#am i making sense?? probably not

[t4llhum4n]

Hey! I'm bored as hell, so I'm gonna talk about one of my favorite Redacted theories that I've had for a while!

Theory (and major spoilers for the Imperium and, like, everything) is under the cut :)

So. Seers.

I've shared this theory on Patreon, but that was months ago, and while I still agree with the some of big points I made, recent lore reveals have challenged some of the details (looking at you, Channelversary stream and Hush).

My main point was this: Seers and the Sovereigns are intrinsically connected. My reasoning for this was the fact that Seers don't exist in the Imperium and that Seers awaken to their powers by seeing their death unless they're Obscured.

Seers not existing in the Imperium was my first hint that they might be connected to the Sovereigns. When that was revealed, I started listing the big differences between the Imperium and the Prime universe, and I found that almost all of those differences came back to the aftermath of the Cacophony. The Sovereigns were kept in Aria. That's why Deathwalkers don't exist in the Imperium, and it's why D(a)emons are practically a myth on Elegy. So why can't it also be the reason why Seers don't exist?

In the Prime universe, we know that the Sovereigns are kept in Death. We also know that Deathwalkers are actually Serenity Daemons that were sent there to feed off of the Sovereigns until they were nothing, but over time they forgot their purpose (which feeds into one of my theories about Brachium and the other Deathwalkers, but this isn't about them). I believe that Death is far very removed from Aria. Aria and D(a)emons are infinite, so there would be no need for it to be closely connected to a plane of existence that is associated with ending. On the other hand, I believe that Elegy and Death are very closely connected. I mean, humans die all the time, and it's been said that Elegy is not an infinite plane of existence. It's why Vega is so driven in his mission to free D(a)emonkind from having to depend on Elegy and humans to survive. But what does this have to do with Seers?

We know that the Sovereigns are most likely not in their prime. Even if the Serenity Daemons forgot their purpose, they were most likely fed on for thousands of years beforehand. So, if the Sovereigns wanted to make an impact on a plane of reality beyond Death, they'd have to reach closer. They'd have to reach Elegy. So, they did. Seers are rare, Morgan said so himself, but no one knows why that is. If the Sovereigns are as drained as I'm assuming they are, then they wouldn't have the strength to connect to Elegy all the time. Meaning that those connections, and physical proof of them, would be rare as well.

I believe that the connections that the Sovereigns may be making to Elegy have been coming in the form of Seers awakening to their powers. That's why their first visions are their deaths; because that's where the connection is coming from. I also think this explains why Seers can learn any magic at a specialized level and have their auras read as anything they choose. Seers are the most powerful form of empowered humans, and I think this theory explains why.

In my original theory on Patreon, I explained my reasoning for this by comparing it to Vampires. So when it was revealed in the Channelversary stream that Vampires and Seers are connected, I got super pumped. Basically, I claimed that the magic that the ancient humans got straight from the Sovereigns was the strongest, and that it got watered down little by little throughout the years. I compared this to how old blood Vampires, like William, are much stronger than newborns and their Progeny. I also mentioned that it was revealed through Vincent that newborns turned by old blood are stronger than newborns turned by younger Vamps. If we apply that logic to the Sovereigns and empowered humans, then an ancient Freelancer would probably be viewed as a magic user who has equal access to all magic at a specialized level because of how strong their magic is. Seers, I think, have the same power as ancient Freelancers, just with the added gift of the Sight as well.

So what does this mean? I originally said that this meant that Seers are the Sovereigns' eyes into Elegy, which is where their Sight comes from. While that might be a possibility, I'm not so sure anymore. If you took the time to read this brain vomit, I would love to know your thoughts! Also, if I missed anything or there are any glaring holes in this theory, please let me know. I know I mentioned Hush at the beginning of this, but this is already super long, so I might rant about him and his antics later. I hope you all enjoyed my ramblings!

[inkskinned]

please i love you i'm begging you bring back suspension of disbelief bring back trusting the audience like. i cannot handle any more dialogue that sounds like a legal document. "hello, i am here to talk to you about the incident from a few minutes ago, because i feel you might be unwell, and i am invested in your personal wellbeing." "thank you, i am unwell because the incident was hurtful to me due to my childhood, which was bad." I CANT!!!!

do you know how many people are mad that authors use "growled" as a word for "said"? it's just poetics! they do not literally mean "growled," it's just a common replacement for "said with force but in a low tone." it's normal! do you hear me!! help me i love you please let me out of here!!!

[sttoru]

“ryo,” it rolls off your tongue. naturally—as if you’ve called him that thousands of times before. you don’t realise it until he stops his movements.

sukuna narrows his eyes. you turn your head and look up, oblivious to your slip-up. the sorcerer doesn’t utter a word and instead glares down at your short frame. he looks irritated, or more annoyed.

“oh,” you realise why only a few seconds later. you bow your head at him and try to explain yourself in a hurry. normally, you’d address him with respect like everyone else does. ‘my lord’, ‘lord sukuna’, or even ‘master’.

you nearly fall to your knees. you don’t know how or what sukuna’s going to do now that you’ve dropped the honorifics on accident and called him by a nickname. you hold your hands together, “my deepest apologi—“

“again,” sukuna demands in a rough voice. you freeze for a second before tilting your head back. you catch a glimpse of his expression; he’s amused, intrigued and perhaps still a bit annoyed. he repeats, “call me that again.”

sukuna isn’t annoyed by the fact that you’ve called him by a nickname for the first time. he’s annoyed, because your sweet voice makes him feel stuff he’s sworn to never feel for a regular human. that warm feeling in his chest. . . he hates it. yet he yearns for it. from you.

you hesitate for a second, unsure if the firm tone in sukuna’s voice was a bad sign or not. you decide to just comply and hope for the best, “. . . ryo.”

sukuna grits his teeth. you think he’s mad, but in reality, he’s trying to eliminate the feelings of love from within him. your voice calling him so affectionately—so intimately; it makes him feel that warmth in his chest.

no one’s dared to call him anything like that before. everyone’s formal with him. it’s a must. sukuna’s used to everyone acknowledging his superiority in the conversations he holds. it’s a given.

no one refers to him so casually. no one dares to.

you’re the first one to break that pattern. the first one to make sukuna’s cold heart tremble. if it were anyone else, they’d be his dinner by now. but it’s you so it’s. . . fine, he assumes. an exception.

silence falls in the hallway. luckily, not another soul is around to witness the king of curses struggling to contain his own ‘foolish’ emotions. sukuna clicks his tongue and sighs before continuing to walk ahead of you.

you scurry after him—keeping your head low. you don’t wish to upset sukuna any further. you feel like you overstepped a boundary just now. the silence continues for a couple seconds, both of you deep in thought.

sukuna’s the one to end the quiet atmosphere. his voice is as deep and cold as ever, though there’s no denying the subtle softness that creeps in whenever he talks with you.

he takes a deep breath and sighs. sukuna keeps walking and doesn’t spare you a glance, however his voice and words tell you enough;

“from now on, that’s the only way you’ll address me until i say otherwise, understood?”

[dkettchen]

she would've told them unlike her canon! version who decided not to be an ally smh

[bacchuschucklefuck]

while teen while goblin while aroace while injured while doing your best

[bluegarners]

bruce and dick are both emotionally repressed but in kind of different but parallel ways. like, the repression that bruce experiences stems from never confronting trauma or any negative emotion, whereas dick's repression stems from needing to be the emotional support for an emotionally repressed man at the ripe age of 9 and so never being able to process any emotions associated with that responsibility

[poorly-drawn-mdzs]

My Lawyer is going to Get Your Ass.

[First] Prev <–-> Next

[damconcha]

One of my favorite things about the ASL Brothers is the fact that Ace was the one brought out the sake and proposed becoming brothers.

Not Luffy or Sabo but Ace.

Ace, who believes he is unlovable, Ace who believes that his blood is dirty, Ace who believes that he didn’t deserve to be born, Ace who thinks that his life is worthless, Ace who believes that his mere existence is a crime.

And yet Ace saw these two boys and approached them without apprehension or fear of rejection even though he was proposing something as irrevocable, something as bonding as brotherhood

[teefigotem]

sorry i'm on a Murderbot Diaries kick again so y'all are getting meta. thinking about that one scene in Network Effect that everyone talks about. you know, the “who the fuck are you” “this is nonstandard communication” aka the one where Three discovers the concept of eldritch horror for the first time. beautiful scene 10/10 no notes.

that being said i’m also thinking about a take i’ve seen a few times saying that ART was way scarier to Three than it was to Murderbot and like. I don’t think that’s completely true. not to say that ART wasn’t mean or scary to Three — being told that someone might peel away your organic parts piece by piece will in fact be terrifying any way you spin in.

but like. okay. ART and Three come to an understanding very quickly in NE, arguably quicker than Murderbot and ART in AC. and some of that is due to the difference in Murderbot and Three’s personalities, but i think a lot of that is due to how ART approaches each situation.

(more under the cut)

so like okay. when ART and Murderbot first meet, Murderbot is entirely a wildcard coming aboard ART, and ART responds the way you would to an unknown, unpredictable threat, i.e. with a blatant but somewhat ambiguous show of force. by dropping its walls ART is doing the equivalent of like. brandishing a powerful weapon in your face. it doesn't explicitly tell Murderbot that it will hurt it. in fact, the only things it says to Murderbot are to tell it that it knows that it's a rogue SecUnit and to warn Murderbot not to hack it. this is the type of approach you'd take with someone who you aren't sure even has the capacity to be reasoned with - it demonstrates that it could crush Murderbot like a bug, because this is the only thing it's confident Murderbot will respond to.

the problem with this, from Murderbot's POV, is that, because the threat is implied rather than explicitly stated, there's no reassurance that if Murderbot doesn't try to hack ART then ART will leave it alone in turn. in fact, it spends the moments after this interaction spiraling about what ART wants with it and whether ART specifically let it on board to torture or kill it. i don't think that was ART's intention with the threat, i think it genuinely did not have the context to realize that Murderbot would take the show of force more as a threat of imminent violence than as a warning against attacking it. but, since it didn't have that context, it approached that interaction like one would approach someone with whom you don't see as an equal and don't have any interest in reasoning with.

contrast that to how ART interacts with Three. on the surface, what it says is scarier. its threats are certainly more violent. but they are also explicitly stated if/then statements: if you hurt these humans, then i will do xyz to you. i do know that in mathematical logic there's still no guarantee made in if/then statements that the then won't come to pass regardless, but the specificity of both the threat and the guidelines provides Three with parameters to follow, and implies that if it does then no harm will come to it.

this was notable to me because ART speaks to Three like a person to be negotiated with from the beginning, and that's. well. because it knows enough by now to know that Three is a person, in a way that i'm not sure it knew about Murderbot before seeing Murderbot's memory files of the governor module. it knows before speaking to them that both Murderbot and Three are rogue SecUnits, but its understanding of what a rogue SecUnit is, what it is capable of, and what it might do has profoundly changed between two interactions. even in their first interaction ART treats Three like a person who may be capable of being dangerous, rather than like a loose cannon who could mindlessly commit violence at any minute.

[chronicowboy]

obsessed with the return of buddie's fucked up, unknowing jealousy. i think that locker room scene does it incredibly well especially for the first episode because both of them are keeping pretty big things from each other that i guarantee they would have told each other about immediately minus marisol and natalia. but eddie doesn't tell buck about christopher's first date, for long enough that it's been planned and he's asked his girlfriend to help chaperone, because a subconscious part of him wants to punish buck for dating natalia. and buck doesn't tell eddie anout breaking up with natalia, which seems like it happened at least a little while ago, because he doesn't want to be single in the face of eddie's new relationship and if there's a little hidden part of him that wants eddie to think he's taken by the death doula just a little while longer well.

[buddieism]

i'm not particularly committed to the buddie first kiss being in a kitchen — but if it is, the obvious answer is that it's gotta be eddie's.

buck's kitchen gets a lot of buddie airtime, but those scenes are typically lighthearted — cosy, familial, warm. buck cooks for eddie in his kitchen, he helps christopher with his homework in his kitchen, he flirts with eddie in his kitchen, he comes out to eddie in his kitchen.

in comparison, eddie's kitchen has always been a place of raw honesty; a place for the serious, darker conversations. eddie talks about the shooting to buck in his kitchen, he tells buck he needs to move on in his kitchen, he asks buck about the lightning strike in his kitchen, he opens up about his relationship with kim to buck in his kitchen.

buddie's first kiss being in eddie's kitchen because it's the place where eddie is most vulnerable, especially when it comes to buck. because it's the place where buck feels the most comfortable, where he's "never a guest." something something love is stored in the kitchen...

[victarin]

i fucking love people here you guys see this dinnerplate-faced daycare animatronic and go "what if they were detectives" and you make all this amazing astounding art and writing and concepts and designs like yeah . sure . im going to be normal abt this and im not going to think about the incredible levels of creativity involved im not gointg to think about how much i love seeing beginner artists using the dca as a way to learn new skills in art and character design Im not going to think about how much joy is in all those AUs and how much artists and writers put aspects of whatever they enjoy in those stupid ass clowns to make these incredible inspired stories and artworks absolutely Brimming with love for what they created &how much i love seeing people in the community huddling around those AUs and hyping them up and making More Art from those yeah im normal. whatever

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[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

[fox-guardian]

I'm still thinking about the new merch and I can't get over the implication that colin. puts his name. on his clothes. like hat, sure, but a sweatshirt?? how often is this happening

and it's not like a family/roommate situation his name on both items is written as "C. Becher" which is a much more formal way of doing that. girl who is stealing your clothes and why is it probably alice

[lucksea]

havent decided how i want the introduction to go yet but i imagine it would roughly be one of these two