#being dead or anything else

[serikyl]

Asking for… a friend, is there any acceptable way to ask your shift manager to not put you on with two specific people at the same time bc you’d rather get lit on fire than work a shift with the both of them at the same time?

[pa-pa-plasma]

love fics where Danny ends up in the DC universe & every alarm goes off at once & the magic users are like "yeah that's the most powerful being in the universe & also possibly super evil we are FUCKED fucked" & the Justice League is freaking tf out trying to find this thing that casually tore a hole in reality & it just cuts to Danny (Fenton) standing in the background blissfully unaware & like "man my life sucks but at least i have this candy bar—" *drops it in a puddle*

[that-ineffable-devil]

Charles' jealousy at the Cat King is obvious and overt. But he can feel justified in being upset with him because he's trapped them in Port Townsend and keeps interrupting their cases. And of course nobody else would really stop to think about it, because everyone thinks the Cat King is shady as hell.

His jealousy at Monty is more subtle--enough that the characters don't really notice it, but the audience has their attention drawn to it.

The way his smile fades when he watches the two of them together and thinks no one is looking.

The way his nose scrunches up in anger or frustration when he watches Monty show Edwin his astrology reading and Edwin not even acknowledge him leaving.

The way he tries to draw Edwin's attention away from the book Monty gave him and then, when he fails, directly addresses the time he's been spending with Monty, forcing Edwin's attention.

[coloursflyaway]

I kind of wonder if the reason both boys are wearing gloves so often is because not being able to feel is kind of painful.

Not in the actual sense, but touching something soft and not feeling the fabric against your skin and realising that you're forgetting how soft used to feel must be horrible. Brushing against something hot when it is a winter's day and not feeling the relief of your blood warming under your skin must make you long for it, because yes, you don't get the pain of it, but you never get the pleasure either.

And touching someone you love more than life and death and existence itself and not feeling their skin against yours must be agonising, but maybe its easier to bear if you pretend that the only reason for it is the gloves you wear. You can't feel your soulmate's fingers because you are wearing gloves. You can't feel their hair when you ruffle it because of them, too. You can't feel their warmth and the softness of their skin and their tendons shifting under your touch because of the gloves, not because you'll never feel again.

And now imagine if they end up taking them off and realise that they can feel every touch up there, but because they're both ghosts or because they love each other the most or because of any other reason they can feel it too, and Charles reaches up and brushes a finger across Edwin's jaw and Edwin feels it, every bit of it.

Imagine that the only thing they'll ever be able to feel is each other and imagine how that would always be more than enough.

[justareallyboredfangirl]

the fact that the intention was for Sevika to actually get to unwrap her new arm..

[technically-human]

Hi i'm absolutely in love with the reverse au!!

I want to know, in this verse does edwin still confesses to charles? if so how is it different? i feel if he did he would end it by apologizing, you know, religious guilt and all

There’s a train that goes through Hell.

Its journey starts in Wrath, and it departs already full of souls. It took Charles far too many years to realize that there were separate, more spacious wagons that demons could board. Not that he could understand why anyone, hellborn or not, would want to get into the damned thing. He certainly hadn’t.

Actually, Charles couldn’t recall ever boarding the train. As far as he could tell, he just appeared there one day, and had spent the next tortuous decades trying to get out. It was part of the torture. Getting out was entirely possible. More than that, it was necessary.

The train had no regular schedule that he could discern (not at first, though he had always been good at finding patterns, and was eventually able to crack it) but it would make quite a few stops before finally returning to the Wrath ring. Souls inside the train were already angry and far too close to each other (close, so close not even air could squeeze in) but when they got really violent was when the train made a stop.

Getting out didn’t mean you were free, no matter where you managed it, be it Sloth or Gluttony, Pride or Lust. No, as soon as the train finished its journey, you would appear back inside, in Wrath where you belonged, suffocating once again, getting ready to claw your way out for the millionth time.

Because if you didn’t get out, The Conductor would get you.

If he thought about it calmly, Charles could probably say that he got out of the train more times than not. Still, being caught by The Conductor once was bad enough, as there was no coal in Hell, and something had to serve as combustible. Souls could not burn to death, and the whole journey always felt longer than eternity when he was caught. Once it was over, he would be inside again, and fight with more desperation than before, not caring who stayed inside so long as it wasn’t him.

He couldn’t understand why anyone, hellborn or not, would want to get into the damned thing. He certainly hadn’t. But as the souls pushed and bit and clawed and punched their way out, Edwin boarded the train. And that wasn’t even the most groundbreaking revelation Charles had that day.

ko-fi

[dailyloopdeloop]

loop and mirabelle. That's it that's the ask

DAY 84: enrolled in the gossip wars

[edwinisms]

it’s actually so wild to me that this fairly quirky YA type show gave both of its main characters deaths that can, in one way or another, solidly be considered hate crimes. they were both flat out murdered as a result of being A) gay and effeminate or B) brown (south asian, specifically) and you could argue whether or not those kids thought of it that way in the moment or whatever but the bottom line is that they would not have been in the situations that killed them if they weren’t of their respective minorities. like legitimately that is a ballsy choice for this kind of netflix show, let alone for the two Main Characters, and i respect it big time

[yuripira4e]

show runners already said they want to put desire as an antag in season 2 and I am. not ready. if they pull another taunting Edwin with what he wants but can’t have while also being humiliated with this want. It was a cruel private thing with the cat king but to do it in front of Charles would be so mortifying for Edwin

or vise verse for Charles god…

[vigilskeep]

Would love to hear about some of your attempts on your surana's life

i love minerva surana to pieces and i have always been trying to get rid of her because she is the most narratively inconvenient woman alive. she is extremely powerful, both magically and politically, and not only fond of getting involved in everyone’s business even if it has nothing to do with her, but highly personally invested in most of the major political struggles in the following decades after her victory

i’ve gone back to poring over an old favourite where during the height of about-to-burst mage templar tensions, an attempt on alistair’s life forces her to visibly use blood magic in front of the gathered nobles & chantry higher-ups of ferelden. she could use her connections and warden immunity to get away with it, but that would mean kinloch hold takes the fall for the templars’ renewed ire. instead, she agrees to tranquillity. she would do it with the hope that her gift for strategy would continue to be useful to the wardens, only for what i have always known to be true about her character—that despite how little she sometimes pretends to feel, she would be nothing, listless and useless and never pushing her mind to its great achievements, without how much she cares—to come true. and she would see no point in dragging it out under those circumstances, and have made her wishes clear

i remember writing a shoddy attempt at an in-world codex entry about it and concluding with something like “six months after being made tranquil, surana was assassinated by her own husband, the former antivan crow zevran arainai. both the wardens and the fereldan crown refused to report on their pursuit of the matter.” and feeling very sick about it. in this theoretical setup it’s a martyrdom that helps instigate the rebellion

i’ve made other attempts. for example i think it would’ve fucked if she was at the conclave. (oh she could take some of divine justinia’s place narratively...... hold on i’m onto something here.) i’m yet to truly be convinced by any of this however

[adreamfromnevermore]

You ever think that Monty might not be Esther's first familiar? Oh he's the one she has now. And maybe she's had him for a while, a couple years maybe even a few decades. But he isn't her first.

Because Esther isn't the type to keep her old toys around, she finds them and makes them into what she needs and keeps them for as long as they continue to be useful to her. And eventually there comes a spell or a potion or something of the type that requires a sacrifice of something close to her. And what do you know, she has this quaint little familiar right here. Something that relies on her, and knows only her and is oh so replaceable when you live as long as she does.

Monty isn't her first familiar, and he's probably not the first one she's ripped apart and put back together, but she's all he ever knew.

[wardensantoineandevka]

one of my favorite parts of speculating ahead of the Veilguard is the number of people talking themselves around and around in the loop of "Illario is extremely suspicious and the most obvious choice for who betrayed Lucanis → However, Illario seems like he genuinely cares for Lucanis and seemed sincerely distraught in The Wake → I know in my heart it must be Illario: there is no one else with means and motive → If Illario did it, I understand why given how Caterina has treated him and them, and he has arguably earned a bit of a villain era → The situation is ultimately caused by Caterina and Crow politics and, again, Caterina → I don't want it to be Illario because I want he and Lucanis to have a good relationship given all they've suffered together → However, there is already an existing bitterness between them because of the succession question and in Illario generally because he's seen as lesser → Illario is the most obvious choice"

[dykedvonte]

One of my mutuals opinions is the "bro code" thing, that Curly is one of those guys who wouldn't care about the victim because the perpetrator is his friend and I'm really banging my head on the wall like that other anon. I've only played through the game once but Curly's behaviour/reactions etc read completely different from the "bro code" thing and I have to wonder if my mutual and I even played the same game.. like the constant digs at him from Jimmy, his body language in his face reveal and so on like you mentioned in your post. While this game is a little different obviously, it kind of reminded of a point in Alice Madness Returns that makes it very clear that Alice's pain blinded her to the abuse of the other children and her failure to act earlier because of it. Curly is guilty of a similar inaction but it doesn't change the fact he was a victim of Jimmy too. I don't think I can look at it any other way because both of these games have really stuck with me.

I genuinely think it really is the idea that people want a simple easy to blame problem and the idea that the only relatable victims of abuse are those that "surpass" it or do a lot to help others. When it comes to victims, especially those that don't fit the typical demographics, who either accidently perpetuate it, enable it or aren't ideal in some way shape or form, people jump to ignore what they went through as it's easier than dealing with those conflicting sentiments.

The bro-code conversation in Mouthwashing stems from a concept I generally dislike that there had to be something about Curly that made him meet or keep being friends with someone like Jimmy. I think people genuinely underestimate how many like decent and good people just know an asshole or are friends with someone who is really bad outside of their view/established dynamics. The game makes it clear none of the inaction against Jimmy is because of a lack of care, it is a lack of understanding from the privaleged postions they have as men to not have to worry about what Anya does/went through and the type of extremes men like Jimmy will go through to cover it up. They are all too preoccupied in their own strifes.

Another thing I see being oversaturated the idea that you have to be a freak, misanthrope or have a disorder to do the thing Jimmy does. The game is an escalation, it's a spiral that I don't see people comment on that Jimmy was not likely having the mood swings and episodes of rage/frustration we were seeing in the game. This is after they all start experiencing the worst moments in their lives that he got THAT openly bad. Of course, this is just my interpretation but much like in real life, people that go to extremes like that usually live mundane lives. It's a pressure cooker affect to where the stress made them pop. It's self inflicted but still the case.

I really think people need to be more willing to acknowledge that not everything needs to be an extreme or in black and white or easy to understand. It doesn't need to be happy or have an answer or solution, especially in the cases where the abused sadly helps perpetuate what they experience. It's not he should've known better from experience or shouldn't he have known what could've happened because victims tend to not like to think in matters of the worst. Not to mention, especially in cases of abuse where it feels so personally directed that you don't expect to happen to someone else.

[galacticlamps]

ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--

But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.

And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.

That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.

Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.

And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"

So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.

Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.

[chiropteracupola]

I destroyed a bond of friendship and respect / Between the only people left who'd even look me in the eye / Now I laugh and make a fortune / Off the same ones that I tortured / And a world screams, "Kiss me, Son of God!"

[luck-of-the-drawings]

[<==PREV PAGES] [NEXT PAGE==>(not out yet.wait a year.or maybe more.imagine.]

saw alot of comments on prev pages; saying 'i HATE that mean teacher! im gonna FIGHT HIM!!' & i LOVE the energy!! it WOULD be nice. to have that catharsis. but the story of young tidestrider is Not one of catharsis. it is a story of being so small and so special and sucking so bad.