#because they're connected

[ssamja-trash]

i hope yesung ate well today and is feeling good about himself and his looks 💙

[pokimoko]

Asexual bird? Please

How about two asexual birds?

[inkskinned]

you know, you know. no gods, no masters, no kings on pedestals. everyone is fallible. death of the author. you know! you are balanced about your intake of media - you allow the wiggle room, the grace, the gratitude, the skepticism. nobody above criticism.

but still. a weird gut-punch feeling, something akin to betrayal. you read the article. surprise! an author you love is actually: a serial fucking predator.

well, shit. what now. no, you knew he was a person (all people are), but now you're wondering - what have i overlooked by accident? what messages have i internalized that are strange and cruel? and also, like, what the fuck?

his actions lay a thick glaze on top of everything. like each place is now ruined, opaque in a new way. but okay, fine, you've done this before. you knew better, right? you've been betrayed by many a cherished childhood author.

still, this stickiness. fuck. can you pick up that book again. will you read it to your children. you've recommended it to others - will you ever do that again? and of course, of course, no parasocial relationships. you were theoretically above this kind of sentiment. but the artist informs the art, right.

so it's not something as clear-cut as feeling he owed you, specifically (a stranger) better behavior - just that you kind of, in a distant and odd way... sort of trusted him to do better. it's not like a real trust or something speakable, just the faint hope that the product (good books) was a thin representation of the soul. now it feels like the product (good? books?) was a mask. in some small or insignificant way, your previous support of this person lent them power. your money and your time and your laughter.

and the thing is - you have this terrible, echoing sensation. how many times will this happen? over and over. you find out that the singer you love is actually a predator. you learn over drinks that your favorite high school english teacher is in jail for what he did to her. you listen to the news idly and suddenly discover that a woman you used to idolize has been abusing her kids for an actual eon.

what can you touch without the static melting off. you can't even really complain about it too much (you were supposed to know better, and besides, you don't want the same re-split "it's not your fault, love what you love" basic advice), but now it's here. somehow, it feels like - you let him into your life.

it's not that things need to be pure or an artist has to be like, endlessly perfect, mindful. demure. it's more just this terrible truth that has been replayed through your veins so often it feels criminally vain. power corrupts, absolute power corrupts absolutely. did you want any one person to be worth that power?

it's just that he wrote books where he seemed to understand that. he seemed to know about hierarchies and unfair systems and bigotry and privilege. you thought they were books about what it means to struggle. you thought they were about having power and still using it for good rather than for control. he spooned you a narrative of being a good guy, a kind soul. you fucking bought what that fucking monster sold.

maybe that's why they were fantasies, after all.

[seventeendeer]

ppl are too quick to point to laios' disability as the reason his friends think he's a freak sometimes. so many instances of laios getting yelled at are, in my eyes, a case of "this guy had to emotionally mature very early in order to be there for his little sister" combined with "much older friends who never had to learn to manage their own emotions to the same degree"

a lot of the time he's right about needing to be more direct/deal with things in a way that may seem scary/needing to put your gut reaction aside. he tries not to make his friends uncomfortable and he puts up with a lot because he's trying to keep the peace, but he also pushes the others out of their comfort zones purposefully to try to get them to think more constructively. everyone else in the party is prone to acting on their gut instincts and avoiding uncomfortable situations even when facing them head-on is very much necessary. part of what makes laios such a great leader is the fact that he knows from experience how to put his own feelings aside to help someone else grow.

yes, he does make a lot of social blunders by accident and he does struggle to connect with others, but not all of his positive influence on others is accidental or "despite" making people uncomfortable. a lot of the time, I think it's clear he knows exactly what he's doing and he's trying to help the people around him process emotions in a healthy way as they all go through some truly harrowing shit. all the main characters support each other as well as they can with their unique emotional skillsets. laios' skillset just happens to be "gently talk child into eating her vegetables"

[bluerosefox]

Soulmate Across the Multiverse

A DPxDC soulmate au idea

So DCverse is a soulmate world (pick any soulmate way btw, words, touch, drawings on the skin, can't see color(s) until they see or touch them, etc etc)

DPverse doesn't.

Meaning Danny wasn't born with a soulmark BUT he gets one after becoming a halfa because he is now connected to the Infinite Realms.

SO its during another one of Vlad's schemes, he's popping into different worlds and stealing things or something like that (basically like that one ep where Danny chases Vlad through the timeline after he stole Frostbite's map)

During the chase they pop out into the DCverse in one of the hero cities (pick any, not picky on which) and their fight is getting a bit out of hand (Vlad's fault, he's using the stuff he's been stealing, and Danny is doing his best to getting innocent people from getting hurt)

ANYWAYS during the fight, one of the cities hero's come to try to help/find out whats going on when Danny is hit by Vlad and gets tossed at them. The moment they either touch or Danny/Soulmate says something to the other, Danny feels the odd mark on him burn up and is MEGA confused on whats going on but decides to do what he does best.

Ignore it for now. He'd figure it out later he still needs to stop Vlad.

He apologizes to the other hero and gets back into his fight, missing the look of complete smitten awe/shock said hero had on their face.

[luxlightly]

"If you're hurt by finding out that a person you admired did something bad or are worried about the idea they might, it shows you need to not form attachments to people you don't personally know."

I have bad news for you about how literally the entirety of human socialization and the human mind work. You can say "here's a stick from off the ground. his name is Stanley and he has a loving family" and then break the stick and people will feel hurt because they formed a positive connection to Stanley. Humans project attachment onto everything. Asking people not to feel connections to other humans is not feasible. It's not possible and, if it were, it sure as hell wouldn't be healthy.

You didn't do anything wrong if you feel hurt that someone you didn't personally know did something wrong. You're not parasitic or obsessive for wanting people you don't personally know to be good people. Being devastated that someone you liked did something horrible isn't a sign you liked them too much, it's a sign you have the basic human ability to form emotional and social connections. Your responsibility is being aware of those connections and behaving in ways that are healthy, respectful, and keep you and others safe.

Trying to just not admire people or not feel a connection to other humans won't work. Focus instead on being aware of what your relationships to other people are, what actions on your part are acceptable given that level of relationship, what actions are acceptable on their part, and what level of relationship it's realistic or healthy to project. And be ready, as with all things in life, to change your views on something or someone when presented with new information, even if you have very strong emotional connections to the subject. For example: "I'd love to get a cup of coffee with the celebrity I don't know and talk with them about a film they're in. I imagine that would be nice." <- normal human emotion "I will go to this celebrity I don't know and ask them, apropos of nothing, to get a coffee with me/I expect this celebrity I've never met WILL go to coffee with me" <- Unrealistic level of projected relationship. Crosses boundaries of normal human interactions between strangers.

"I'm devastated this actor I liked was an abuser" <- normal human emotion

"I won't believe that this actor was an abuser because I like him and therefore can tell he wouldn't do that" <- Unrealistic and unhealthy level of projected relationship. Unsafe for you and others.

You can't just "not admire" people, yes, even people you don't know personally. Instead, be careful to make sure your admiration of someone doesn't affect your ability to make judgements about them.

[blorbologist]

Y'know, I think I figured out why the Hells still feel like a new low-level party to me, even though they're level 13 and almost 100 episodes in.

I don't quite think it's the lack of conversations, or the fact half the party's plot hooks are big ties to past campaigns - though that definitely plays a part.

... Bell's Hells still primarily rely on quest givers.

Most of their goals are given to them and do not feel organic to the party, and constantly remind us that the Hells are pretty much never the most powerful people in the room. Which is usually something you see with a low-level party.

NPCs offering jobs is not a bad thing; it's a very common plot hook. Matt has been extremely skilled with using NPC quest givers in those two campaigns. Not only do they provide an obvious plot thread, but they can put the party in the path of others (say, the Nein running into the Iron Shepherds while doing a job for the Gentleman and everything that came of that). And the Hells had a solid start with it too - Eshteross was an excellent quest giver!

The problem is that Bell's Hells have never really not had a quest giver.

Maybe it's a byproduct of the more plot-heavy structure of this campaign? But while prior parties have felt like they decided on their course of action and what they prioritized, Bell's Hells feels less like level 13 (13! Level 13!) experienced adventurers and more like an MMO group clicking on the exclamation point over an NPC's head. Where does the plot demand we go next? Who do we report back to?

They're level 13.

At level 13, Vox Machina had just defeated a necromantic city-state to clear their name and Percy's conscience. And, you know, the Conclave just destroyed Emon. No one was explicitly telling the group to gather Vestiges and save the world (though Matt guided them there), and they were usually among the most powerful people in the room. They chose which Vestiges to prioritize, which dragons to tackle when, even if the over-all plot was pretty clear.

At level 13, the Mighty Nein were celebrating Traveler Con (another PC goal, I'll note) after brokering peace between two nations, accidentally becoming pirates and heroes of the Dynasty. The Nein regularly chose what to do based on personal goals, not grand ones. Though definitely smaller fish than Vox Machina at this level, they were very independent and gaining solid political clout.

While we're at it: level 13 is one level lower than the Ring of Brass, who had a huge amount of sway over Avalir. They ended the world, and also saved it, while in the grand scheme of things being only a smidge more powerful than Bell's Hells are now.

Can you really see the Hells wielding that amount of influence, when they're constantly being told what to do next?

The god-eater might be unleashed, so Bell's Hells have no time to do anything but what is asked of them. No time for therapy unless stolen from Feywild time, no travel on foot and late-night watches. They haven't even had time to grieve FCG. Percy was grieved in the middle of the Conclave arc. Molly was grieved when half the party was still in irons.

Matt is in the very unfortunate spot of not being able to give the Hells the same agency as the other two parties. Not only because of the world-ending plot introduced so early on; they are surrounded by characters they know (and the cast knows) are stronger and wiser than them - the familiarity of the past PCs and NPCs is to their disadvantage.

Why would the party reasonably ignore Keyleth's task that will help save the world and go off on a romp? Why would the cast when they know well Keyleth has to be sensible and with the best intentions in mind? The stakes are just too high.

It means that the Hells still feel like they're running errands instead of pursuing their own destiny. Their accomplishments are diminished as just being parts of a to-do list, and any stakes feel padded by several level 20 PCs/NPCs standing 5 steps away ready to catch them.

This isn't Bell's Hell's fault, nor is it Matt's. It could be amended, I think, if the Hells are really left to their own devices for a long period of time without support and shortcuts (like during the party split)... which would be really tricky to pull off at this point in the campaign.

They're level 13. They're big fish, but they're stuck in a pond full of friendly sharks, so they don't feel big at all.

[crabsnpersimmons]

"Your heart was in the right place. Don't blame your earnestness and efforts for their lack of understanding—the right people will appreciate your heart."

EDIT: i mention this in the tags already, but please don't copy my vent tags in your reblogs. thanks for understanding.

[frankensteinposm0]

are there still beautiful things?

[lonestardust]

"If we're brothers, you can't call me the coach's son anymore, because you are too. Well, okay. Deal. We're good? Yeah, we're good." "Your dad actually helped me out a lot. He saved my life. So in that sense, it kinda makes us, uh. Like brothers. Like brothers, yeah." JUDD RYDER & TK STRAND 9-1-1 : LONE STAR : 1.03 "Texas Proud" — 5.11 "Impact"

[aq2003]

i feel like some people r missing the tragedy of timebomb somewhat bc i've seen a few ppl say that ekko was only in love with powder in the alt universe and not jinx, and it's like.. first of all they are the same person. they are the same person in different circumstances. but secondly ekko seeing that good universe, i think, instilled in him the belief that fixing the problems in his universe was still possible, that peace between piltover and zaun was still possible, that jinx wasn't doomed or irredeemable. ppl highlight his selflessness in being able to leave the good universe behind, but i think a big part of WHY he left was bc of the hope he had for his world. that's why timebomb is so tragic to me! ekko returned with the drive to make everything right, strengthened by knowing it wasn't some unattainable out-of-reach goal. and he came so so so close but was still a little too late

[dailypokemoncrochet]

I love adding little features to my crochets even if no one would really notice unless they could physically interact with them. Like the iron bundle pop out head is something that could fly as a hidden detail if you just looked at it in its default state. All the eyes inside Stakataka. The way Duskull's eye is suspended in its head. How Rolycoly's wheel rotates. The tiny soul core in Eternatus rib cage. Floragato's flower being an actual yoyo. Porygon-Z's head being attached so it can still spin all around. Orthworm's hidden arms. All of Hydrapple's wyrms. Appletun's eyes. Duraludon's hinge jaw. Eiscue's removable ice cube to reveal noice form. When I'm crocheting in these details I always think that I really don't gotta be doing all that because no one would know, but I would know, so of course I have to try. And I like to think that you can still sense how much care and thought I put into each crochet even though you can't see stuff like all the tiny paw pads I put on countless pokemon.

[inkskinned]

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

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

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

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

and i'd still keep writing.

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

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

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

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

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

you create because you're greedy.

[hallucinatinghalos]

I don't think this contains spoilers but if you don't want to hear any book references or season 3 speculation be warned.

Reading the interview clip where Sam Reid said that Lestat is ripped from the stage by Magnus is wild because we know he knows the books, that's not how it happens there, so he's maybe let Rolin's version slip. Which, if holds true, would be a seismic change. Instead of being torn from Nicki's arms while they sleep, Lestat would be taken during a performance, in front of an audience. Surrounded by humanity, by those he loves, but not a soul can save him. The one place that brought him joy would now be connected to the trauma of Magnus and his turning. If he truly is going to be the catalyst for the theater becoming hunting grounds in the show, for better or worse, it would seem to be related to this change as well. Also, his rockstar moment would have a desperation to it that reflects the books but is tragic in its own way. It would all become devastating in a subtly different way than how Rice wrote it. Even events that only happen in the show would have a different impact. Like Armand first approaching him telepathically while he was on stage would now seem cruel and calculated, and later choosing to put the trial on stage. Sorry about the ramble but it blows my mind how much a small change, changes so much. The murder of the opera singer...the mocking of the Dracula film...the baby on the Mardi Gras float...would all feel different.

[thebrainrotsreal]

Listen there's a half chance the hands and stuff do not work this way, but simply?? pretend they do ig ??? Had to get some Vlad out of my system, so behold my fav ghostie on the planet! Wine drinker, petty plotter, my love, haha!