cursed. When Soichiro dies Light is too deep in his own plans to actually properly process the fact that his own father is dying past what it means for his goals, but at the same time he still cares enough that after the fact he'll genuinely cry, only to brush it all away later. (Personally, I don't have a single doubt in my mind that Light's crying in that scene was genuine and I Will die on this hill). Soichiro had unknowingly denounced Light one last time just before his death, openly relieved that he "wasn't Kira after all", which also reveals that he has had doubts about Light this entire time, even after L died. By the time he's caught at the Yellow Box Warehouse Light will have denounced his father too, seeing him as someone who was made to be a fool, someone who was naive, even, too earnest for his own good. He won't realize that part of this description of his father might have applied to Light himself, back when this all started. Light takes after his father so much in so many ways already, so why not in this way too?

Ough. And honestly the other adaptations never miss out on this tragedy either, and I love them for that. (spoilers for the musical and 2006 live action movies I guess?)

In the musical we see Soichiro express his doubts and conflicts about who to believe, Light or L, if the son he raised really is a murderer, if everything he knows about him is just a lie. Like, there's an entire song about this, and you can tell how torn he is about it all, how badly he wants Light to be innocent but about how he also needs to face the truth no matter what it is, but at the end of it all he doesn't even get the answers he wants. At the end of the musical the only thing he finds is two corpses, Light's and L's, with no answers. No last words, no closure, only dead ends and a dead son and a grieving daughter. It's so awful I hate it here.

And the live action movie is fucking Insane. Like, wow. Okay. (Spoiler for the ending of Death Note The Last Name I guess) In the 2006 movies/novels Light writes Soichiro's name in the Death Note himself, and it's such an inconcievable move that it leaves even Misa shocked; Light tries to make Soichiro give him the Death Note for the last part of his plans, seeing his death as a "necessary sacrifice" (insert tangent essay about why I think 2006 live action movie Light is actually the most "coldhearted" Light Yagami, despite how infamous anime Light is). It doesn't work, and Soichiro does end up finding out that Light is Kira this time, and they have a confrontation, but he doesn't even sound truly hateful towards Light for it. He Never seems to outright hate Light for it, even after Light calls the whole confrontation a waste of time and instead tries to continue killing with the piece of the notebook in his watch, even after he tries to get Ryuk to kill everyone. When Ryuk inevitably writes Light's name and he collapses, Soichiro still reaches out for him and holds onto him as he's dying. Light literally dies in Soichiro's arms, still looking for the validation that he was right, that this wasn't all for nothing, that he was doing the good thing, trying to make Soichiro understand that he was trying to enact justice based on what he learned from him in the first place. Soichiro not only learns but sees for himself what his son has become, and Light dies in his arms leaving no closure for either of them. Soichiro will announce Light's death in L Change the WorLd on the news without saying his name, saying instead that it is only Kira who is dead, even though he and Light are one in the same. Sachiko and Sayu will never get to know the full truth about what happened to Light, instead Soichiro will lie and instead tell them: "Light was killed by Kira."

And then holy Shit the jdrama. If I write about it here this post is gonna literally double in length and also I don't really wanna spoil it but. Man. Man. If you watched it you know. Holy Shit dude I Cried.

It's the fact that, canonically, Soichiro will die oblivious to what Light has done, but even in the instances where he does find out, it doesn't make it any better, and it doesn't make him love Light any less, it just gives him more to grieve.

It's the fact that there isn't a single universe where Light doesn't use his father for his own gain, whether to gain information, or to try and control him with the Death Note, or make him write in the Death Note himself, and not a single time will he realize just how far he's strayed from Soichiro's ideals, and not a single time will he not forsake him for it by the end of the story.

It's the fact that, despite everything, Light will always refers to Soichiro as "dad/my dad" (informal) rather than "father/my father", even after he has been "denounced" (and this is true in every language that Death Note has been translated in, as far as I could find. Man, isn't that so cool! :) <- Through tears).

Anyways that's what I've been thinking of how's your guys' days going

[sysig]

How far did you get? (Patreon)

[cosmicalls]

i'm no film or visual arts expert but ☝️ one little detail i like in dead poets society is how often there are shots of todd looking up at neil. often in admiration, i'd assume--

--which is of course mirrored in the shot of neil looking up at todd after he does his poem;

also,

looking up towards the sky after The Incident. what does this say? i don't know actually. but it feels like something. don't know what

not to mention when neil is finally on stage. everyone in the audience is looking up at him in that case, but i'd say it still makes sense?

they hjust admire each other so much i think. Ouuhg

[sanasanakun]

People try too hard to make Curly an active participant in Jimmy's abuse. Isn't the whole point that he's passive in everything Jimmy does? Abuse occurs because he actively doesn't do anything? Not to call someone out or be mean, but I saw a post saying Anya's ID being in Curly's locker at the beginning shows that he intended to prevent Anya from filing an HR report and I disagree. I get where that interpretation is coming from, but I think it's a little uncharitable. I don't like being too kind to Curly because he's like...a morally mid dude at best lol But if we're going by the HR report interpretation, I would say it's more likely he requested Anya's ID in order to file an HR report on her behalf. After all, the only way to contact Pony (that we see) is in the cockpit, he's the Captain, and Pony Express sucks bad so I wouldn't put it past them to only allow the Captain to use the communication device thing. As we see before, Curly is the only one able to use tools around the ship that you would think other employees could use (ex. Swansea should be able to use the axe if he's the repair guy. Idk why they'd need an ax but that falls under manual labor which Swansea is designated for as the mechanic/fixer dude. But it has to go through Curly). I never got the vibe that Curly moved to actively protect Jimmy. He just lets things happen without say a word; Jimmy walks all over him, and by extension, the whole crew. I get why people would think that because he gives the whole "Hey Jimmy, we can get through this together, bud" spiel right before the crash. This part interests me a lot because there's so many ways to interpret Curly's intentions there. My interpretation is that Curly is on autopilot mode. The responses seem so stilted in comparison to Jimmy's. Like it's the kind of thing Curly's said before again and again and again when Jimmy's gotten in trouble. However, as others previously pointed out, I don't think Curly ever dealt with Jimmy doing something this irredeemable. He doesn't know how to respond, so he just goes for the default "You've gotten through tough situations before. Work through it one step at a time." Like the response is lame af lol I think he was in shock; he was scared (and just so I can say it one more time: he's super lame).

Anyway, this is way longer than I intended and I've said things a billion people have already stated. But uhhh tldr the whole point of Curly's character is he's passive; he never acts. He just watches. Making him an active participant in the abuse by taking actions to cover for Jimmy (like preventing Anya from filing an HR report) defeats the purpose of his character. He's a bystander.

[lesbians4armand]

once again i really do think armand’s morality and view of his own morality is summed up by “i tried to be good, am i no good?” because he KNOWS he’s not, but he so desperately wants to be good in any way he can be, so that he can be desired. and this in turn means he is deep in denial about any bad he has done other than the deep seated feeling that he is simply “bad” as a vague concept and not the sum of his actions. anyway who’s up thinking normal thoughts about characters.

[festering-bacteria]

some more shippy drawings :33 some polycule stuff n some w/ just abe n confucius bc i haven’t drawn just them yet.,,.

[vaguely-concerned]

having seen at least the rough outlines of all the romances now I have to say that I think emmrich's is probably objectively the best in terms of coherence and completeness of story arc (with the understanding that ultimately the 'best' romance is whichever one makes YOUR heart sing anyway so objectivity is a silly thing to claim that way, it just felt like it's the arc with the most well-paced focused content and the least dangling threads)... but lucanis' is my favourite haha. just. the whole kneeling before your beloved full of reverence but without any of the distance that usually implies??? his complete undramatic certainty and calm in every scene with rook after this, having spent the whole game caught between fear and longing???? mr. lives in a pantry but it says nothing about my psyche don't worry about it it's purely for tactical reasons that I keep myself contained in a small dark room not entirely unlike a cell, love among the parsnips -- finally coming to rook in their room and it's so comfortable and comforting???? after all the times rook supports and comforts him through the game he's finally able to return the same to them when they need it while being so calm and steady and it's so fucking sweet and feels so effortless and with no price attached?????? he basically assigns himself the role of your bodyguard and he WILL stab a god over it??????????????? the turn to protector (which was in his heart all along longing to get out and find a place) of it all????? he sounds like he's found himself unexpectedly stumbling into such a soul-lightening state of revelatory existential relief, full on 'you only have to let the soft animal of your body love what it loves' mary oliver style, and he goes and he shares that with rook and protectively envelops them in it when they're hurting??????????????????????????? hello for the maker's sake hello can anyone hear me?????

[analyticalnonsense]

Lawlight Week- Day 1: Firsts

when some guy on TV calls you a little bitch and you start to feel Actual Emotions for the first time in your life

I wanted to kind of leave it ambiguous as to what exactly Light is referring to here, but rest assured, he has never felt anything like it before he came into contact with that scrunkly man lol