#and i feel bad abandoning it

[morathor]

Interview with a Subclass

"So, college of whispers. Whispers bard. You're very popular, I would feel bad not adapting you, and I don't want to overlook any of the iconic features that make people want to play this subclass. So what all can you do?"

"Well, for starters, a couple of times a day, I can frighten people."

"So. So kind of like, that first level spell, cause fear?"

"Ah, but I do it without a spell slot."

"That is convenient--"

"Also it takes me a minute."

"A full minute you say."

"But! If I fail to frighten them, they don't know I was trying to frighten them."

"Okay, neat little perk, we might circle back to it, what else you got."

"I can spend bardic inspiration to do extra psychic damage with my weapons."

"Oh so it's like a gish bard! Those are fun, there are already two of them but I'm sure you have ways to differentiate yourself from the others."

"Yeah! Like both of those subclasses got armor proficiencies and extra attack and all kinds of cool stuff. And instead of doing that, I don't do that."

"So it's uh. It's just the one feature, that wants you to attack with weapons, when none of your other features in any way support or encourage fighting with weapons."

"They'll never see it coming."

"Okay. And at higher levels?"

"When someone dies near me, I can capture a fragment of their soul!"

"Very cool, very dark, what do you do with it once you have it?"

"I use it to disguise myself as them."

"Mmhmm…"

"Only once, though, and it has to be the same day."

"…so, I don't want to sound like a broken record but uh, but there's this first level spell, it's called, it's called disguise self, it's already on the bard list--"

"But when I use a soul, I get their memories!"

"Oh, so you uncover their deepest darkest secrets, that's kind of cool."

"Well, no, just sort of surface level stuff. The kind of things they'd share with a casual acquaintance. Makes it easier to impersonate them."

"Okay, I mean, sure. That's good flavor, doesn't do a lot mechanically for a charisma based skill monkey who presumably has a truly bonkers deception and/or performance check. Uh, also feels like it might be a lot of setup relative to the amount of payoff…"

"Well, wait until you see my capstone. I can, drumroll please…. charm a person!"

"…okay so there's this FIRST LEVEL SPELL--"

[shithowdy]

Dress This Lich, Tumblr

You're dawdling, minions! My wardrobe can't open itself-- I already tried to make it do that; that's how we got the mimic closet.

(I want to draw a lich and I am leaving in tumblr's rational hands the proportions of their costume. I cannot wait to see the results.)

[tunapesto]

let's fall down together

[painfully-unoriginal]

So I drew these under the assumption that diane used to be part of kitty's crew and realized after that i don't actually know if that's tru or not so uuuuuhhhh probably should've just waited for the movie to come out to start drawing shit but 👍

[misspermitted]

I’m on board with the “Adar was/is Celeborn” theory purely because I want this crack exchange -

Adar/Celeborn: You cheated on me with Sauron!

Galadriel: Well you also cheated on me with Sauron so the scales are balanced

Adar/Celeborn: What?? In what-

Galadriel: You left me, your wife, for 1000 years, to have a family and children with him

Adar/Celeborn: Okay, well, you fell in love with him. Which means you weren’t even in love with me in the first place. Which is worse

Galadriel: YOU LITERALLY HAD HIS CHILDREN

Adar/Celeborn: You married me for all eternity wiTHOUT EVEN BEING IN LOVE WITH ME

High King Gil-Galad, to Elrond: Still think he’s fake and they’re not married?

Elrond: Oh no, I take it back, they’re definit- oh my god Galadriel do not challenge him to a duel there is nothing wrong with your womb gods above

[cairos-wing]

Runt is the younger sister Troy needed and Troy is the hypeman Runt needed send tweet

(Also I have a new HC that the Overseer couldn’t see Blink’s face through the cog mask thing but could see wing tips and chin and kinda assumed Blink looked like Wolverine Hugh Jackman and they were totally gonna co-ordinate something less formal the moment “the right hand” was done hunting down the Inventor)

[spacedace]

Had an idea, thought I'd make it a prompt, 3k+ words later realized this wasn't a prompt anymore but a ficlet 🙃

Anyway, here's the first almost 2k of Talia being a good parent and deciding to not go with either Bruce or Ra's and go off and do her own thing and raise Damian and oops she got attached to Jason while checking in on Bruce and saved him from dying in Ethiopia. & now has 2 sons lol

-

When her Beloved and her father demanded Talia make a choice, of who she would choose, she didn't hesitate.

She chose neither of them. She chose her child. She chose herself.

Outwitting both Ra's al Ghul and Batman was no simple feat. They were both brilliant, relentless and with endless resources at their command. It was why their clashes were as devastating as they were. Immovable objects and unstoppable forces the both of them. If there was something they wanted, it was something they would have.

But not her.

They would not have her.

She had her own networks, her own people, her own keen intelligence and sharp cunning. It took time - time she really didn't have - and a great deal of pain and loss, but she slipped them eventually. Shrugged off the shroud of who she had been - who she was made to be - and stepped confidently into her new life.

Her son was born nine days after her freedom had finally, fully been assured.

He was small and perfect in every way. Soft and warm cradled close to her chest, unblemished by the cruelty of the world as he slept soundly in her arms. Even as exhausted as she was after such a long labor, she couldn't bring herself to sleep. Her attention narrowed down entirely on his every quiet breath, his downy soft hair, his round peaceful face.

In the weeks that followed his eyes would shift and change from a newborn's blue to her own green. It would take years before she could know if he inherited any of his father's features, but that was fine. He was hers and hers alone.

She named him Damian.

In another life she would name him with her father in mind. That her son would rise as Heir to the Demon and conquer the world. That he'd stand as ruler of all.

In this one, she named him with hope in her heart that what he would master was his own life. That he would never be forced to bow to the will of anyone else. To be made to act as servant or puppet. Let him tame his fate into something good and kind and happy.

She did her best to give him the life he deserved.

Lavished him with all her love and affection. Gave him everything he could ever want or need. The friends she began making for herself - not just trusted allies, but friends - laughed that she would spoil him rotten. It was probably true, but she didn't have it in her to care.

Her son would have the childhood he would have been denied if raised raised in the home of either of their fathers. Her father would have demand harsh lessons and frightened obedience and impossible standards. Damian's would have tried - she knew her Beloved would have tried - but his heart would always be for his city first and all else, even his children, second.

Talia kept tabs on both of them, covertly. Ensured she always kept a healthy distance from anything that involved her father or his people. Gathered stories of her Beloved's exploits to share with her son when he was old enough to hear them.

It gave her insight on just what choosing her Beloved would have meant. Reassured her that while not choosing her father had been the right choice, choosing her Beloved would have been the wrong one.

Bruce Wayne was a good man. Brilliant and driven with his kind heart and admirable goals. Breathtaking in his skill and ability.

Disappointing in his parenting skills.

Talia knew she was lacking as a parent herself. That her own upbringing had left its scars and that try as she might she'd undoubtedly end up doing the same to her own child over the years. But she always pushed herself hard towards improving, in making herself better for the tiny boy that she loved more than anything else. And she felt satisfied that in the very least that when presented with options on how her and her son's life would be, she'd made the one that was best for Damian.

Not the life of an assassin or a vigilante, but the life of a child.

A child who was taught some of the skills of both the worlds she'd turned her back on, admittedly, but only ever for his own protection. Damian was safer knowing how to hide, how to escape, how to fight. She had done her best, but there was always the looming threat that they might be found one day. She needed to be sure he was ready, if that time ever come.

She didn't teach him the way she was taught.

When her son fumbled or failed she gently corrected him. Walked him through what he'd done wrong, how he could improve. Made a game out of the experience so that he came running up to her on toddling feet with bright eyes begging that they have a lesson. His excitement and delight in it all made him a better student then her fear and desperate need for her father's approval and affection.

There was a day she caught sight of him, all of four years old, tiny face scrunched in a look of concentration as he practiced the form she'd taught him the day before with his small, wooden practice sword. Some of his father's features lingered at the edges of his face, but he'd deepened his resemblance to her by picking up her mannerisms and expressions. Her son, going through the same steps and motions she had when she'd been his age, little body wobbling as he turned to fast before plopping on the ground with a tiny oof.

Talia had small silver scars on the back of her hands, so thin and so old as to nearly be invisible anymore. They burned all the same as she recalled herself stumbling in nearly the same way. Stomach churning as she remembered the terror she'd felt as her instructor had snatched her up by her hair and drug her over to a low table, holding her hands in place with a massive hand. The way she'd bit her lip hard enough that her mouth filled with blood as he struck her with the thin lash, knowing that if she cried the punishment would be all the worse.

Damian only blinked his big green eyes and scowled the same way she did whenever something of minor importance didn't go the way she wanted it to. Then he saw her standing there in the doorway watching him and his face lit up, bright as the son and just as beautiful as he jumped to his feet and darted over to her. Tiny hand clinging to the loose fabric of her pant leg as he begged her show me again Mama!

It was moments like that where she knew beyond any shadow of a doubt she'd made the right choice.

Her father would have broken her brilliant, kind hearted son. Would have done to him what was done to her to forge Damian into a weapon.

Her beloved...

He would never hurt her son like that. Not the way her father and his loyal followers would. But she couldn't ignore the fact that Damian would still be hurt all the same under his father's tutelage.

Talia knew the man she loved well. Adored his strengths, but was not blind to his flaws. He kept his heart well guarded, hidden behind imposing walls of silence and razor wire of words he didn't truly mean. Still kind, but horribly distant when it came to those he cared for most. It shielded him some, perhaps, but it left those who loved him feeling lost and alone.

She saw how Dick Grayson had grown over the years. Tall and clever and lonely and bitter. Fighting for independence, for acknowledgement, for his father to speak words of love and respect. Things Bruce felt but almost never said unless he thought things were dire.

She saw too how the heavy weight of her Beloved's priorities weighed up on his second son.

Young Jason Todd who saw magic in the harsh world he'd been drawn into and desired to be the protection for others that he never had growing up. She saw much of herself in him, though he faced the world with far more hope than she had at his age. He was a bright boy with a good heart that had weathered a harsh upbringing that Talia could sympathize with. There was a familiar anger in him too, broiling just beneath the surface, flaring up and burning him as much as everyone else when triggered.

Most of all though Talia could see the desperate loneliness that had marred her own life in the boy. The soul deep fear of abandonment. The painful desire for love from a father that always seemed to stay at arm's length who spoke rarely of affection and often of missions to be completed.

She kept a close eye on her Beloved's second Robin.

When he left for Ethiopia, searching for family in a stranger that had already given him up, she'd followed.

Jason only ever wanted family and love. A good boy, bright and fierce and brave. A boy Talia saw a lot of herself in, who faced the world with such determined brightness in spite of the pain and hardship he'd known.

Shelia Haywood took that boy that Talia had grown so fond of, took his trust and his love and crushed it beneath her heel. Callously handed him over to the Joker without a second thought. As if he was disposable, as if he was nothing more than a puppet to use and toss away when it suited her.

Talia had risked everything when she'd decided she would not choose either her father or her Beloved. She'd turned her back on her entire life, everything that had ever been and ever could be on either side. She spent months running, hiding, fighting and killing, in orchestrating a plan that could outwit and outmaneuver the two most brilliant men she knew. And she'd done it all so that her son could live free, as master of his own life.

Jason Todd had come to Ethiopia looking for a mother.

Talia, with blood on her hands and a burning warehouse behind her as she carried his broken body to safety, made sure he found one.

[jadeazora]

Another thing I noticed during his scene with Niffty. When they're laughing, he pauses and looks her way for a brief moment, realizes she's doing a "crazy" laugh, and joins in.

Like he did it to make her happy. 🥺

[healpimp]

im gonna level w you, fellow medic mains. you are a lot worse at the game than you think

[triglycercule]

horror being very specific with table manners and he berates people (dust and killer) for eating like fucking pigs

i think it'd be morbidly funny that because there was no food in horrortale but the cutlery and stuff was all there that maybe he would pretend to eat with no food on the plate. it was in a satirical way that he would joke maybe around horror paps or alone where he would pretend to eat and have really good table manners but then the satire joke became REAL and now horror is incredibly specific about how to eat food

you MUST hold the fork in the left and knife in right says horror. no killer you can't duel wield the fucking knives this is a table not a slaughterhouse. dust pick up your elbows off the table. actually how about you get your entire upper body off the table tf why are you SLEEPING ON THE FOOD??? killer's sitting fetal position in the chair because of course he wouldn't sit normally like the idiot he is. dust is forced to put his hood down and reveal his face no more mysterious shadow style because it puts horror at ease. they cannot have a single peaceful meal because once they get past the table manners phase it then becomes a completion to see who can eat the least (because they suck at everything including eating)

[axolotlclown]

So I finished Moominvalley season 4 and here is my review:

Of course, spoilers ahead! It's long. It's detailed. It's a bit much, and I spent hours writing it.

I greatly disliked this season, not just from one particular angle. When Moominvalley first came out, it was advertised as the first narrative-style adaptation. This would imply one concrete story that ran throughout the show. They said the story would take time and required patience, but there was a larger narrative story. What was that story exactly? In the beginning, each character was established with certain flaws that they needed to grow from.

For Moomintroll, throughout season 1, we see him struggle with his father's expectations. He never quite makes his own decisions—either doing what he's told or what other people in his life would do. In the last episode of the season, Midwinter Ancestor, Moomintroll is told by Too-Tikky to not open the closet door. Going against her wishes, he does so anyway. This is the first instance of Moomintroll making a decision for himself. In the end, it was a bad decision, and he regretted it, but it still was a big moment. We understand the importance of this journey when he changes out the picture by his bedside table. It was a baby photo with his parents; now, it's a photo of Moomintroll fully grown. This was meant to denote a journey of independence.

We see him continue with this struggle in season 2. The Hobgoblin's hat adds to the internalized identity crisis. During the lighthouse arc, Moomintroll is mostly doing his own thing, somewhat. Although, I think that cutting out his glade from the book sort of hurt this theme of independence. I hoped that they would revisit that somehow, but they never did. In season 3, Lonely Mountain, we see a sort of regression with Moomintroll. (Ignore how this affected Snufkin, I'll come back to this later.) When Moomintroll unpacks his things, we see a collection of items that represent Moomintroll's past. One of these items was the old baby picture. Aside from this episode, we don't see any notable growth from Moomintroll this season.

In season 4, we watch Moomintroll fall right back into his father's shadow. He continues to struggle to carve his own path. The set up for Comet in Moominland was promising, but ultimately did not deliver. When Moomintroll goes against his friends to make a decision for himself, it turns out to be a bad decision that he regrets later, and someone else has to guide him out of the situation.

Moomintroll ends from the same place he started as a character. All growth is erased and ignored. While this is the most egregious example—with him being the protagonist—he is not the only character that this happens with.

Snufkin probably upsets me the most, as he had so much potential to be the most interesting character in the series. In season 1, The Spring Tune, we see where Snufkin is starting as far as his strengths and flaws go. What particularly intrigued me was his relationship to attachment. We see that Snufkin ultimately fears abandonment, and he copes with this in conflicting ways. He wants to be with Moomintroll out of fear of being left behind, but he is afraid that he feels this way. He tries to create distance between him and Moomintroll in an attempt to ease what he experiences as pain. This is demonstrated further in the next episode, The Last Dragon in the World, when he frees the dragon. We see his struggle with responsibility and commitment in Snufkin and the Park Keeper.

In season 2, The Hobgoblin's Hat, Snufkin is explaining to Moomintroll what the King's Ruby is. The ruby functions as a metaphor for love throughout the season. Moomintroll imagines that the Hobgoblin must love this ruby, while Snufkin argues that he only wants to possess it. While both may be correct in their own ways, they fail to understand each other. As a result, Snufkin decides to leave Moomintroll out of fear of being possessed himself under the false pretense that he is helping with the hat (he did not). We never visit this plot point again.

Snufkin has some large developments in season 3. In the Lonely Mountain, we see Snufkin break down his walls and let Moomintroll in. He acknowledges his responsibility to him and his longing to see him. Unfortunately, this aspect of his character is completely abandoned in season 4.

Back to season 1, Snufkin and the Park Keeper, we get a flashback in which Snufkin is enjoying a party with Moomintroll until he is overwhelmed by the presence of others. He winds up abandoning Moomintroll and the valley. He does this again in season 2, The Hobgoblin's Hat, as discussed above. In season 3, Snufkin and the Fairground, Snufkin chooses not to abandon his responsibility to Moomintroll or the valley. When faced with an uncomfortable challenge, he chooses to stay and support Moomintroll.

In season 4, The Great Cold, when faced with a crowded challenge, Snufkin abandons Moomintroll again. While he appears later in the episode, it felt disingenuous to me. The original problem had already been solved. In Comet in Moominvalley, Snufkin does not abandon Moomintroll. In fact, he makes an active effort to stay by his side. But it feels strange, almost undeserved? We saw so little of Snufkin this season, and when we did, he spent his screen time backtracking his progress.

In season 3, Lonely Mountain, Snufkin has a small monologue about listening to the campfire as the sparks dance and fly. Well, the whole episode was about listening. Anyway, that was a call back to the season 1 episode, The Invisible Child, in which Too-Tikky tells Moomintroll that there are many lost souls in Moominvalley that needed to be heard. The screen then cut to Snufkin leaving the valley. It would have been really cool to find out what that meant!

His abandonment issues never really get addressed. Refusing to let Snufkin meet his father was just baiting the audience. It was also just bad writing! What's his deal—where's his lore?? Who made him like this? Why is he so afraid of intimacy? Why are basic fundamental questions about this main character being left unanswered?

It really is disappointing. Every adaptation (and the books, if we're being honest) treat Snufkin like a stoic hero. He doesn't want to be looked up to, yet he's always painted as a character that you should. This is the first adaptation that gave him flaws. He felt like a character that needed growth and time. He was never given either.

I won't spend so much time on Snorkmaiden, even though she was robbed, too. She never grew to be more independent apart from Moomintroll. In the same vein as Moomintroll and Snufkin, her character ends exactly the way she started. All of her character growth vanished in seasons 3 and 4. I love this version of Snorkmaiden. I certainly prefer it to her other portrayals. But the writers screwed her over so bad, it's heartbreaking.

None of the characters actually learn or change. Everyone sort of becomes a static character, which makes any semblance of a plot impossible to write. For the fun of it, I will try to decode a plot, anyway.

So, you're not crazy. Moomintroll and Snufkin were set up to be endgame. There was a way to make Moomintroll and Snorkmaiden endgame in a satisfying way, but the writers chose against it. It's a very suspicious backtracking that reeks of queerbaiting, but let me explain the narrative romance angles first.

I feel unsatisfied with the ending Moomintroll and Snorkmaiden got. Throughout seasons 1 and 2, they would frequently lie for each other's approval, and jealousy was a common player. They would ignore each other when someone more interesting came along. Ultimately, what led to the break up in season 2, Farwell Snorkmaiden, was the understanding that Snorkmaiden was just more mature than Moomintroll. In her own way, she was ready for a serious committed relationship, and Moomintroll was not.

However, there was never a formal conversation of them getting back together. They just sort of were? And all of the problems in their relationship were never resolved. They still lied to each other and ignored one another for something shinier all the time. It was irritating. These two became no better than Sniff in the end. I'm standing on business with that.

I'm also not convinced that Moomintroll and Snorkmaiden can have a healthy relationship after the finale. They will definitely break up again. They haven't resolved any of the issues that led to their original break.

Okay, so Moomintroll and Snufkin. Let's chat about that for a while. The first three episodes establish Moomintroll, Snufkin, and their relationship together (in that order). We, as viewers, are led to believe that their relationship (either romantic or platonic) is the key to understanding the story. Throughout seasons 1 and 2, every single motif for love (lanterns, fires, the ruby, etc.) that is introduced is done with Moomintroll and Snufkin. Regardless, different expressions of love and intimacy were the focal point of the show. That was almost completely abandoned in seasons 3 and 4. While turning the focus on the greater community could have added depth, it ultimately detracted from the close personal relationships that were driving the narrative.

So, the Groke. She does not just represent fear, she is a reflection of each character's own fears. I loved this! I thought it was a really cool concept, and the ways that she was portrayed in seasons 1 and 2 were excellent. Here's the thing. In her introduction in season 1, Night of the Groke, we are also introduced to lanterns/fires as a motif about love. The Groke is chasing love and craves acceptance. It's not quite something you can catch, and trying to is a failed endeavor. Brilliant episode. We saw what Snufkin's greatest fear was earlier in the season (loving Moomintroll), but we needed to pay more attention to see Moomintroll's fear. I think it was complex. On one hand, with the lanterns, Moomintroll could also be afraid to love Snufkin. However, as we saw at the end of Moomintroll and the Seahorses, he needs to learn independence before he can love someone. This was also reinforced through Snorkmaiden in Farwell Snorkmaiden. The fires and lanterns were constant reoccurring motifs (not just for Moomintroll and Snufkin, though that's where the focus is right now). Rewatch the season 3 episode, Lonely Mountain, and that one monologue that Snufkin gives will start to make sense.

By abandoning these important motifs, the Groke's conclusion feels unfinished. It just felt wrong. In the end, she did just represent fear. This completely erased the layer of depth that she had to start.

For Moomintroll to learn to be more independent and self-reliant, he needed to learn from Snufkin. For Snufkin to learn to accept love and responsibility, he needed to learn from Moomintroll. They were the keys to each other's growth. When they were together, the plot moved. When they weren't, the episodes felt like filler for the most part.

Also, small detail, despite the change in one photo (the baby photo to grown Moomintroll) the photo with Moomintroll and Snufkin never changed. Which narratively makes no sense.

The writers originally set this up for them to be romantically involved. Which, given the context of their dynamic in the books and comics, makes sense. It's not as much of a stretch as people are trying to gaslight themselves into believing. These characters were originally heavily queer coded. However, the original text is sort of a tragedy. No matter what happened, Moomintroll and Snufkin could never truly be together—no matter how much they tried. This mirrored Tove Jansson's relationship to her first fiance Atos Wirtanen as well as her relationship to her own queerness. However, it looked like Moominvalley wanted something different. Queer people had enough tragic stories told already. This one would tell queer kids that it was going to be okay, and that they were going to find love. Tove Jansson's original message about love and freedom was finally going to be understood.

Instead, not only was this potentially beautiful story abandoned, it was mocked. In the season 4 episode, Midsummer Meddling, there was a scene I found quite shocking. Sniff had convinced himself that he was to fall in love with somebody. One of his "love interests" was a male scarecrow. This is the only openly queer semblance of romance that we got and it was played off as a joke. In the final season. They didn't even backtrack Moomintroll and Snufkin, they just completely ignored everything that was set up.

In the final episode, Comet in Moominland, there was an incredibly brief exchange between Moomintroll and Snufkin about who looked up to who. This would have been a fantastic place to give these characters some sort of conclusion, but we don't get that. In all of the 45 minute special, the characters are never prioritized. In the whole season, even. Really, not a single character got a satisfying conclusion, but Moomintroll and Snufkin were the most important.

This is a powerful and historic piece of queer media. Tove Jansson's queer legacy was so iconic that she was directly cited as an influence in the legalization of same sex marriage in Finland. Her work proved to further the queer community. Despite sodomy laws and fear of incarceration, Jansson continued to do what she could to tell her own queer story. That is what Moomin is. That is its legacy.

I was prepared to defend Gutsy if Snufmin didn't go canon. At the end of the day, it's usually TV execs threatening to pull the whole show off the air. The show was too costly to risk any interesting writing. However, the writers didn't recover, and some of the writing just felt downright melicious at times.

Anyway, if you love slice-of-life content, you probably loved this season and the show's conclusion. It is such a shame that the creators promised something completely different from what the show turned out to be. It's no surprise that viewers are disappointed.

I do have one more thing to say ☝️😀. This is going to hurt Moomin's mission to expand to the US. It's been very obvious that they have been trying to expand to North America. Brave and bold writing would have caught the attention of new viewers. Instead, few Americans are going to recommend this show to others. Aside from that, the next logical move is to make an American adaptation. Good luck trying to find a competent YA cartoon creator that won't threaten to walk off the project if they can't have Snufmin. That being said, they'll have better luck making that canon here anyway. (Everybody say, "thank you Rebecca Sugar and Pendleton Ward.")

Well, in the end, I don't think the fight to make Snufmin a real, transparent queer story ends with Moominvalley. I can say, though, that the prioritization of profit over respect and love for others is not at all what Tove Jansson would have wanted.

Seasons 1 and 2 were peak, and season 3, episode 8, was batshit insane. That is all.

[brionysea]

I'm trying really hard not to just be The Complainer because that's an energy I don't want to bring here when I love (present tense; I rewatch it like 5 times a day) arcane season 1 so much but does anyone remember when powder was taken in by silco and being raised by this very utilitarian merciless 'the ends justify the means' type character made jinx turn out violent and merciless as well. and vi was horrified by her and the lanes were terrified of her and piltover was falling over itself trying to scapegoat her as the one bad apple of the undercity to kid themselves into believing that everyone else was perfectly fine with being treated as less than. and that contrasts vi after vander etc. died because she was raised by him and internalised the idea that no one wins in war and fighting back against systemic oppression isn't worth the damage it causes to your own community which is why she ended up working with cait and the council like vander worked with grayson. the people who raised them shaped them into who they are today but then in season 2 jinx has a daughter and she's suddenly completely normal and well adjusted and her attachment style isn't digging her nails in until she draws blood at all. like What. what happened. didn't things used to mean something

[theminecraftbee]

okay now that i'm no longer trying to keep a project secret from certain people i can complain publicly about a thing i've been losing my mind about:

why the fuck is the evo wiki like that.

listen. i know. i know fandom wikis being decent entirely relies on whether there are people who both want to obsessively categorize things enough to fill out the wiki, with the free time to do that kind of obsessive categorization, and the desire to manage it all as a wiki. believe me, i know. but please i'm just trying to do research please, please at least bigb's page was just Entirely Empty so i knew i had useless information and just left. why the fuck did the mafia's page, by contrast, have this:

a sentence that is actively LESS USEFUL THAN IF IT WERE NOT THERE.

and then grian's page - GRIAN'S. GRIAN'S. THE ONE PAGE I THOUGHT MIGHT HAVE A SHOT OF BEING FILLED OUT. JOKE'S ON ME I GUESS.

BECAUSE IT HAS THIS????? I'M LOSING MY MIND. WHY ON EARTH IS THE WIKI LIKE THIS. WHY IS IT THIS BAD. PLEASE I'M JUST TRYING TO FIGURE OUT WHAT EVERYONE'S RELATIONSHIPS WITH JIMMY AND MARTYN WERE PLEASE,

anyway thankfully i had friends who could help me with their own knowledge and who also found the evo recap but in conclusion i have been being driven mad by this for weeks, thank you for coming to my ted talk.

[satyrradio]

ngl it is very disheartening when I see a positive post from a queer Christian, go into the notes, and just see other queer folks shitting on the OP for being a queer Christian. You aren't making the world any better, you're just being an asshole.

[tapestryundone]

i have a crossover that appeals to me and me ALONE. have art of it that lacks any context because i just made art of it and left it at that and didnt feel like adding dialogue to almost any of it

elaboration under the cut

first img is an approximation at the long quiets mind :] its empty but i think there WOULD be more layers if you dug around. maybe if you walked further into it. but thats the main area! shards of glass bc of that one spectre line hehe. the center area is wood panelled but the resolution in the img makes it a tad hard to see at the size the img is.

in the main area the voices come up to the center area as needed! or just to talk. i think in the event that anyone ever entered tlqs mind they would become EXTREMELY talkative bc itll be their first time really being Perceived without unpleasant circumstances which is VERY exciting for them

most things in tlqs mind would be verrrry very similar to the spaces in between, mostly because thats the truest location hes ever truly known. i have been thinking about different layers that could contain the cabin, though. because the woods and the cabin were both very important locations for him, even if they sucked Majorly

second img is the inner version of tlq :D which like. technically theyre all parts of tlq. but also they can function as separate entities from tlq so i dont think itd be that out there that tlq exists somewhat separately from them all in his own mind. gotta think on some of the logistics more though

4, 5, and 6 are just interactions cus i think its fun. i think its ill advised for visitors to leave that little center area. going past it is putting oneself at risk to become lost in the unending walls of the (mental) long quiet. i dont imagine the voices knew that before so much as it is instinct. the "real" location wasnt something mortals were ever meant to really Be In, so it carries over and makes leaving the center instinctively feel like a very bad idea to just Let Someone Do That

the voice in 4 is hero and the voice in 5 is contrarian

last two are the most stand alone and self explanatory. second to last is the opportunist and paranoid, and last is quiet and opportunist :]

[campbyler]

heads up that i will be using chapter 10.2 to promote my mike and mitchell best friends forever agenda thanks