#anyways here’s my interpretation of her <3< /div> Explore tagged Tumblr posts

[stump-not-found]

i <3 creepy hallway

creepy hallway number one <3

alright time for more home life stuff . the bedroom scene came up as a way of trying to reintegrate the gold statue from earlier, since i just really love trying to find old elements and tie them in as plot relevant as time goes on . not usually planned, but it comes through during the editing stage, which is a fun game of deciding what scenes to keep, and which to get rid of . i wasn't so certain about this one, but i loved the idea of baby ford interacting with mabel, who's slightly older... i need to draw art of it, honestly . they're cute

it's really gratifying seeing people pick up on what i've been setting up as part of ford and the statue, the fact i was able to effectively communicate something going on means the world to me . the rest of the story is gonna dig into it more so i won't lay it all out here, but it really is so much fun . makes the whole writing process feel so communicative when people share thoughts and interpretations . especially when the scenes are meant to be read into !

we also get the closet yay . sure that's not gonna be important at all

writing the kids big blow up fight was a trip and a half . the original vision was a pretty shallow "we're stressed out and out grunkles should stop being mean to each other :(", just as a way to try and push forward the dynamics between ford and stan . that still exists, it's just a lot more focus being put onto the kids themselves . they're tertiary characters for sure, but i like thinking about their home life, and how that impacts them

one of the challenges is trying to have the fight feel fairly balanced between the two of them . shoutouts to my brother and wife for the full ass socratic seminar we had about threading that needle . how do you get a conversation where a young trans boy is trying to discuss his fears about his life and his body, and keeps getting shut down ? how do you balance that with a little girl who feels like it's her job to be the sweet, happy, emotionally intellegent adult in the room ? i'm happy with the end result but boy was it stressful

bill also wasn't gonna be here but i wanted more bill so . he got to come back . i really liked tying in nick with the spit to the little chats their having in the paradox dimension . love the lil hand pinch that was just a treat for meeeee, i get to be indulgent in my fics as much as i want . i also like the fact that ford is under some indescribable pain that entire time . they got a dynamic in this story that makes me laugh .

you know whats funny is i didn't even realize ship of theseus was a paradox writing a lot of the stuff about paradoxes . for some reason i just stumbled into that one . very funny . or, no wait -- i totally knew the entire time my brain is the size of three (3) whole apples

oh man and the entire lab scene i just loved writing . i love including bathroom breaks . i love dipper's poor hygiene . i love the fact the kids traded gold for soda, they're such perfect lil con men in training . and again the whole talk about star trek was so indulgent and fun

the brothers grew up queer in the 60's/70's and that's a major part of their arc . i hope to get across the ways they both hurt each other both as kids and adults . they still got so much to work on, and i just don't know if they've got the time

anyways creepy hallway bill time

favorite part:

“Clark.” Ford stiffens, stops. Looks up. “What?” “That, uh, captain guy. The one with the, he had the big, you know–” Stan gestures over his chest, puffing his pecs out a bit more. “Always had em out, shirt cut off or whatever. Got all hot and sweaty. Great hair.” “...Kirk?” Ford turns in his seat, slightly, to get a better look at his brother. Stan clicks his tongue, points his index finger in recollection. “ Kirk .” He repeats, and the image of the guy blooms in Stan’s head. Ford had a magazine with him on the cover, about as disheveled and beat up as a guy could look, shirt torn open. That particular mag went ‘missing’ into Stan’s stash, and he laughs at that old memory getting drudged up. “I, uh. Was a fan , back then.”

i just love how neither one of them can say what they're talking about out loud lol

Stan and Ford have a conversation, Mabel and Dipper get a bit absurd, and something gold is given meaning.

If you don't look, you won't see it fading.

[vampire-gummys]

Clockwork my luv <3

[bmpmp3]

finding out ur coworker is way older than you thought and having to very quickly reorient how you talk to them

[marukfe]

@weepinglilvessel Doodled your versions of Moon a few days ago because I like her :3

[rin-solo]

ALRIGHT, I AM FINALLY REBLOGGING THIS<3

Amazing post! I really enjoyed reading it. Now, I don't think I'm going to go too deep into my own theories because I want to do my own (more story- than music-based, though) analysis (will probably do it saga by saga so as to avoid the word count problems ...)

Overall really thorough, so I'm going to add just a few things here and there:

I strongly believe Just a Man is a prophecy in some way, or at least heavy foreshadowing (deliberately picking imagery for each saga in Act 1): comet/meteor -> TROY; candle/blaze -> CYCLOPS; ripple/tidal wave -> OCEAN; reason/blame -> CIRCE; man/monster -> UNDERWORLD (I'm not going into detail on why I believe this for now because I will be in my post eventually.)

Fun (?) parallel that came to mind: Odysseus claims to be the "man who, unlike you, has mercy" to Polyphemus (which is an at least partially inaccurate claim spoken out of resentment) and later does the same with Poseidon in Get in the Water (my beloved 🫶), except there it's much more genuine and much more presented through other words/actions rather than outright stated (making it a lot more authentic and accurate.)

Odysseus was 100% correct in going to Aeolus, and I am tired of people criticizing him for this, sorry. I mean, Hermes later tells us literally that "no mortal can pass Poseidon's storm," meaning that they couldn't have gotten past that storm without divine intervention. The few animatics for Storm that exist probably massively undersell how bad it actually was (I'm actually currently making my own one because I think this song is underrated.) And then it's also not Odysseus' fault that the wind bag was opened; apart from not trusting anyone with the wind bag, he actually didn't do anything wrong in the Ocean saga. Going to Aeolus is really the more responsible thing, in my opinion, rather than trying to survive with a fleet of ancient, very sinkable ships in an impenetrable storm. They would've all drowned had he not decided to do something about it.

I wager Aeolus' "Keep your friends close" was trying to give Odysseus a hint at how to beat her game. I don't think she was setting him up for failure, as some believe. If he had actually kept his friends close, he would've probably won. I am convinced that Eurylochus wouldn't have opened that bag if Odysseus had actually entrusted him with it.

THANK YOU for everything that you said about Ruthlessness. The amount of people who misunderstand that song .... sigh. And yes, I believe the ripple/tidal wave reprisal was deliberate, not just because this is the tidal wave to Remember Me's ripple, but also because this is Poseidon's own ripple to 600 Strike's tidal wave.

I've actually always interpreted the ending of There Are Other Ways as Circe "opening her heart" somewhat, as she has now been shown that she is potentially hurting good/innocent men by striking first. Odysseus proved to her that such a thing exists, and she might actually be rethinking her approach now (I hope so; as understandable as her actions are, they're still harmful.)

Thank you also for pointing out how "No longer you" only means "not the man you are right now" as opposed to "a monster," as I've seen so many claim.

And, last but certainly not least:

If the (heart)beat signifies looming/imminent/perceived danger by at least one involved party, I am eyeing very, very interestedly the fact that it disappears as Odysseus finishes his "... just go home" speech in Get in the Water (my beloved 🫶) and is present neither during the 3-second pause nor "Maybe you could learn to forgive?" Hm, yes, very, VERY fascinating indeed...

... Of course, I was going to close off with this one 😂

Anyway, that was really fun to read and I hope you enjoy my additions :) I'm very curious what you think, actually!

Epic Analysis - Act I

So I made a joke a while back about analyzing the themes of the musical and that'd be ten pages long and it turns out I'm not that far off considering just act I has ~checks mark ~ 8 pages and over 4K words lmao.

I want to preface this by saying I'm pointing out things that I have noticed while listening to it - I'm no way claiming to be right about anything, and there things I may have missed or may have misundertood.I don't have a degree in music nor am I a professional writer/songwriter, so you can interpret the points bellow however you wish.

And to follow along with.

Red - Song titles

Orange - repeated sentences that appear later on.

Blue - motifs

I hope you all enjoy and please do me a favor and like and reblog this with your thoughts because I lost a good amount of brain cells doing this.

Also, please share your thoughts and theories, too <3

And if you kindly could like and reblog so this can reach new people I'd be greatly appreciated.

The Horse And The Infant

We get our first introduction to Odysseus' electric guitar with his motif.

We also learn a bit about Odysseus himself - he can operate well under pressure, he is a good captain who knows the strength of his men and he also says: "Neo, avenge your father (Achilles) kill the brothers of Hector"

We hear a heartbeat when he's thinking about Penelope and Telemachus. (This will be important later on, trust lmao).

Zeus appears and we can hear his synth base.

We hear the music box that will later be heard again.

Odysseus begs Zeus to not make him kill the infant.

"Please, don't make me do this"

"The blood on your hands is something you won't lose, all you can choose is whose".

Just A Man

We get our first introduction to Odysseus' acoustic guitar.

But when does a comet become a meteor?

When does a candlе become a blaze?

When does a man become a monster?

When does a ripple become a tidal wave?

When does the reason become the blame?

When does a man become a monster?

Is important to note that the acoustic guitar disappears completely as soon as Odysseus decides that he has to kill the infant to ensure the lives of all of those he loves. It's also important to note that despite providing Zeus with alternatives, he still does what it takes as he said he would not long ago.

Here we also learn of Odysseus' hunger - And his is vastly different from pretty much any other character - because his hunger is about seeing his wife and his child - is not literal, but rather metaphorical.

And another interesting fact - we hear a choir singing back Odysseus' words back to him and that won't be the first time that it happens.

There's a possibility that's the crew doing so - but if he's in the wall and they're bellow, how exactly do they know what's happening there? And how can they hear what's he's saying?

I point this out because Jay himself has claimed that only gods can summon their own choir, so - what exactly is happening here?

Full Speed Ahead

We are introduced to other character and one foe that arguably poses more threat than the gods - hunger.

And Odysseus has enough hindsight - at that moment - to know that there was something was off because he could see fire but no smoke, which is an interesting thing in and on itself considering that we often say that "where there's fire, there's smoke".

He also stops Eyrulochus from barging in the island and states that he should go ahead with Polites, because they could find a way of no one ending up dead.

But when Eyrulochus states that they don't know what's ahead, Odysseus says that if they don't return six hundred men can make the whole place burn. (This is interesting, and quite telling if I say so myself).

Full Speed Ahead serves to drive the plot forward, but also gives us insight into Odysseus' mindset prior to Polites' death.We close the song with Ody's eletric guitar again.

Open Arms

We are presented with Polites' philosophy about kindness and greeting the word with open arms.

"You can relax my friend"

"Greet the world with open arms"

We can hear a (heart)beat - not to be confused with the heartbeat we hear in the name of Penelope - as soon as the minions ented the sound space with "welcome" and the beat remains there until we hear Polite's say: "See".

I said not to be confused with Penelope's because this beat does sound like a heartbeat - it picks up the pace and slows down but is not present in every song nor is it present in every section of the songs it shows up in - which leads me to believe it might mean something (unless it's a random beat, but I'm being honest I have a hard time believing that).

So our first theoretical introduction to this sound happens when they are near perceived danger - but we all know what the danger motif sounds like at this point (which I won't tackle because is everywhere and it doesn't feel necessary as off now).But the beat disappears as soon as the situation is resolved and it does not appear again.

And again, Odysseus is warning the winions that if they don't make it back safely, his men will burn the island down. And here, Odysseus presents Polites with the idea that Open Arms with no discernment can sometimes lead them down a path they do not wish to go - "that's what you get with open arms".

But when they manage to "succeed" living by what Polites' said, Odysseus begins to ponder which is why Athena shows up.

Warrior of The Mind

We are introduced to Athena as a character and we hear her motif for the first time.

We hear the heart(beat) again as soon as Odysseus asks Athena to show herself. So here it seems to be present again near perceived danger, or at the very leas near the unknown.

And we hear his electric guitar motif right before she asks what his name is.

Polyphemus

Again, we hear the electric guitar and his motif but on a different scale than what we usually get (I'm pretty sure)

And not for the first time, we have Odysseus having enough awareness to notice that something is off, because everything is too perfect.We hear the heart(beat) again once Polyphemus asks "who are you?"

Here is the first time where said beat can be perceived at different metric sections than they'd normally be for a normal beat, here they are present in certain words.

At first, we hear it constantly until Odysseus says they come in peace, and they stop and come back in the word "sheep". It appears between that and favorite, and appears again in "favorite", again in "right" and "deep", and then in "know" and then the beat is gone.

But is important to note that in this first section, we only hear one beat per minute.

It stays gone for a good portion of the song and it shows up again as soon as he stops saying: "A gift for you and a gift from me" and it sounds a little bit more stuttery in this part but is gone again before Odysseus says his name is "nobody".

And we hear the electric guitar again in this section. And then the beat again - this time two beats per minute.

This is the first instance in which we hear the beat associated with actual danger, but not only danger but also presented in a context of someone claiming they come in peace right after they kill a sheep that was there just minding its own business and then in a context where one of the parts is being manipulated but has also made up their mind about things will end.

As for the song itself, there are some things I find interesting in it because I don't think we talk enough about how the themes are connected, or about this particular theme that I'll touch on again.

But Polyphemus asks Odysseus what gives him the right to deal that kind of pain - i.e: the pain of losing his friend sheep, and asks him if he doesn't know that pain he sows is pain that he'll reap and proceeds to warn him that he'll learn that is not so fun to take."A trade you see, take from you like you took from me".

Everyone talks about how this line is foreshadowing to him taking Odysseus favorite person from him - and it is! But it also shows us something else: Consequence (which isn't the first we see off and won't be the last). Odysseus himself will later say he didn't lose any of his men in the war - because up to that point - he was a brilliant commander that thought up an idea to bring a horse into a city so that they could win, but before Astyanax - which is a point I'll make later on -, Odysseus was never presented with the consequences of his own actions.

This isn't an argument about who was right or who was wrong - but objectively, about the principle that every action has an reaction, and that's when Odysseus will learn this the hard way. So the song and the character are telling him (and us by extension) that Odysseus entered the cave, killed the sheep and that actions will have consequences. He obviously didn't know that he was killing something important to someone, especially someone that could kill him - but that's the thing, whether he knew or not doesn't matter to Polyphemus. He still felt the pain of losing the sheep, and because he felt that pain, he had to make Odysseus feel the same.

There was an action, that action caused someone pain, and so because of it, that pain must be felt in the same way to be understood.

And then again we see Ody's mind at work - with him tricking Polyphemus with the lotus wine -. Odysseus is trying to fix the situation with a gift - as a way of saying, I may have taken something from you, but here I am giving you something back -.

"A trade you see, a gift for you and a gift from me"

I also find it interesting that Odysseus talks about the power that's in his hand when referring to the wine. I understand that apparently it was Dionysus' wine, but if we think about another possible meaning, it could also refer to Polyphemus own thirst (and his father's, by extension) which is the thirst for power, not on the traditional sense but rather on the sense that he felt his power over the island and the sheep was taken away, so in order to gain it back, he must kill the people that took it from him.

Survive

We hear Zeus' reprisal of The Horse and The Infant but I'm pretty sure the tempo is a little bit faster than what it is in the previous use of it.It could be because the same way Zeus ordered Odysseus to kill Astyanax, he's ordering his men to kill Polyphemus who also happens to be a child Cyclops - but I think there's more to it than that.

We hear the guitar again.

Odysseus explicitly states he's ready to kill. "Is just one life to take".

"When we kill him then our journey is over"

We don't hear the heart(beat) here at all.

And then Polyphemus takes over the song and the motif as well, and kills Polites.

And then he says "You've hurt me enough".

"Six hundred lives I'll take, six hundred lives I'll break, and when I kill you then my pain is over" (Sidenote, I was looking at Spotify and the lyrics there were "then my deed is over" and it make me question everything because I always heard it as pain and everywhere else has as pain so yeah, Spotify sucks).

Going back to the point, I always found it interesting that Polyphemus would say that when he kills the men his pain will be over. Because it made me wonder - does he mean his literal pain or the psychological one? Is not like he didn't care about the sheep - he did - quite a lot. So is it possible that he's not referring to just the physical pain but a different one too? Because here he sounds more vulnerable than he did in the previous song when he says "enough, you've hurt me enough". He doesn't even sound angry, but rather quite vulnerable.

So if my interpration is correct - this is also the first time that Odysseus sees the emotional pain he caused on one of his foes, but is also the first time we have another character stating that for said pain to be over, the thing that caused it has to be dead.

Remember Them

This is Odysseus "coming to terms with his losses" (I'll touch on why this is on quotes later). But we again get his eletric guitar and Odysseus resilience being brought to the forefront.

He goes back to his military mindsight quite fast considering what just happened, and he delivers his orders very fast at that moment.

And after a whole song without the (heart)beat - it appears again when the other cyclops appear in the soundspace and ask "Who hurt you" and it disappears as soon as Athena appears.

So here the beat appears again in perceived danger - but also when someone is actually hurt.

And this is when Polyphemus is presented with the consequence of his own actions as well. He killed some of Odysseus pain out of retribution because Odysseus killed his sheep - so now Odysseus stabs him in the eye so that they can get out of the cave -.

And now, instead of killing the Cyclops, he decides to let him live, which will have consequences. As I said before, one song ago Odysseus was ready to kill him, but he had no qualms about doing so either; however, as soon as Polites dies Odysseus' whole mindset changes.

He decides to spare him like his friend would have wanted, but he also gives his own name away due to what I can only surmise to be resentment. Is almost like he's saying: "This is the man, that unlike you, has mercy".

Also, this is what Odysseus says:

"Remember me. I'm the reigning king of Ithaca"

"I am neither man nor mythical"

"I am your darkest moment"

"I am the infamous Odysseus"

And again we hear a choir in the background as he says all of this. Could the choir be the crew? Maybe - but if that's the case, why would they enter when this is singularly about Odysseus himself?

My Goodbye

We get Athena's motif again.

This song does a great job of recontextualizing Warrior of The Mind.

We hear Odysseus' guitar again - and I believe we get both of them although I'm not entirely sure if I'm being honest. I touched on this before, but I find it interesting that Athena tells Odysseus that he needs to put his emotions aside while actively being emotional herself. She's the one that's berating him, calling him a waste of effort, she's the one that sings a whole break-up song about it while Odysseus just wants her to be gone.

The lyrics and the musicality show us that Athena does care about him - we can feel that especially after Odysseus tells her that she's alone because of the notes on the piano, is almost like his words have a physical effect on her -.

Storm

The trumpets!

And we have Aeolus' motif.

Luck Runs Out

"How much longer 'till your luck runs out? How much longer 'till the show goes south?"

You rely on wit and people die on it"

Here we have Odysseus blindly deciding to ask a god for help. When we consider the fact that he just lost his best friend because he decided to barge in some place he shouldn't have, his choice to just climb to the top and ask for help makes even less sense, unless, you consider the fact that he took Polites' advice about "just asking for help" to heart.

Then Odysseus states that he still believes in goodness and that people can be kind - and we'll later learn that remains to be true even after everything - but he doesn't seem to grasp, yet, that blind goodness/kindness can have consequences - is no wonder we always say that no good deed goes unpunished.

Now, remember when I said that before Odysseus could both grasp when something was off because of the lack of smoke or because something was too good to be true? Why does that change? And it does, because he should've known how gods are - hell, he just had a huge blowout with one a few songs ago -, so why does he lose this hindsight all of a sudden?

Eurylochus' concerns are very valid - he has a point about Odysseus' relying too much on his wit to get people out of situations. He shouldn't have questioned him in front of the entire crew, but that doesn't mean he doesn't have a point.

Here, we also get a glimpse of Odysseus' current state - he says that he took six hundred men to war and that none of them died there -, which is true, but why isn't he addressing those who died after?And get the (heart)beat all over this song too.

Keep Your Friends Close

We have the (heart)beat again.

Is interesting that Aeolus' remark about keeping friends close and enemies closer led Odysseus to be distrustful of his crew, and yet, the god didn't say not to trust the crew, she just said: "Keep your friends close".

But because of what just happened one song ago, Odysseus doesn't feel like he can trust the bag to anyone else, which means he doesn't switch shifts with anyone and ends up falling asleep.

"So much has changed, but I'm the same".

Storm motif.

Full Speed Ahead motif.

Poseidon shows up.

Ruthlessness

Oh, this song!

First of all, the lyrics do a great job of presenting us with Poseidon philosophy and character

"Guess the pack of wolves is swimming with the shark now" This line here, oh is beautiful. Because Poseidon acknowledges that Odysseus and his men are dangerous (the pack of wolves) and that they can be brutal in their own right - he's not taking away their merit like many would in this circumstance -, but he's saying they're swimming with the shark (him). Meaning: They are under his domain now, under his control, and he now has the upper hand because he's not only distant from them but also has more power. (Credit to Mortius for the amazing analysis of this line)

"Ruthlessness is mercy upon ourselves"

I touched on this before, but I needed to highlight how I have seen far too many people completely miss the point of this song - not only on YouTube but also here, for some reason -. People argue that Poseidon asked for an apology which Odysseus didn't give and that's why he killed most of his fleet.

No.

The entire song is an exposition of Poseidon's philosophy - it's a way of showing us that he doesn't believe in mercy or kindness, that he believes that in order to survive one must be ruthless at all times. He's literally saying: "If you had been ruthless and killed my child, I wouldn't be here right now because I wouldn't know who did it".Or even then - I don't think he'd have sought Odysseus out. The reason he does is precisely because Ody decided to be merciful instead.

So is not like he's looking for a genuine apology - there was nothing Ody could've said that would've made Poseidon spare him -, he's just toying with Odysseus at that point.

Odysseus' apology (which he gave, in the ancient Greek way) wouldn't amount to anything.

We hear the (heart)beat again as soon as Poseidon tells Odysseus is time to say goodbye but it gets faster as soon as Odysseus enters the sound space and it stops completely on the word "scape".

"Captain, captain, captain"

When does a ripple become a tidal wave?

"When does a man become a monster?

"I am your darkest moment"

"The monster that always draws near"

We actually get Odysseus' acoustic guitar here too. Now, I'm still debating why Jay decided to reprise Just A Man here, especially with the ripple and the tidal wave (obviously, because they are at sea and all that, but I believe there's more to it than that).

If we follow the idea of consequence, it could suggest that this is the ripple effect of Odysseus choosing to spare the Cyclops, but it could also imply more about the Vengence Saga.

And as I said before, is interesting that Poseidon states that he's a monster and I wonder - did he mean it literally or figuratively? And I also wonder, how does Jay mean it? Because the whole concept of the man and the monster - besides reminding me of The Strange Case of Dr. Jekyll and Mr. Hyde and how in said book the allegory presents the duality of human nature, and how the balance between darkness and light is what makes one truly human - makes me believe that we might have an allegory at play here.

If - and that's a huge if - Jay is going for a similar allegory with Odysseus' arc it makes sense that he'd choose two disparate symbols of it (the man and the monster).So share your thoughts on this topic because I'd like to know.

Puppeteer

Full Speed Ahead motif.

There's a debate about whether or not Ody knew Eyrulochus was the one who opened the bag but we can talk about this later.

Circe's motif.

Here - we are once again presented with the theme of hunger - for food and for a woman/ for sex (let's be real) - and the "a woman" line always takes me out. We also get some context into Circe's character - a woman turning men into pigs once she feeds them -.

At first, we aren't clued in on the reason why she's doing. All she says is "think of your past, and your mistakes. They'll be the last mistakes you make".

And we again are presented with someone who has power and seeks to maintain it. This is our first introduction to her - she simply states that she has all the power and that she's not playing with people, but rather manipulating them like a puppeteer does.

She has the strings and she controls the outcome because she can twist and bend people to her will. The closest we get to something deeper is with the line "the world does not tend to forgive".

Wouldn't You Like

Hermes! I love him but there's not to say about this song, except that Hermes tells Odysseus that Circe can make him fall in love with her - so the fact that she tries and fails tells us exactly how much he loves Penelope.

Done For

Odysseus' guitar and motif.

The heart(beat) is very present here.

Here we are presented with more information about Circe's motivation. She states that she has people she needs to protect, nymphs she can't neglect. So in order to maintain control and power over the situation, Circe preemptively strikes before any harm can be done to her or the people she cares about.

Odysseus here tries to trick Circe but she doesn't fall for it. And the thing, Circe and Odysseus' reason isn't different at all - both want to protect the people they care for, but they're going at it in different ways.

She does tell him that the last time they allowed people to live, they faced a heavy loss. We don't know exactly what happened, but once can only assume that it wasn't pretty, so Circe learned from it and decided to use of her art of persuasion to get what she wanted.

There Are Other Ways

Here, Odysseus starts to repeat back what Circe said in her own song, almost as if he's slowly following her lead, until he thinks about Penelope and we hear her motif and her viola.

Here Odysseus vulnerability and the proof of his love for his wife is what convinces Circe to help them. She must've come across countless men before and I think is safe to assume none of them denied her before.

And that's the thing about Circe - when presented with a good reason to help, once she realizes that Odysseus just wants to go home, that he loves his wife so much that even after twelve years (lol) he remains faithful to her, and is desperate to see her, and that's a good enough reason to help him.

Circe already knows who she is, already knows what she's capable of and what she's fighting for.

Odysseus is on the way to figuring that out.

The Underworld

Full Speed Ahead motif.

"All I hear are screams"

The bells we hear are ringing the same notes that we hear in The Horse And The Infant as soon as Odysseus finds Astyanax.

"Captain, captain, captain"

"This life is amazing when you greet with open arms, whatever we face we'll be fine if we lead from the heart... Greet the world with open arms".

"Waiting" with Odysseus' motif on a different scale on the piano.This is the first time Odysseus truly addresses what has happened and what he's gone through.

Here he is, looking for the prophet to help him get home, and yet he's being haunted by the voices of those he lost and their last thoughts before they died. Yes - he's hearing their literal screams as they pass the river Styx, but is more than that. For the first time, he can actually see the consequences of his own choices and his actions.

No Longer You

Tiresias' motif.

"There is a world where I help you get home, but that's not a world I know" - This line here is brilliant, because not only addresses the fact that in the original poem Tiresias does tell Odysseus what to do and what to avoid, but it also further solidifies that this is very different from the original epic.

I see a song of past romance (Siren's song)

I see the sacrifice of men (Scylla's throat)

I see portrayals of betrayal (Mutiny)

And a brother's final stand (Lightning bolt)

I see you on the brink of death

I see you draw your final breath

I see a man who gets to make it home alive but it's no longer you

No Longer You is a great way of setting the stage for the next act, by providing Odysseus with a vague warning about a man who is hunting and a man with a trail of bodies behind it, it allows his mind to wonder and the ponder who that man can be. The interesting thing is - Tiresias is telling that the man that makes it back home is no longer him - as in no longer Odysseus, as in no longer the current Odysseus -.

At that moment Odysseus already has a trail of bodies behind him. Whether or not the deaths in the cave were his fault isn't the argument here, but rather that they happened and happened under his command. But here Odysseus is presented with a future and a past he can't change or can't control.

Monster

Odysseus' guitar motif that gets pulled away.As discussed by my amazing mutual @rin-solo in her Monster essay, Odysseus is non-judgmental by nature.

Monster is Odysseus debating if mercy is not the thing that has been killing his men all along, if him caving to guilt is the reason they're not making it home. He's not justifying the actions of his foes, he's not saying they're morally right in doing what they're doing.

Is the Cyclops struck with guilt when he kills? Is he up in the middle of the night? Or does he end my men to avenge his friend And then sleep knowing he has done him right?

When the witch turns men to pigs to protect her nymphs Is she going insane? Or did she learn to be colder when she got older and now she saves them the pain?

He's simply questioning if these people are allowing themselves to be stopped by guilt or by mercy, he acknowledges their perspective, he acknowledges that them doing the things they way they're doing them is what keeps them alive.

"Ruthleness is mercy upon ourselves"

Here Odysseus addresses those he lost again, and is the first moment where it feels like he's really allowing the grief and the hurt to set in.

I said it before and I'll say it again, Monster doesn't seem to about Odysseus choosing to become a monster because he wants to, but rather because he feels is the only thing he can do under the circumstances. With the context we get from songs that will come, Monster seems to become more and more about Odysseus not wanting to feel guilt about the choices he knows he'll have to make to make it back home.

He wants to throw the guilt he feels away:

"Does a soldier use a wooden horse to kill sleeping Trojans cause he's vile? Or those he throw his remorse away and saves more lives with guile?"

Monster also seems to be Odysseus' way of starting to understand his own morals, of coming to terms with them, of accepting things about himself that he didn't seem willing to do up until this point.And once again, we hear a choir in the background singing the words back to Odysseus.

[themyscirah]

Complaining abt Suicide Squad yet again but the fact that they have Waller exposing the alien community to space racist attacks and talking abt how she got to her position through deceit and being a terrible person and stuff is just. Ahsfiwueh JUST SAY YOU DONT KNOW WALLER.

Anyways literally the 3rd mission of the Squad ever (and the first framed as smth Waller picked and not orders from above) was the Squad discrediting and stopping a rogue vigilante who was only arresting POC and funneling white people into white supremacy groups (of which he was the most prominent member) in SUICIDE SQUAD #4. and it's explicitly framed as this mission being personal for Waller that she's hiding from the government bc its illegal like. Guys. Please why are we having her incite (space bc comics) racist attacks now

Also the whole "Amanda got her position through deceit and being a terrible person" NO. she KEPT her position through being shitty and playing complicated political games!!! She wasn't always that way like there is a difference and it is IMPORTANT ppl PLEASEEEE. In Secret Origins #14 we learn Amanda's backstory and she used to be a normal, caring person! Like even after she entered into working in government and politics she wasn't automatically morally bankrupt like please people. She was originally given control of the Squad by Reagan (*sigh* 80s comics...) to distract and get rid of her because she was so successful at pushing progressive social policy in Congress. Acting like she's this static pillar of evil is such a waste of her character and so fucking uninteresting and disrespectful to her arc it drives me MAD.

Like I am NOT saying Waller is all sunshine and rainbows, she fucking SUCKS (said w love <3) but like there's a human being there. It's a progression, she has a character arc like please, DC, please!!! They've fucked up Waller so bad and made her so opaque and uninteresting she can't even be the protagonist of her own story for fucks sake!

Like I don't know how many times I have to scream it until DC hears me or remembers but WALLER IS THE MAIN CHARACTER OF SUICIDE SQUAD. ITS HER BOOK. yet right now she's a cutout to be used as the villain wherever the writers please. Even in her book we get none of her perspective really displayed, no exploration of her thoughts with any kind of understanding of the role she traditionally has played and was made to play in the story.

[graveyard-society]

the sheer amount of headcanons i produced while i was drawing this is insane

[spitblaze]

If I had a nickel for every incarnation of princess zelda I think is transmasc. I'd have two nickels

[transannabeth]

hi. for people who saw gatsby: an american myth. do you remember mckee asking nick for lunch. and then gatsby in like the next scene inviting nick for lunch. because i remember.

[sysig]

I like him a normal amount (lying) (Patreon)

[lyssafreyguy]

God . . . imagine thinking Laios is a bad person who doesn't care about people. actual insanity.

[nexus-nebulae]

god sometimes i wish the whole "you wouldn't say/do that to a physically disabled person" lie that certain mentally ill people say was true bc i fucking WISH i could use "I'm in a wheelchair" as a gotcha for people being ableist against me. unfortunately,

[shapelytimber]

⭐ Besties on break ⭐

It's up as a print on my inprint ! :))

Kiki 4 bouba type ship

Loved imagining Uhura's space btw !!!! I had so much fun with the background ! Does it make sense ? Not really- but the vibes are here (I kept unconsciously adding tribbles kfkfk had to stop myself at six otherwise I would have just filled the scene with them)

[COMMISSION] - [PRINTS]

Process and rambling below vvv

The fact that quiji, back in 2022, showed me like 2 episodes before we watched the first movie.... And that I didn't hate it (still think the beginning is way too slow, especially for someone not really familiar with the characters, and the uniforms are *horrible*), should have been a sign that this fucking show would eventually consume my brain fklfof

Anyway this summer we watched more of the show and also watched up to the fourth movie ! And omfg the fourth one in particular rewrote my brain ckfkkf the Nimoy vision is incredible, the blorbos in silly situations after a pretty angsty movie, their flop era in a space clio 2, the whales- also thank god the marine biologist and old ass Kirk didn't have a romance (I'm choosing to interpret her as french, so that the little kiss on the cheek at the end is just a normal bise, the normal way to say goodbye to someone you now concider your friend <3 and not a hint of romantic interest toward this man who is 1) already married to Spock and 2) could be her dad)

I am now normal about this show I promise ! :)))))

[prythianpages]

Hopelessly Devoted | Eris x Reader

Eris x Reader x Azriel | You're hopelessly devoted to Azriel, suspecting he’s your true love. Meanwhile, Eris is hopelessly longing after you. aka Eris being your mate but you're too infatuated with Az to notice.

warnings: slight angst, reader being a bit delulu

*also disclaimer that I am no expert in astrology and my knowledge is usually what I gathered from friends or tiktok so if I'm wrong, please correct me but do it nicely pls bc I am sensitive lol*

a/n: I wasn't sure whether to include Az or not in the pairing but I liked the idea of leaving this fic up to your interpretation. Anyway, happy reading! <3

As you entered the Night Court’s observatory, you traced your fingers along the edge of the great celestial map laid before you. You could feel the soft hum of magic beneath your fingertips, still smell the faintest hint of sage–a remnant of your father’s last ritual here. For centuries, your father has served as the Night Court’s astrologer. He’s guided and advised High Lord Rhysand and on occasion, Keir, the steward of the Court of Nightmares.

Above you, constellations and planets danced across the domed ceiling, the stars gleaming as though they were ready to whisper secrets just for you. You took a deep breath, centering yourself, and placed a palm flat against the massive zodiac wheel etched onto the floor. It began to glow, a warm golden light tracing symbols of the zodiacs and planets.

“Stars above and stars below, reveal the path I seek to know,” you quietly murmured.

The markings on the wheel shifted in response, aligning and realigning with clicking sounds, the warm golden light following. Then, your own chart had appeared, shimmering above you. It was a translucent web of stars and planets connected by silvery lines. You’ve read your birth chart many times, become so familiar with it that you knew it by heart even.

But tonight, you needed the extra reassurance. So you looked up, watching as the planets moved slowly. Your heartbeat a little faster as you spotted Jupiter making transit through your seventh house. The promise of growth, abundance, luck and most important of all, love filled the air. 

You slipped a small vial from the hidden pocket of your cobalt blue dress. The words Love Potion No.9 gleamed on the glass, the dark red liquid swirling. It was the enchanted perfume you’d bought from a witch last week—a little love potion designed to make you irresistibly alluring to your soulmate.

You felt a bit foolish, seeking a witch for guidance on love of all matters. Witches were frowned upon in the Court of Nightmares, after all. But impatience had finally nudged you to venture beyond the court’s dark mountain and into the surrounding forests, in search of someone who could help.

“Seek the one who walks between light and shadow with a mask of cool indifference, where fire meets the edge of night. There your heart shall find its match,” she had told you as she handed you the enchanted perfume.

Her words had only confirmed what you had been suspecting for years, centuries even.

Azriel was your soulmate.��

Azriel, the very embodiment of cool indifference, wore a mask of stoicism in the Court of Nightmares, just as High Lord Rhysand did. But his hazel eyes always seemed to burn with a hidden fire. And when you were alone with him, away from the cold nobility of the Night Court, Azriel would let that mask slip, revealing a kinder side that laughed and smiled with you. He was your friend and not only did he literally walk among shadows, he wielded them. It had to be him!

And then, there was your birth chart. Your seventh house lay in Taurus—a sign ruled by Venus. With Venus positioned in your twelfth house, everything pointed to the idea that your future soulmate would bring your happiness and pleasure. And since you met Azriel all those years ago during a counseling your father led, happiness had been an emotion you'd grown more familiar with.

The stars couldn’t have given you a clearer message!

**

There was a flutter in your stomach as you approached Azriel. The two of you had been stealing glances at one another, as you usually did anytime you found yourselves in the same place. He looked as beautiful as ever. As dreamy as ever. 

Though your High Lord and High Lady had moved to the center of the ballroom for a dance, he had stayed by the dais. “Hello,” you greeted him with a small smile.

Azriel turned to you, that mask of his slipping for just a brief moment to smile back at you. He took the extra wine glass in your hold, murmuring a small thanks. He turned his head back to the dance floor, attentive to his High Lady’s whereabouts. But he shifted closer to you, the coolness of his shadows caressing your bare arm and you couldn’t help but wonder if the perfume was working.

“You look nice,” he commented.

“Thanks.” A blush rose to your cheeks. You’d taken care to match your dress to the exact shade of his siphons. And he noticed. “So do you.”

“I wear this all the time.” Azriel replied drily, referring to his usual Illyrian leathers.

“Yeah, I know.” You cursed yourself inwardly for the awkward response, then shifted closer, leaning toward him. “Do I smell to you?”

Azriel paused, his shadows brushing close, as if curious themselves. “No,” he said after a moment.

“Oh.” Disappointment seeped into your voice despite your best efforts, and his gaze shifted to you, a hint of a frown in his brows.

“Do you want to smell?”

There’s a teasing edge to his tone, a subtle quirk of his lips. You shook your head, letting out a small, nervous laugh. "No. I just wanted to know if I smelled any…different…,” and then, in a much quieter tone, you murmured, “to you.”

Azriel considered your words. He looked to you in what seemed like permission. You gave a nod of your head and he leaned in, his warm breath sending a shiver down your spine. “You smell the same to me.” At the breath you let out, he quickly added: “which is good by the way. You smell nice.”

“Oh, okay,” you smile, albeit a bit awkwardly, the flutter you had felt in your stomach earlier twisting into a knot. 

“Y/n, is everything alright?” Azriel asked softly.

“Yeah, I just thought—” You stopped, not sure how to explain without sounding foolish. It wasn’t like you could admit to feeling disappointed over the lack of reaction from an enchanted perfume you’d spent quite a fortune on. Especially when he was the sole purpose for it. Had the witch scammed you?

Azriel waited for you patiently, concern flashing in his eyes. Maybe the perfume hadn’t worked, but the stars and planets had never led you astray. That still had to mean something, right? 

“I’m fine.” You finally said.

“Are you sure?”

The way he was looking at you had warmth creeping up your neck and settling deeper in your cheeks. “Yeah.”

A single shadow curled around Azriel’s ear and in the blink of an eye, his head turned. Your gaze followed his, to where Rhysand and Feyre were standing. Rhysand sent him a slight nod and with a sigh, Azriel returned it.

“Sorry, I have to go.” Azriel said, quickly downing the remaining wine from his glass.

You held out your hand, offering to take it for him.

“Thank you. I’ll be back. Don’t have too much fun without me, alright?”

“I’ll try not to,” you replied.

You watched Azriel disappear into his shadows before turning away from the dais and making your way to the refreshments table. You were eager for a refill on your glass. Perhaps a little more wine would help ease the sting of disappointment. But he’d said he’d be back, hadn’t he?

As you scanned the room, you noticed your father in conversation with one of Keir’s sons and your mother eyeing potential suitors for your older brother. As an elite warrior of the Darkbringers, he had no shortage of admirers, and it was only a matter of time before your mother secured him a match—perfect or not.

You suspected you’d be next on her matchmaking list, so you busied yourself with small talk among familiar ladies. Conversations were always a mind-numbing, the ladies your age exchanging beauty tips that centered around the male’s eye or fawning over this season’s most eligible males. Which this season just so happens to be your brother. Gross. If only they knew him the way you did….

Second to him was Bret—or some equally uninspiring name. A Scorpio, of all things, which clashed miserably with your chart. Not that it mattered. You had no interest in any noble of the Court of Nightmares. Or any male here. Most, if not all, were cruel and narcissists, only viewing females as child bearers and nothing more. 

There was a reason why this court was burdened with the title “Nightmares.”  And to marry someone from here would mean never waking up from this darkness. No stars to light your night skies, only endless shadow and despair.

So, you’d taken fate into your own hands. You’d turned to your birth chart, hoping the stars would lead you somewhere beyond Hewn City, beyond this never-ending nightmare. And they had. They led you to believe it was Azriel. Azriel, who was not only honorable and single but also, technically, part of the Court of Dreams. He’d been your friend for centuries, seeing you for who you are rather than an object or prize like most males here. 

As you sneak away from the conversation, you bump into something–someone. Behind you, a deep voice huffed a low, mocking chuckle. “Easy there, librarian.” 

You could recognize that voice anywhere, could recognize the heat radiating from him. It pressed down on you, leaving you simmering with irritation.

“I’m a libra, not a librarian.” You bit out. It hasn’t even been a minute and already you were exhausted by the searing presence behind you. “And besides, to you, it’s Lady Y/N.”

When you turned, you found Eris looming over you. His amber eyes gleamed with a familiar, infuriating mischief. He gave you that signature smirk of his, the one that made his sharp features all the more arrogant. “Such a harsh tone. Hardly fitting for a Lady.”

Your gaze hardened into a glare, only to have it stray toward a movement across the ballroom.  A flicker of shadow caught your attention, and your heart gave a small, hopeful jump as your gaze softened. There he was—Azriel.

He had returned to the ballroom…but he hadn’t returned to you…

Eris raised a glass to his lips, amber eyes flicking lazily between you and Azriel. “Disappointment doesn’t suit you.”

“I’m not disappointed.” You muttered hastily.

He gave a scoff, his smirk widening with dark amusement. “Please. I can practically feel it.”

“Liar,” you shot back. 

“Azriel said he’d find me again and unlike you, he’s a male of his word,” you continued, not sure why you were telling Eris this. “He’s…”

Your words trailed off as you watched Azriel, who stood next to Nesta and Elain. He laughed–actually laughed!-- at something Elain had said, shadows absent from his frame as his focus remained solely on her. You couldn’t miss the soft smile playing on his lips, nor the warmth in his gaze. Did he do that with every female he knew? You thought he reserved that just for you…

The bubble in your chest slowly deflated.

“Keep dreaming,” Eris huffed out. He seemed to take special pleasure in your reaction. It prompted your cheeks to flush but this time, with irritation.

“Oh, go away, you prick,” you said, rolling your eyes. “You don’t understand.”

“Oh, wouldn’t I?" he replied, leaning closer, his sharp gaze burning into you. You missed the flash of longing in his amber eyes, too focused on Azriel. Or the way the words that had been on the tip of his tongue faltered as your scent suddenly overwhelmed him, his breath hitching slightly.

 "You smell.”

“Gee, thanks,” you mumbled absently.

“I didn’t mean it like that,” he said, his voice gruff and pupils flaring. “You smell different tonight…good...”

You blinked, barely processing his words. Was he actually being nice to you? In all the years you’ve known him, he’s always had snark remark after snark remark for you. The way it would roll smoothly off his tongue always left you wondering if he’d rehearse them for his visits to the Court of Nightmares. 

You fidgeted, fingers grazing your wine glass as you cast a hesitant glance back at Azriel. Your chest tightened as he remained engrossed in conversation with Elain. Turn around, please. But he hadn’t even looked your way once. 

Eris stepped in front of you, drawing your attention back to him. His gaze roamed over you, your dress. He took in the shade and he knew why you had chosen it–and for whom.  "You know," he said, his gaze lingering on your face.  "Red suits you far better.”

“And there he is, you’re back…”

"I’m serious. This—" He gestured to your gown with a slight grimace, his fingers brushing the silk fabric in disappointment. "This color washes you out. Red would bring out the color of your eyes…”

Your jaw clenched but you remained silent, refusing to admit that his words stirred something within you. Eris was insufferable, arrogant, and yet you couldn't deny his eye for detail. He, after all, was always dressed impeccably in the finest Autumn attire. But you would never give him the satisfaction of admitting he might be right.

His smirk widened, as if he knew exactly what you were thinking. “Do you want to know another thing?”

“No,” you said immediately.

But he leaned in anyway, his breath warm against your ear. “You’re hopelessly devoted to a male who doesn’t even look your way.”

Your mouth opened, brows furrowing in protest, but he went on. His smirk softened, fading into a half-smile. One that didn’t reach his eyes, dimming the fire that usually burned so brightly there. And then, in a much quieter, reluctant tone, he murmured, “And I am no different, it seems.”

"But…" You stammered, resisting the urge to steal another glance at Azriel. "He does look my way…sometimes.”

Eris’s smile faded, his expression tightening. A flicker of pain crossed his face. So brief, you almost thought you imagined it.  "You’re delusional.”

“And you’re insufferable.” You scoffed, heart pounding.

“Better than being a fool.” 

The mocking tone was there but the usual sharpness had been softened by a strange, subtle sadness. Was this… pity?

You swallowed, lifting your chin defiantly. “The stars wouldn’t lie to me,” you said, though the conviction in your voice wavered. “He’s the one for me.”`

You met his eyes then and Eris held your gaze. His amber eyes warm and molten, the intensity of his stare prickling at your skin. An unsettling flutter erupted in your stomach, rising to your chest. A feeling you quickly dismissed when you felt something cool brush against your arm.

“Is he bothering you, y/n?”

Eris scoffed at the sudden presence beside you. It sickened him to see that sweet, adoring look on your face, the triumphant gleam in your eyes as you looked up at Azriel. The sight made Eris grit his teeth. His instincts roared at him, the fire in his veins was scorching.

You blinked, snapping out of your daze, realizing both males were waiting for your answer. “No,” you said but the way you shifted to stand behind Azriel said otherwise.

Azriel’s gaze hardened as he looked toward Eris. “Stay away from her,” he seethed.

A low growl rumbled from Eris’s chest as he took a step forward, his amber eyes flaring with rage. Though not as tall as Azriel, he seemed to tower over him at this moment. His teeth flashed as his lips curled into a snarl. “I do not take orders from bastards like you.”

Azriel’s wings tensed, threatening to unfurl and the movement of his shadows quickened. Like a storm ready to unfold. But before it could, you placed a hand on his arm. Right over one of his glowing siphons that seemed to be growing hotter and hotter, daring to match the fire coursing through Eris’s veins.

“Az, don’t,” you told him gently, not wanting to draw any attention to the three of you. You felt his muscles ease under your touch, his shadows brushing over your hand in agreement.

Eris’s gaze dropped to your hand on Azriel’s arm, his expression darkening into something unreadable. He exhaled sharply, turning his head as though trying to shake off whatever thought had crossed his mind.

When he looked back, his features had shifted into his usual cool mask, that infuriating smirk sliding back into place. He looked right at you.

“When you wake up from this deranged dream of yours, come find me.”

You watched him, feeling a strange, unwelcome tug in your chest as he turned to leave. Perhaps, one day you’d realize that the enchanted perfume you had bought was not a scam. 

And that the male you searched through the stars and planets for was not the one standing beside you, but the one who’d just walked away.

a/n: sorry if you're not a libra, I just thought it'd be funny for Eris to purposely say reader's sign wrong as he knows astrology is a huge influence on her.

[series masterlist]

[Eris masterlist]

General tag list: @scooobies, @kennedy-brooke, @sillysillygoose444 @lilah-asteria @the-sweet-psycho

@daycourtofficial, @milswrites, @stormhearty, @pit-and-the-pen, @mybestfriendmademe

@loving-and-dreaming @azriels-human @mrsjna, @adventure-awaits15, @lorosette

@alwayshave-faith

[marlshroom]

came to the fucked up realization after finishing gravity falls again last night the parallels of the dream bubble bill made for mabel and the literal state of delusion he keeps himself in.

in the book of bill on the page where bill cipher describes how he figured out a way to manipulate her into giving him the rift, it says:

"Summers ending, my guy. Ending to death, bro. She'd do anything to make it last just a day longer. Probably something RASH and OUT OF CHARACTER, even!"

as we know, mabel cannot handle the fact that she will be growing up. that the relationship with her brother is going to change. she is scared of high school.

bill then says "That was it. She'd never make a deal with me. But she'd make a deal with someone she believed could give her more time. The dream was done. I had her."

bill then creates the dream bubble for mabel, he makes every one of her dreams come true, a place where time is still and she can be a kid forever. a lie so great that she wont have to face the truth.

in journal 3 on one of the pages bill is writing in code, we see this:

[ID: "I ask you, why must[should] time only move forward? Why must cause preceded effect. Who voted on the law of physics."]

my friend helped me break down what bill means by this:

why can we only move forward in the 4th dimension of time. why does something have to make another thing happen, why must cause come before the effect. why cant you move backwards, in the other direction, change the decisions youve made.

how interpret this is bill asking why he is not able to back and stop what he did to his family. he says to ford that he tried and failed to undo the past.** why did him wanting people to acknowledge his advantages instead of suppress him lead to the destruction of his whole dimension?

**(i just want to point out that this is probably the time where bill is the MOST open to anybody, or at least the first. to his henchmaniacs he had been telling them that he liberated his dimension until the oracle discovered the truth. here, to ford, he got so much closer to telling the truth. he SHOWS ford the last atoms of his world. he says that it was destroyed by a monster, not that it was liberated! destroyed)

back to when bill says "I had her" about mabel, he had her cause he knew exactly what needed to happen to trap mabel in a delusion because it is exactly what he is doing to himself. creating a fake narrative of what happened to him, that he was vindicated in killing his whole dimension. only ever doing exactly what he wants because confronting the truth is too scary for him(good fucking lord). the morality page offers good insight into this too.

i am actually just going to quote the whole page and highlight the important part. it speaks for itself really

"THE POINT IS it's[morality] is a very flexible concept! But parents and presidents don't want you to know that, because then you might start asking other questions, like who put them in charge, anyway? So they cram your brain full of guilt and regrets for transgressing the laws that they just made up(the laws that they made to prevent the destruction of their dimension, regardless of if the law + the wrongful medication of a fucking baby triangle did any good to actually prevent it). Wouldn't it be nice if you could put all that baggage down? Quell the shame that follows you everywhere for a lifetime of crimes? MAKE THE SCREAMS FINALLY STOP? The good news is you CAN silence that annoying voice, and here's how!

DENIAL

Works 100% of the time in every situation. What you you mean there are people who disagree? I can confidently say there aren't!

RATIONALIZATION

If you can do it, you can justify it! "Truth" is open-source code and anyone can edit it anytime! Want to be like me? List 3 "evil" things and then 3 "reasons why they're actually good." You'll be rationalizing like Bill in no time!

DETACHMENT

Did you know 100% of your human cells die and are replaced every 7 years? That means that anything you did 7 years ago wasn't even you-it was some dead loser! You can't be held accountable for what a dead person did! What? You think this is just another form of rationalization? I DENY THAT!

THE BILL CIPHER DECISION METHOD!

Working over the eons, the voices in my head teamed up and worked out a foolproof method for making any decision in any situation.

DO WHATEVER I WANT."

ooooooooooooooooooh boy.

he is fully admitting here that he is living in a completely different really in order to justify doing whatever he wants. he gives mabel the tools to deny, to rationalize, to detach herself from the reality of it all. that time has to move forward. and he thinks it will work because it worked on himself.

but it doesn't work on mabel because she understands that she needs other people. shes vunerable, she lets people in, admits when shes wrong. and bill cant do that because it would destroy the fantasy he's created for himself.

[kekamao]

BATTER!!!<3 wouldn't say he's obsessed with his mission of purifying the zones but it is his mission and literally what he was made for. purifying of course means fucking KILLING anything that he deems impure weather its specters or sick burnt out people<3 been a while since i replayed the game to say more but girl is ON a MISSION<3

hey. silly rb game cos i’m bored. give me ONE f/o and tell me as much as u want about them, and i’ll tell u which fear entity from tma they’d serve

for example:

randy jade (dialtown): the lonely

prosh!p + steven stevenson selfshippers dni!