#and incomprehensible rambling
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volvolts · 1 year ago
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the fuck is crocodile's deal???
thinking about how its next to impossible to construct a proper backstory for crocodile because of how little we know of him and how little he makes sense as a person
like we know nothing of mihawk but his personality is much like zoro. he wants to be the strongest so his ascetic lifestyle makes sense. hes a wildcard too but only because his moral compass follows strictly to himself (he keeps zoro alive and trains him because he wants a challenge, he became a warlord because he wants to be left alone, he joins cross guild for that same reason. the only times he went out of his way to do anything for others was when he shows shanks luffy's first bounty and maybe take care of perona)
but crocodile? we got NOTHING. we don't even know his last name. and i know some of them don't have last names but crocodile was a major villain. plus important characters without a last name kinda have a reason (sabo denounced his family name, buggy and shanks are implied to have been with the roger pirates since they were born)
like something happened to him to lose all his trust in other people and discard them like paper. he spent over a decade searching for pluton only to give up when luffy beat him? he willingly goes to impel down and planned to stay there until he heard whitebeard is gonna show up. he does fuck all to whitebeard. then he gives up on whitebeard, you know the reason why he's left impel down in the first place, then he saves ace, then he saves jinbe and luffy. he disappears for 10 real life years and he's back and we still got nothing on him
he doesn't trust people and yet pulled two bad bitches with swords. people praise how strong he is but he hasn't had a real fight with a real character who mattered since alabasta. and he's clearly strong cuz he got punched in the face with full blown haki and was still standing and he parried mihawk and doflamingo's attacks without any damage. speaking of doflamingo what the fuck was his deal with doflamingo? doffy clearly respected him enough to not believe he was beaten by smoker and he wanted a team up but then its never brought up again?? like was that just banter??
and the theories of his backstory are all still contradictory? whitebeard's birth son? well whitebeard didn't care that much about him and crocodile clearly doesn't either nor do any of the whitebeard pirates seem familiar with him. an ex-revolutionary? other than ivankov's comment of knowing crocodile "when he was a rookie" there's not much else. the backstory of the revolutionary army hasn't mentioned anything about him so we can toss that one out too. rocks d xebec's son? he was a warlord for over 20 years! youre telling me they never had a background check on the guy? you know they would want him dead if he was xebecs son given how far they went for roger's son. he doesn't have a grandpa who's besties with the fleet admiral to cover it up either
and then theres the theories that end up being too similar to other characters. ex-son of whitebeard? already debunked shown above and also thats just blackbeard. from a family of wealth and lost it, or was simply born evil? doflamingo did that already. cabin boy/child of an infamous pirate crew that was disbanded after the death of the captain? buggy and shanks are right there.
the man has so much going on and yet absolutely nothing at the same time. i NEED to know more about this guy at least tell me if he can even do haki PLEASE
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I cannot wait for this Stan to reconnect with his Ford.
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I still haven't figured out HOW exactly they'll meet yet, but I do think that Ford would ATTACH himself to Stanley and talk his ears off forever when they eventually get comfortable :] and Stanley would listen because HOLY SHIT, THAT'S HIS BRO HE HASN'T SEEN FOR 40-ISH YEARS, HE MISSED HIS VOICE. Nonstop certified Yapper & Listener relationship <3
Stanley looks dead faced because of his ingrained poker face, but he's thouroughly enjoying it, even if sometimes he has no idea what the fuck Ford is saying. He never interrupts him though, since he knows people usually ignore or interrupt him mid-talk already. So sometimes Stan gets stuck in awkward situations where he has to leave or do stuff, but also doesn't have it in his heart to stop Ford and extract himself out of a (one-sided) conversation.
#Stanley: that motherfucker just ignored you completely- would you like me to kill him.#Stanford: Who? What are you talking about? Anyways. Have you ever seen gnomes before? Because just yesterday I-#I imagine conversations with Stanford to be very stitled and all over the place.#Since his thoughts are quite literally scattered- he can never really process them fast enough to actually verbalize them.#Or even understand them.#So he often only catch the tail ends of a thought- or cutoff half formed thoughts- or only the beginning half of an idea- memory- or opinio#And when he talks- you can really tell with the amount of tangents he goes off into and how everything he says#are completely disconnected and unrelated from one another.#I think the reason he talks so much is because it's his way of desperately trying to get himself understood by someone- including himself.#He's hoping that maybe- by verbalizing EVERYTHING in his mind all at once into some incomprehensible word vomit- that someday-#those senseless- useless words will one day magically order themselves into the right sentence for him to be finally be able to say what#he actually MEANS.#But because he's ''that crazy Town Kook Ford'' he just never really gets the chance to talk to anyone.#People in town baby him- treat him like a child.#And I mean- it must really hurt. For someone of his former intellect to have lost all ability to express himself eloquently#Not because he's any less smart- but because he just can't talk anymore. At least- not in any way that matters#I think Stanley understands him though. I think Stanley would understand his struggle to not be labeled as just stupid by others#Anyways- that was my ramble <3#my post#asks#sput chatters#stanford pines#ford pines#stanley pines#stan pines#gravity falls#gravity falls au#Town Kook Ford AU#my art
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madbard · 15 days ago
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I just played through Slay the Princess for the first time, and… I cannot stop thinking about the Cage.
To be profoundly and finally severed from the illusion of your autonomy. To look on, from a prison of your own making, as your body acts out a legacy of violence against the body of the only other person who can or will come near you. To see their body perform that same violent dance. To be bound to this person, and in your limited state not to understand why. In that moment, as the silhouettes in the shadows act out the story of the princess and the slayer, to share a moment of peace with the one sent to kill you.
Intertwined. Diminished. Reductive, mutually destructive. Trapped in an infinite dance.
Beautiful.
To have been so determined you never had free will, never could have found another way. To realize you may have been wrong. To be trapped in a pattern, but unaware of what that pattern truly is.
Still, for that finite and watchful moment, not to be alone.
(Mild gore under cut.)
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(Also this art from the game haunts me.)
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turtlespancake · 1 year ago
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i love seeing out of context posts about long-running stories with deep lore because it's always shit like "MAJOR SPOILER WARNING!! i can't believe that the metallic athenaeum's envoy actually used never-ending dance of the 57th universe on rionne as if she's not LITERALLY the incarnate of august?!?!" it's like buddy boy thank you for the spoiler tag but all of those words are incomprehensible without at least 5 years of foreshadowed knowledge, 7 different fan theories, and 21 wiki entries
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aroaceleovaldez · 8 months ago
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I was reading a post about CoTG and I realized: Rick has seemingly started to write every character pairing with the exact same dynamic, and he's not good at writing that dynamic and it doesn't make sense for 90% of the characters he writes it for.
It's that very specific dynamic of one half of the pair who is almost aggressive to the other party - "teasing" them constantly/insulting them, affectionately punching/judo flipping/maiming/etc, seemingly almost always exasperated with the other - and said other party usually just accepts this treatment or blanketly views it fondly, and may generally be framed as more incompetent than their partner and a little bit of a doormat (particularly relating to being insulted/teased/etc by their partner).
We start seeing this dynamic in HoO with Percy and Annabeth, as a sort of semi-inconsistent twist on their rivals-to-friends-to-lovers dynamic from the first series. Then the dynamic pattern develops further with Leo and Calypso. Then Magnus and Alex. Then Nico and Will, particularly in TSATS. And now in CoTG, it's Percy and Annabeth again but even more in this direction.
I know people have talked about Nico and Will's relationship over the series rapidly being shoehorned into Percabeth Two™, and it's extremely apparent in TSATS that Rick's doing it on purpose (including directly quoting Percabeth scenes but minorly tweaking them to be Solangelo). But recognizing it as an overarching trend in Rick's later books honestly reminds me a lot of how Rick started trying to apply the "Percy Formula" so-to-speak to nearly every protagonist in HoO (and then try to replicate similar character archetypes with Magnus and Apollo's narrations - moreso Magnus in being jaded and sarcastic, very much trying to be first series Percy. He only sounds unique because Rick failed at making him Percy 2. Apollo is more akin to later-series Percy characterization of being goofy and incompetent. Apollo [and Zeus] even got retconned to give Apollo a more similar backstory to Percy's). Rick seems to have decided that he thinks the audience wants this specific dynamic but 10 times over, except he's not good at writing it the first time because it's a bastardization of the time he did a different thing okay.
And Rick also seems aware of that too! Because he retconned Calypso and Leo at the end of TOA, probably because he realized how absolutely awful it was reading when they were written with that dynamic of Calypso just functionally hating Leo and constantly being aggressive towards him! The only time Rick's actually made the dynamic even semi-successful was with Magnus and Alex, because it actually fits within their characters, their dynamics with each other, and their environment. Alex beheading Magnus on the regular works out fine because there are no repercussions to that in Valhalla, Magnus will be fine, so it does genuinely come off as humorous. And Alex has been effectively established to be abrasive at times but have her genuine feelings shine through regularly, and that meshes well with Magnus' jaded-and-aloof-but-quietly-very-empathetic character. And Magnus has been established to, yes, not be great at combat, particularly compared to Alex. They are the only time that flavor of dynamic in that form was effective and cohesive.
Percabeth is no longer rivals-to-friends-to-lovers badasses on equal levels with shaky pasts who finally found some form of permanence with one another. Now it's super smart doting and affectionately aggressive girlfriend and her silly goofy 50%-of-the-time incompetent boyfriend who she judo flips/pushes off cliffs/etc - but affectionately~! Solangelo is trying to riff off of the early series "Poseidon & Athena are enemies" dynamic that Percabeth had but with Apollo & Hades being "opposites" but learning to accept each other, except it ends up with Will just coming off as a huge asshole and Nico being retconned to a complete doormat about it - when prior to that those characterizations would be completely contrary to their established characters (even just from TOA!). Calypso in HoO gets retconned from her PJO characterization to being snooty and aggressive, and Leo's false persona gets merged into his just normal personality except he just also becomes a doormat but more goofy than Nico with occasional haha-dark/depression-humor! Which Nico also got. Which was also a bastardized Percy trait that got redistributed.
It's exhausting. Rick write more than one relationship dynamic you can do it I promise
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maythedreadwolftakeyou · 27 days ago
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thinking about Lucanis again (always). and how so much of his narrative boils down to the theme of "control". and of course also about how this applies to the Rook x Lucanis relationship.
like the first scenes with him in the game are, in theory, about freeing him from the Ossuary (although he seems to have an escape attempt already in progress at the time, they certainly weren't just letting him keep those knives on him for enrichment purposes, Rook just provided an opening/distraction he could take advantage of and crucially Rook has A Way Out of the whole place not just a cell). but ACTUALLY the purpose it to put him right into a new contract for Us, one set up by his own grandmother and first talon no less, and the person he has the MOST trouble saying no to. He's escaped torture and the Venatori for sure but he still isn't free, which I think is part of what leads to Spite's confusion/the Inner Demons plotline. He agrees to the contract but you can tell it's in many parts out of a sense of duty/mourning vs something he actively wants to do for himself. And then the FIRST real heartfelt conversation you have with him, where he tells you "even before I was captured, my life was not really my own. So much had been determined for me." But he's chaffaing at that! He thinks "to live truly is to live fully" and so directly tells you he doesn't think he's lived a life true to himself. He's been constantly smothered by the weight of expectations around him, even though he longs for more.
And then once you get him to the Lighthouse you see how this Big lack of control in his life comes out as all these smaller frustrations. He's terrified of sleeping and downing 11 cups of coffee per hour because sleeping means he will lose control to Spite, even though Spite is shown to flee rather than fight when he feels threatened, and once calmed down, is more drawn to just benign curiosity/mischief than anything actively malicious. Like if Lucanis loses control and sleeps for a few hours he is not going to wake up surrounded by bloodshed, he's going to wake up to a belly full of candle wax because he wouldn't like Spite taste one while they were awake. Which is the other half of this--he constantly denying Spite's impulses for reasons that in some ways make sense (HE doesn't want to eat candles), but not in a way that's actually satisfying to either of them (why not just take a bite, chew for a bit, and spit it out so Spite knows they kind of suck actually?). But he CAN say no to Spite and so he does. Over and over. Spite's one of the few people he can deny things without feeling bad about it, because it's HIS body he doesn't like that has to share now (<- this is what he thinks about it at first anyway, but he's wrong, it's both of theirs and it's useless to try to hold those kind of boundaries forever. but the "no its mine" spiteful instinct is very beautifully ironic and reflective of them both and their early relationship).
And personally I think this is where his fear of his own desires and intimacy is coming from, at the root. I don't think he's afraid of the concept of being in a romance or having feelings (even if they're unusual and rare for him, this is by no means incompatible with him being demi) but I DO think he is afraid of the kind of power it gives people over you. Getting something you want means there's something else that can be taken away. Admitting your desire means the other person has the opportunity to deny that. The more you have, the more you have to lose, and he has lost again and again and again in his life--his parents, his childhood to the crows, his independence, even his future--he doesn't aspire to be first Talon but he knows the rumors. He knows his grandmother wanted it for him, not Illario. His life path has been laid out for him by others and up to this point he has simply been going along with it anyway, even though it bothers him. He COULD argue and fight Caterina and push for Illario who actually wants the job to be First Talon instead, but from The Wigmaker Job we know he doesn't. He just ignores it and pretends maybe it won't happen, without him having to do any of the work. Which is why in the end Illario is the one who has to make a move about it (and even warns Lucanis of this!!!!). Lucanis KNOWS all this makes him a target but is neither taking charge or getting off of the train tracks, just closes his eyes.
And I think THIS context is what makes the almost kiss scene in the pantry make more sense to me. Rather than being afraid of having feelings (and then NEVER addressing this in game with a Rook who pursues him anyway) or not knowing how to finish what he's started via crow seduction training, it's more like this is a pivotal moment where he can actively choose to step off the planned path of be given a job -> kill the gods -> enact revenge -> go home. even if he doesn't at that point realize that a relationship with Rook could be something that lasts long-term, the very act of doing something just for himself is what's foreign and scary and hard. It's that first step off the tracks, and even if he were to keep walking in the same direction, it means he's making a choice about it. he's accepting that one way or another it IS in his power to go along with everyone else's plans or not. Hence the hesitation, and drawing back, and needing to clear his head.
And then the rest of Rook's role in his narrative IS about giving him more and more control for himself. Inner Demons, dealing with Illario, his questlines move less towards revenge and more towards just... not being locked into one fate. Which of course Caterina comes back and immediately tries to overturn by declaring him First Talon after all, even though she and him and everyone else knows she's not ACTUALLY ready to give up her rule/decision making power yet. Which in a way is maddening because cmon I did all this work here so this sad man could have some agency in his own life just to watch him get sucked right back in (which, at least we get many directions to headcanon from here), but there's no denying that THIS version of Lucanis at least is actually going in with his eyes open now. THIS Lucanis has had a taste of life outside the Crows, and seen the politics and power dynamics in other places/organizations, and finally has emotional ties to the big picture state of the world now, both in relationship and friendship paths with Rook. He's not just hyper focused on each contract as it's given to him now, he's looking at the whole thing.
Anyway of course the beautiful culmination of all this within the romance is the lighthouse scene with Rook, where he finally is willing to let himself be vulnerable (emotionally and physically), and fall asleep without fear of what Spite's going to do in the meanwhile. He also (depending on dialogue choice) finally talks about his feelings directly with you for the first time instead of in roundabout ways (the dessert being "not enough" is it really the dessert you mean, Lucanis. is it.). Even though he is STILL reluctant to verbally admit his feelings or let Rook share their own at this point, I think that's more a narrative choice about saving those last emotional dialogue options for the big final battle. but it is another point where he does have to stop just following along and ACTIVELY choose that yes, yes sometimes loving is worth the risk of losing it. Even if someone takes it away from you later, even if you don't survive it, sometimes the love alone makes it worth it.
I have like another 5000 words I could add into about how Spite ties into all this, about how having the demon in him is something he both fears AND how it forces him to acknowledge that actually yes he DOES share the same base feelings/instincts Spite does in terms of not wanting to be told what to do. And how this in a way is part of what gives him permission to act on it since he can no longer just shove it down out of sight. but this post is long enough already so i'm just going to take the rest of this and gnaw on it all day like a chew toy I guess.
anyway. AHG. it is kind of frustrating that the culmination of his arc seems to be "and then he got the job he never wanted anyway" but I do think at least all this prepares him for it in a way Caterina actively failed to actually do on her own. He NEEDED that step away from his straightforward path. Whether he stays first talon or not, and with or without rook as a romantic partner, he's finally been able to explore ideas outside the expectations of others.
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otome-dissection · 2 months ago
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Idk man I just think that mizu/ena5 and its progression was really beautiful actually. I just think that the release of the ena5 song was also really beautiful and kind of the nail in the coffin for me and I haven't been able to get the event(s) out of my head all week and that I kind of want to talk about it, actually.
It's about being hurt so deeply and continuously that any kindness that could be offered to you manages to feel like a sin, that it makes you crumble and shatter but for all the wrong reasons, not because of the newfound safety, not out of relief, but something worse and more deeply ingrained in you than kindness ever was. It's about carefully measuring the distance at which you keep others away from yourself, to ensure that it never happens again ("To save yourself the trouble", if that makes it easier).
It's about realizing that the people you've been spending all this time with are drifting closer, that they just might bump up against the unsightly parts of yourself that you've tried to keep locked away, it's about turning around and sprinting at full speed and slamming the door shut and holding onto the handle behind you to stop it from turning, because you're as frightened of the possibility of another wound being inflicted on you as you are of the possibility that kinder, gentler hands will reach out and smooth over the exposed scar. It's about hating eyes that judge and silently condemn you as much as you hate eyes that simply see you and take all of you in without scrutiny, because no matter what they're looking and they're looking at you and they know that your hand's on that door handle and they know that you're hiding something because, as much as you try to keep it shut, they've seen through the crack that you foolishly left open.
(The prominence of eyes in Bake no Hana, specifically eyes looking and searching, and finally landing on you, the viewer, Mizuki, is so fucking. Visceral in my opinion. Every character in the MV stares at the viewer in a deadpan, almost judging way. Even though Mizuki knows deep down that niigo won't really hate them, won't judge them, she just can't stand their kindness either; any gaze directed at her is a loss, another prick in their skin. It screams "don't look at me" while making sure that you know, with horrific certainty, that they're looking for you, that you're being watched. You can't go outside, can't leave your room, because they're searching for you, and while that should be reassuring, to you it's anything but).
It's about not wanting to be dissected, whether it's with hands that want to pull your organs apart or stitch them back together because no matter what they're there, and they're getting frighteningly close to your heart. It's about blinding yourself and covering your eyes to it all because seeing means exposure and exposure means they're taking something from you and you can't do anything about it, much less take it all back, much less have a say in the matter. Everyone's just taking and taking and taking and you wish you could just be alone. You wish everyone would just disappear and you could live in a world all to yourself, for only yourself (but is that really what you want?).
It's about the way that, near the beginning of the Yoka ni Mitoreta MV, Mizuki and her loneliness is represented as a dark, splotchy stain in the shadows. No colors, no patterns, no way to clean it or wash it all away, just raw ugliness marring a blank canvas. It's about the way that Ena reaches out to it anyway, the way she startles when the glass shatters just when she finally starts reaching forward, the way that the rest of the MV/song represents her searching for and reaching only further out to Mizuki, even if the broken shards of glass will only cut her fingers, potentially leaving scars.
It's about how, in every way, subtly, directly, consciously, and subconsciously, Ena shows that she fucking cares.
It's about the way that Ena lets Mizuki have autonomy, despite the situation being so horribly out of their control. And it's such a delicate thing: If she really wants to, Mizuki can take the opportunity to just run away, keep running forever, repeat the cycle over and over, and maybe she'll just destroy herself with it again, but it can't be denied that it's something important to them, something she can't quite live without just yet, their means of survival. Mizuki's autonomy is their identity, it's her tailoring her own clothes and choosing her own ribbons and styling her own hair the way she does. Ena letting them have that is as much about trust as it is about understanding that Mizuki of all people should have this right, when control was something stripped from her throughout so much of her life. She couldn't control how she was born, how people look at her or why, can't control what they think of her; lacking control has only left Mizuki vulnerable to the cruelties of others, has only caused them to suffer, which is why it's so important that it's given to them now.
She had the control to make the choice to see niigo's welcoming love and run away instead of staying, and she has the control to make the choice now whether she wants to keep things the way they are or take a step forward to be at their side again. She has every right to have it, and I think the fact that Ena realizes and respects that, even if it's subconsciously, is really beautiful (there is an entire fucking Verse about this in the new song and just. God Look at this. It's so caring, unconditional, and for fucking What. I think there is something to be said about how much Ena is willing to put aside for Mizuki, and maybe deep down it isn't healthy, but for now I'm just kind of in awe)
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It's about how insanely patient Ena has been this whole time. Mizuki says that she basically lied to Ena's face about telling her their secret, even after Ena said with such conviction that she would wait for Mizuki as long as it takes, and Ena is just kept waiting and waiting and worrying like this seemingly indefinitely. It's about how Mizuki danced around it, avoided it, kept the distance, straight up ran when she was finally pushed, but Ena still chased anyway when she saw that she couldn't wait anymore, kept chasing just enough to intervene and get a straight answer out of Mizuki when she really needed to, but still leaving her enough space to leave if that was truly what she wanted. It's about how relieved Ena is the moment that Mizuki finally says outright how much they want to be with her and niigo, how much she wants to try, how much more light Ena's voice sounds when she grabs her hand, relieved, the way that the relief she feels can be felt through the music, throughout the entirety of Yoka ni Mitoreta, the way that warm colors always follow her when she chases after Mizuki, just to hold onto her and stop her from running away completely.
It's about how that careful combination of Ena's directness, Ena's persistence, Ena's warmth, her patience, her bluntness about her feelings, the way she chases and holds on but not too tight and her regard for how unsafe and exposed Mizuki feels actually works and breaks it all down. It's about how she really did reach through to Mizuki, despite the thorns and broken glass shards and nearly-unfulfilled promises, the way that Mizuki did finally let her turn the door handle and step through to see what she'd been hiding all this time, the way that Mizuki's hand, limp, when Ena first grabs onto it, shifts to hold hers back as they cry in the face of Ena's gentleness.
Despite how harsh Mizu/Ena5, and even Ena herself as a character can be (or at least was in the very beginning of pjsk), everything is somehow gentle and warm in the end, blindingly so. And you know what, I think that's beautiful. And what's even more beautiful than that is how Mizuki allows themself to crumble and shatter under that kindness, that warm light, but this time, finally, out of relief.
On a final note, I just want to say that I also appreciate how all that didn't have to solve everything. The scars haven't disappeared, haven't gone away, and Mizuki knows that their desire to run hasn't gone away forever, and maybe it never truly will. But for now they've calmed it, at least a little. She's learning to allow herself to be seen, learning that when someone's fingertips brush over their scars the way Ena's did that it's only out of care, and that maybe taking in that care and allowing herself to feel kindness and safety is okay. They're safe, for now, somehow. They're learning. They're trying. And I think that's cool :)
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anna-scribbles · 7 months ago
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adrien should be at the pink pony club
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azulsejos · 1 year ago
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s2 + golbetty centric episode prayer circle 🍎💝
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eyes-of-nine · 2 months ago
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tfw when minibosses take you an average of like 8 attempts minimum but then you somehow manage to defeat your fav boss in the entire game on your first try :v
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lixel-5 · 3 months ago
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THE PINK ROOM IS STANARRATOR
I HAVE ACTUAL EVIDENCE PLEASE JUST STAY WITH ME
i saw this reddit post
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like four days ago and it’s been rotating in my mind so much i’m going insane and i need to talk about it
“why do i think the pink room is hinting at stanarrator” you may be asking
let’s talk about it
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1) pink.
color is deeply engrained into TSP. i’m not going to go deep into it now, there was a few posts circulating about it and few months ago tho, but you just need to know that color can often hint at meanings in TSP
PINK IS NO WHERE ELSE IN THE GAME.
the closest we get in the game is red (and a lot of it). there’s not even pink in the light show in the zen room!!!
something happened in this room that happens no where else in the game.
also: pink is a lovey dovey color. at there’s a LOT of it. the only non-pink color in the room is the Stanlurine. which i’ll also talk about a bit in point 3.
2) apples.
i never thought much of the apple. until now.
apples represent defiance and forbidden knowledge. also fertility? think of Adam and Eve.
the narrator learned something in this room. he learned something he wasn’t supposed to know, and the memory may have gotten erased.
but the memory is still there, just not explicitly. (the narrator actually demonstrates a LOT of implicit memories, showing that the knowledge isn’t truly erased, just hidden.)
3) figurines.
stanley and the narrator aren’t really supposed to be on the same page. they’re made to rival each other, and the fun of the game is when you (stanley) disobey the narrator
one of the VERY few times the two are working together is the figurines. and the narrator enjoys watching stanley collect them SO MUCH.
the narrator seems to correlate the Stanley-Figs with whatever this pink room represents.
maybe it’s having fun with stanley, or it’s working WITH stanley rather than against him. but all we know is that this room is something good, something the narrator enjoys.
remember what i said in point 1? the Stiggley Wiggleys being the only non-pink thing is the room? yeah. gay.
those pinky feelings are surrounding stanley rather than being stanley. does that make sense?
now, i don’t think the Pink Room is where the event took place, but rather a representation of what happened. the narrator can’t remember details, so his brain filled in the holes. which there’s a lot of.
i do think that the memory that’s manifesting in that room is some type of confession. the narrator is learning that his feelings are reciprocated, that he and stanley are on the same page for ONCE.
and the way the lighting hits the apple so vibrantly makes me think that the whole point of this room is that knowledge, that experience the narrator has forgotten. the pink lovey feelings are just surrounding it.
even when the narrator forgets what he memory means, it’s still so pink. it’s so full of love that it’s literally glowing.
apparently the apple might be a reference to superliminal. fuck you i like that the stanarrator theory more
THE PINK ROOM IS THE STANARRATOR ROOM
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thank you for coming to my tedtalk
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edwinisms · 7 months ago
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you ever think about how edwin got like. no warning, no time time to process, nothing, when he reappeared on earth faced with the fact that virtually everyone he knew in life is dead. his parents? probably died in the 1950s or so (at best) almost forty years prior to edwin’s return. if any of his classmates were still around, they’d have been elderly, possibly senile, and in a few years they’d all be gone– except, of course, edwin. nothing looks the same, cars look like spaceships, there actually are spaceships, he can no longer see the stars, and everyone he knew is dead.
#he may be dead too but he’s certainly not gone. he’s a lingering relic. something lost to time#that’s some existential dread on an incomprehensible level#like. he meets charles quite soon after returning from hell and it’s implied he’s pretty much just been haunting that schoolhouse in that#time right. so I seriously doubt he’d have visited– let alone even Found– his parents’ graves. I wonder if he ever did that with charles.#maybe charles providing him enough emotional support to feel like he could handle it.#I know that he wasn’t close to his parents in life– nor was he close with anyone that we know of– and yeah I think that’d definitely make#things a bit easier in certain ways; he never felt like he belonged in his time/place in life or amongst his family or peers#so being displaced from all that wouldn’t feel like losing very much#in a way#but… I mean still#and he inevitably would have those lingering thoughts of what could’ve been–#yes he could’ve died in the war and his life likely wouldn’t be very fulfilling considering he’d probably be forced into a marriage he#wouldn’t want or if he was found out he could’ve been imprisoned and ostracized and disowned. plenty of ways his life could’ve been awful if#but also what if his parents loosened up a little as the times did? as in- what if he actually got to know them? what if they tried to#have a relationship with him of some sort eventually? it’s not impossible#it’d have to eat at him. that and wondering if either of them felt guilty#or felt a loss. or anything#hoo boy. fun stuff#edwin#edwin payne#rambling#dead boy detectives
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okiankeno · 7 months ago
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I need her to end me
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missionel · 2 months ago
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a small glimpse into my 𝓼𝓲𝓬𝓴 𝓪𝓷𝓭 𝓽𝔀𝓲𝓼𝓽𝓮𝓭 mind
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snaplight-anxiety · 2 months ago
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i’m late to the party it is wildly out of fashion has anyone mentioned that Isaac’s meeting with Scott in s2e11 parallels Scott’s meeting with Allison in the pilot
like Allison meets Scott for the first time one on one emotionally connects over an injured dog at the vet Scott shows her how to pet it (to TRUST) Allison’s like I can’t believe I’m crying rn after this emotionally traumatizing event (get my girl out of the 2010s not like the other girls box PLEASE) Scott’s like no dw I would cry too (he said toxic masculinity who I’m rizzing up a girl rn everyone say thank you Scott McCall) and then in s2 Isaac comes to the vet to talk to Scott (dare I say first time they directly emotionally connect dare I say first one on one intentional for a reason moment) and they’re talking over/about an injured dog and Isaac gets shown how to pet it and to help it and he starts crying a little Scott says I cried too (RIZZ⁉️ hello this was crazy wdym you have one way to flirt) and he says because I trust you. can anyone hear me
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thepromisedbride · 1 year ago
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i genuinely can’t stop thinking about this scene. fxmq still standing near xie lian even though they could have stepped away from him even before everyone was dismissed. and once they were told to leave they didn’t go immediately, they hesitated. and then mu qing leaves first, followed by feng xin, both of them looking disappointed to go but what other choice do they have and all three together again but they can’t fix the past and this is no doubt a harsh reminder of everything that had happened. god.
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