#but i understand this is a different story

[just-thoughts-no-vibes]

I knew we would eventually reach a point where masses of people would misinterpret Arcane, but I never imagined it would be this bad.

Yes, I absolutely agree that season 2 was rushed, especially Act 3, and it is undeniable that the series would have benefited from at least one more episode if not an entire act. However, the current discourse about the show is so superficial that it's impossible to have a conversation about anything deeper but a mere synopsis of the characters and story.

So many of you expected this series to hold your hand and dumb everything down so you can understand it. But when it wasn't the case, you all started rioting and calling the characters vague, the plot bad, and the ships underdeveloped.

The amount of people who value spoken text more than the actions of the characters is worrying. And more worrying than that is the amount of those who interpret the said actions so superficially. I can't believe it needs to be explained that it wasn't Vi's death that led to the "good" timeline, but the lack of hextech. The result would have been the same if either of them had died. It wasn't about Vi, but about the child that died because of dangerous technology and that therefore that technology must not be used. The mischaracterization of Vi in general is insane. Call me biased and unfair, but the moment I hear you don't like her I will assume you didn't understand the show.

Also, the whole discourse around Caitvi scene in episode 8 is giving brainsmooth. No, Vi didn't choose Cait over Jinx, quite the opposite. No, Cait didn't plan all of it to fuck Vi. No, Vi didn't do it because she felt forced or because she is a horny animal who doesn't care about her sister. No, them fucking in a cell is not about the class difference, but about the fact that Vi felt an insane rush of emotions after realizing that Cait would let go of her revenge and help Jinx escape, all for her. Yes, I do agree that it would be nice if we got a longer conversation between Vi and Caitlyn and it would feel great to hear Cait apologize, but I'll always value actions over words. Her talking to Jinx, recognizing that she is just as bad as her, and choosing to trust Vi that her sister can change, thus letting Jinx escape will always mean more than any verbal apology and I'll die on that hill.

Also, it was Jinx's decision to let go and walk away. It was not about Vi trying to get to Vander, but about Jinx being tired of everything. Even if that fight didn't happen, the result would be the same: Jinx would leave because she knows that Vi couldn't do that. She knew that the two of them couldn't have a normal life together and that Vi would never give up on her. Jinx didn't "die" because Vi pushed her or failed her, but because she loved her too much. Whether you believe that she is dead or that she escaped, it's her decision either way.

Again, I agree that too much happened too quickly, but stop confusing your stupidity and inability to read between the lines with the quality of the series.

Arcane is flawed but still brilliant.

[the-knight-of-the-stars]

Are we gonna talk about how that finale entirely erased any conversation about class divisions or are we too focused on ships?

Are we gonna talk about how Caitlyn for a good chunk of the season willingly enforces violence and opression against the lowest class, no doubt directly causing more deaths and suffering, and she is forgiven by the narrative without any meaningful reflecting?

Her great moment getting together with Vi is right after she JUST had a conversation with Jinx where we see she STILL doesn't recognize any class bias she clearly has, insted making it about HER.

Her and the other enforcers are treated like noble heroes in the final battle, all the blame put on Ambesa. Vi's happy ending is getting into a relationship with the exact type of person who perpetuated all the suffering she endured as a child.

Are we gonna talk about how Jayce never leaves his privilege pedestal, never actually reflects on how he was also enforcing violence to the people of the undercity and living on his bliss of progress at THEIR expense?

Jayce, who got help on every step of the way to get to where he is, who wasn't disabled, who never lived the kind of poverty or class obstacles Viktor did, who never recognized the harm he enabled and was complicit to, HE was the one to tell Viktor "People build their own destiny." and "There is beauty in imperfection" ?????

Not to mention the whole bit where he implies Viktor did all that because he wanted to "eradicate what he thought was weakness"??? Didn't we stablished Viktor wanted to HELP THE PEOPLE FROM THE UNDERCITY TO HAVE BETTER LIFE CONDITIONS?? don't try to gaslight me.

I know this is just a TV show, but I need to remind everyone that what perpetuates opressive, discriminatory and violent systems as long and as deeply as they do is indiference. Is turning your head and enabling others to stay ignorant.

Edit: You guys are misunderstanding me. And I admit it is probably my fault, I wrote this high with emotion I wasn't as eloquent.

Jayce's exact choice of words or his time living in the alternate world is nowhere near my point.

My point is, that the narrative is establishing that the privileged character, is the one that has to show (and is quite literally, textually, always the one to show) the underprivileged character that "he was looking at life the wrong way." Forgetting that Viktor's journey of feeling powerless was greatly influenced by the fact he was poor and from the undercity.

That's what I meant by it erasing the part of the plot about class systems. In the end, the story only requires Jayce to understand Viktor's struggle on a superficial level, but the text never recognizes that it as the product of a deeply rooted SYSTEMIC ISSUE. One Jayce and even Viktor on some level, benefited from and perpetuated.

Understanding Viktor still doesn't give him any moral ground, and nobody ever challenges him on that because the story isn't interested in that anymore.

And the same with Caitlyn. She knows what she did what's wrong, fine, she feels bad. Like I said, she still has a class bias, and no character challenges her on it again because the story derails to magic and fighting and whatnot.

The plot just forgets (or ignores) that layer of the story despite it being so prominent up until now.

And ignoring the class discussion does a disservice to every single character because they were initially built on it. You can see it in how they lose the essence they had on s1.

I know y'all love the characters and want to empathize with all their motivations, okay? But the fundamental issue is that characters also represent things, and more so in a story as political as this one. We also have the right to point out that the show told us they represented something and then abandoned that narrative.

What do I think they could have done differently? If I tell you scene by scene we could be here for an entire year. The gist of it is: I think they should have stuck to the character themes they already had established.

Vi as someone fiercely loyal to the undercity beyond her relationship with Powder/Jinx, and being "cursed" by the role of the older sister. Jayce as someone with good intentions but who is ultimately limited by his blind idealism. Mel as a cunning politician who thinks she is on the right path because she isn't violent like her mother, not realizing she is still perpetuating it. Caitlyn as someone kind and compassionate who realizes the institutions she believed in are fundamentally flawed, and because of the way they are built will never be on the side of kindness. Etc, etc.

None of that gets any meaningful resolution.

I am glad if you liked it, or got something from it, you are entitled to your opinion.

I wanted to say this because I was angry, and still am. Because there was so much incredible potential, and honestly, to me, it feels like the writers chickened out on actually saying something in the end.

That's all I have to say about that.

[mssb9996]

🚨 We Need Your Kindness to Survive 🚨

Hello, My name is Mosab Elderawi, and I live in Gaza with my family. Life here has become harder than I ever imagined, and I’m writing this with hope in my heart that you might hear our story.

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[delphiniumpacificguinevere]

Walwanus lol Walwanus this one is always my favourite bcs it looks like “walnut” to me (no offence sry)

yes im still thinking about gawain’s stupid names

[erinwantstowrite]

bear with me here because i'm gonna ramble about something i've been thinking about for a while... and i'm not complaining, i'm just noticing

sometimes i think we've leaned so far into the vigilante side of the batfam that we miss out on what really makes their characters: detective work. we need more mysteries in their lives that don't lead up to some big bad "we already know who's doing it" or an "end of the world" or "yet again: this fucking guy." we need more stuff where spy movie music plays in the background and dumb adventures that don't lead up to some huge grand event with a big name villain. the shock factor stops being shocking or interesting in any capacity if we're like "Gah! the Joker! ... Again!" or whatever

does that even make sense? like "yeah sure they're blowing up a building again and there's hostages. oh look they're gonna poison the water supply." these aren't bad and that's not what i'm getting at because obviously this is a classic for comics. you need to have characters/antagonists that show up more than once and who can make a story better by being in it. and i did say to bear with me- that's because im tired. so like i hope im getting this across the right way? it's just that sometimes i don't wanna see a huge explosion, i want these motherfuckers solving a regular murder or a disappearance or regular corruption in a local office without it being tied to a grand reveal like "actually this person knows you as a long lost relative" or "they were at that circus can you guess which night they went?" that kind of thing? if you get me? like... more of the small time stuff makes the big stuff important, it makes it stand out more. at some point, the format gets repetitive even if you're switching up the villains. you can make these situations/mysteries still fun to solve for the characters and fun to read for the audience if you do it right

the concept of a detective dressed as a bat and having a sidekick in traffic light colors is inherently goofy as hell??? but that is what is so charming about it??? i think we have lost the balance between them being silly while also being intelligent with important conversations that criticize the world as we see it and teach lessons and can go over dark topics. nowadays it's always end of the world problems or just straight up the most gruesome true crime you can think of?? or they can ONLY do the dark stuff and the criticism without offering a balance of the good in the world. or we keep coming back to the FUCKING JOKER-

like yes they are vigilantes and with that comes a different level of their work, but their brand should be a mix between a black and white detective film that can get very nitty gritty and a classic spy movie, that kind of thing. at the end of the day, it's what makes them so different from the superheroes. that's what appeals to me.

seeing them in the big superhero groups is fun, don't get me wrong. it's always funny to see them standing next to people who are so powerful they never really fit in with anyone but each other, who chose to step up and use their powers for good. the Bats' specialty is Gotham and yet here they are stopping a god or whatever. and they do stop the god or whatever, all the while being an important leader and strategist to their teammates. they're important to have in these cases. but if there's a world ending event every time i pick something up, it's not as fun

the fact that they are so very human and not fantastical is why i like reading them. it's what makes the joke of people, even Gotham citizens, theorizing about them being cryptids, funny. they're fucking weird but that's because they're detectives. people who love to solve mysteries usually have a fatal flaw of curiosity. they forget the bounds between social interactions sometimes because they're used to working through problems or being intertwined with partners that understand them. but they're very much human. so human that it hurts them in many ways. and idk i've just been thinking about it lately and idk what point i'm trying to get across actually

it's just that in my eyes that's how it really is for Batman- a black and white movie narrated by a very serious man who took up a job to help people, one that has a deeper commentary on the world and viewed outwardly as pessimistic but actually has a deep hope for his city and who tries to help even the people who have wronged others. He's a stationary man in the belief that him being a constant can serve to soothe others and help them move forward. He stays in the middle of the path so he can tell everyone what is up ahead. he blends into the Gotham rainy night to serve justice but in a way that saves both the victim and the perpetrator. (the way he tucks a Robin into his cape is the same he does for Gotham with his mere presence.) and his background is actually so important to his story and yet people still somehow gloss over the lesson from it? he lost his parents because of a man who was on the opposite end of the spectrum to where he was in life. and yet he chose to help the people like the man that killed his parents. he could have done anything else with his power and money, but he instead is choosing to bring as many people up with him as he can. He's Mr. Serious that no one else can get a read on. and yet he walks into a room and he's already piecing together your life and what you're going through because he thinks it matters. he comforts people who have lost something or someone or themselves. I picture Batman and I don't picture a man trying to save the world, I picture a detective walking around a crime scene and trying to save at least one person every time he puts on the cape. and he put on the cape and became a vigilante because then he could go out of the bounds of what laws have been set up- and specifically, Gotham has other people in power who are corrupt, keeping the system that way. that's why Batman being a billionare and throwing himself into helping people at the risk of his own life is so important. he knows that if you are alive, you have something or someone to lose, no matter who you are. the dude is a bleeding heart but he doesn't know how to express it, in fear that if he gets too close, if he moves down the path with them, he'll be lost again

and then he's met with someone who should be a complete opposite, but isn't at all, because they're two sides of the same coin. his partner in crime, his son, a boy that is nothing like the black and white world that he sees. and that's the point in his life where he first sees that potentially getting lost is worth the risk. Robin is color and passion that needs guidance to move forward, but can not do so unless the stationary man learns to move with him. the kid is loud and reckless and you'd think he's from a different genre from the detective but they aren't so different, really. not when you look close enough. Dick grew up moving from place to place and seeing the world, knowing so many different people from different cultures. He's been learning to fly and jump and embrace the free fall his entire life. He's clever and he's sharp, and he thrives in the action and adventure. it's that perspective that compliments the stationary man. one is steady and the other pushes. he's the same genre but a different generation. and Batman introducing him to the way of life he chose for himself was another way he could save someone. because let's be real for a second? Dick would have gone down a very dark path had he not had Bruce, who understood, who saw not just himself in the kid but also saw who the kid has been his entire life until now. he saw Dick's parents, he saw the family he had in the circus, he saw the joy he had in what his family was doing. he saw the grief and the fire and the color that Dick's world was made of. because to Bruce, it always matters. Dick had to come to terms with Bruce's perspective to help anyone who they come across, to always give more chances, and it kept Dick from losing his color

what gets me is that the man who lives in the black and white world can actually see many different shades of gray (because black and white always needs the medium), whereas the boy in a world of color and light can get so focused on the bright that he can become single minded. and yet the boy sees a world of color and delves deeper into the lives of the peolle they come across and can be much more open minded, and the man in the black and white world sometimes forgets the shades of grey are right there. they are just like each other. they can exist without the other, but do they want to? because the black and white can be built up into the colored image, like the inking and shadows drawn on a comic book page before the colors are added in. they meet in the middle to complete each other. Bruce has been passing the story over to the next generation for a long, long time, even before his story was complete. and just like with the first Robin, it was so for every Robin afterwards. they each color in the lines differently, but that's what makes Robin so special, so unique. they are an art style that branches into their own life, but can not forget where they started: tucked into Batman's cape and the inky black of his world

and so detective work really frames their hunanity to me. the mysteries they get their hands on, the glimpses into the lives of Gotham citizens that they swore to protect, it's fascinating. it's what makes their story stand out compared to the people who can lift trucks or cast spells or run around the world in seconds. so yeah ig that's what i'm trying to say? that i want to read more of that? in both canon and fanon. cause even the small time villains we see can be like. AWFUL people and it takes out the fun of their gimmicks. and if it were any other day this would be a more coherent post but alas, it is not any other day

[astrofhobia]

Kat, Earth's voice actor.

So, recently Davis spoke out on a situation that came up in The Lunar and Earth Show fandom.

From what I understand, Kat, Earth's voice actor, is receiving a lot of hate, not only against her characters, but also against her for one of the most recent videos.

I never give my opinion so publicly but I think it would be good to show support for Kat.

It's stupid. All those people who come here to talk nonsense about Earth stepping out of her role of being the good and positive one are very stupid.

All or most of the cast have been through morally negative situations. Moon has abused his own brother for many years, and continues to do so. And it seems like the fandom is constantly covering its eyes to ignore this. But hey, Earth can't deny someone a hug because she becomes the mean girl and the worst character ever. Can you see how stupid this argument sounds?

Maybe, I understand that when the character was introduced it got negative reviews. Literally, they never worked with anyone other than Davis or Reed and introducing a new VA was to take you out of your zone. But, continuing to look at Kat in a bad way is the behavior of a child.

You can't expect an amazing story either, guys, specifically this group of people who are attacking Earth so much, you're not paying for a video service. You're not spending a single cent. As far as I know, Davis, Reed and Kat have spent money to maintain quality content day after day. The show has been updated every weekday for over two years.

Kat has done her best to adapt to the audience's tastes, not the other way around. She has done her best not to be an empty character. But the people who attack her don't even bother to see how their characters have evolved positively. Earth has such an empty story because the audience doesn't even pay attention to it.

You can't expect to have an amazing, original story if every time Kat holds the mic you look away. It's stupid.

Kat has been a great support for the story of like three different shows. I think these people who just want to hate something don't realize how boring the show would be without an intervention.

It's a disgusting thought to hate a fictional character just because she's a woman. And it's repulsive to hate a VA for being female. Are you stupid? Because that's the first thing I think if your main argument is "She's a woman, we don't need that"

I'm not a fan of any of the three VAs. I don't like them personally, but I'm going to defend them, especially Kat if they get any hate for this.

You can't put Bloodmoon, who tortured, manipulated, and murdered so many people, on a pedestal and throw trash and hate at Earth just for existing. It's stupid.

I understand if Kat has distanced herself from the fandom and doesn't want to have contact with the audience directly. Just because you are a public figure doesn't mean you have to swallow all the hate and keep smiling. Kat is not just a source of entertainment. She is a human being, who has emotions, thoughts and a limit.

If you have crossed her line, the only thing you can do is step back and leave her alone. No one would like to receive immense amounts of hate because their character is not to everyone's taste.

If you are part of this group of horrible people, I ask you to please leave. I don't want those people here.

[theautismcorner]

I was talking to my lovely friend about this so I thought I would share:

Warning for Arcane spoilers!!!

I understand being upset about Ekko not getting a happy ending and about Singed getting his happy ending but I think you guys are also kind of missing a crucial point to the story of arcane as a whole. People in real life don't always get what they deserve - good people don't always get good things and bad people don't always get bad things. Arcane is showing you that harsh reality. We don't always get what we deserve, we are all imperfect, and we all make mistakes. Before I get into this next part i want to say that I am not excusing anyones actions but I am explaining them. You can feel however you want about all of these. Viktor thought he was helping people but he was mistaken. Cait was forced into a position she didn't want while she was grieving and made mistakes due to her mental state. Vi made the mistake of leaving Powder which led to her becoming Jinx and them becoming estranged. Powder made a mistake with that bomb which killed her friends and caused the death of Vander and Vi leaving her. Hell - Silco made many mistakes while he was trying to keep his promise to free Zaun (which I have a lot of thought on - maybe that will be a different post). EVERYONE in this show has made mistakes and that's what makes them feel so real and relatable. Humans make mistakes. And no, life is not fair. Powder and Vi deserved to grow up with a mom. Ekko deserved to have someone after all he did to save everyone. Sky did not deserve to die. Viktor deserved to be remembered for all of the good he did but his name was probably not written on a memorial paper and he will be remembered just as a villain. Mel finally lived up to her mothers expectations but her mom died in the process, leaving her with no one after everything was over and she didn't deserve that. I could keep going on forever about all of this but I think y'all get my point by now. Life is imperfect and I love Arcane for showing us this.

[aventurineswife]

Do you think you could write about an artist reader who reveals their latest works has had their crush as their muse as a roundabout way of confessing? Idk I had this vivid idea of love at first sight and only painting in the colors of their love, staying up for nights on end practically obsessed with capturing what they feel and see but keeping it hidden till it all bursts out.

Brushstrokes of a Hidden Heart

Tags: Dan Heng x Reader, Sunday x Reader, Aventurine x Reader, Artist!Reader, Love at First Sight, Unrequited Love(?), Secret Admiration, Confession Through Art, Obsessive Love(?), Vulnerability, Slow Burn, Angst, Fluff.

Warnings: Mild angst, Self-doubt, Unspoken feelings, Emotional vulnerability, Possible unreciprocated feelings, Intense focus on personal emotions.

A/N: didn't know which fandom you wanted it from, so I did it for HSR 😕

Dan Heng sat in the dimly lit cabin of the Astral Express, the rhythmic hum of the train the only sound that accompanied his solitude. He had always found solace in the quiet, preferring it to the bustling noise of crowds or the endless chatter of others. Yet, tonight was different. His mind was clouded with thoughts of you, the artist who had been a silent but ever-present figure in his life since the day he met you.

The first time he laid eyes on you, it was nothing more than a fleeting moment—one he hadn't thought much of at the time. But it was strange, wasn't it? How that moment stayed with him, replaying in his mind like an image he couldn't shake. He had never been one to dwell on emotions, and yet something about you made him want to linger, if only in the shadows, far away from the spotlight.

Dan Heng didn't understand what had changed. He wasn't someone who sought out attention, let alone affection. And yet, as he watched you work from afar, sketching, painting, your every movement seemed to haunt him. His heart would beat just a little faster whenever you were near, though he could never bring himself to speak those words aloud.

He found himself drawn to your art. The way you captured the world around you, the strokes of your brush that seemed to tell stories even without words. There was a certain intensity in your work—an emotional rawness that he couldn't ignore. He often found himself admiring your paintings when you weren’t around, noticing how every canvas seemed to glow with your feelings.

It was late into the night when he stumbled upon your most recent piece. His heart skipped a beat as he studied it, entranced by the use of color—vibrant, soft hues blending together in ways that felt… familiar. It wasn’t just a painting. It was a confession, a revelation.

The subject of the piece was unmistakable. It was him.

You had painted him—his profile, his features, his soul—captured in every brushstroke. But it wasn’t just the image that left him breathless. It was the colors, the warmth that spilled from the canvas. The shades of blue, gold, and soft pinks spoke of longing, of something deeper than simple admiration. It was a language he understood but had never expected to see expressed so vividly.

He didn’t know what to feel. His initial instinct was to run, to distance himself from this vulnerability you had so willingly shared through your art. But something inside him stopped him. He couldn’t tear his eyes away from the painting, and he certainly couldn’t tear himself away from you.

The confession was out now, laid bare in the colors of your love. The quiet admiration, the unspoken feelings—it was all there, framed on the canvas in front of him.

Dan Heng sighed, a soft exhale of air escaping his lips as he stood before the painting. For the first time, he allowed himself to feel the weight of what he hadn’t dared to acknowledge. And maybe, just maybe, he could find the courage to speak those words too, to paint his own feelings for you.

But for now, he stood still, his gaze locked on the painting of the one person who had quietly captured his heart without him even realizing it.

Sunday sat in the quiet of his room, a flickering candle casting soft shadows across the walls. His fingers drummed lightly on the desk, a slight frown on his face as he looked at the painting in front of him. It was a recent creation of yours, the artist he had come to know and admire, even though he had never once admitted it aloud.

It had begun innocently enough—your work, a collection of serene landscapes, abstract expressions of peace and stillness. But as he continued to observe you, there was a shift. Your art had changed, taken on a more personal tone. It wasn’t just about capturing beauty anymore. It was about capturing something much deeper, something you didn’t quite show anyone else. The passion in your strokes had transformed, and Sunday couldn’t ignore it.

The latest piece was a reflection of his own face. His figure was painted in muted hues of silver and violet, colors that mirrored the ones that seemed to haunt him in his dreams. But it wasn’t the likeness that struck him the most; it was the emotion woven into every brushstroke. There was love in the way the colors swirled, an emotion so tangible it seemed to bleed from the canvas.

It was as if you had captured every fleeting moment of their encounters—the way he smiled at you with a hint of warmth, the way his gaze lingered a moment too long. You had woven all of it into this painting, turning their quiet moments into something that felt like poetry, like a love song without words.

For a long while, Sunday simply stared at the painting, his thoughts a whirl of confusion. He had always believed in the Sweetdream Paradise, a world where people could escape their pain. But this… this felt different. It felt real, like a dream he didn’t want to escape, one he wasn’t sure he was ready to face.

Was this your way of confessing? The idea that someone could love him—the person who had always distanced himself from true connection, who had always preached the merit of a painless, perfect world—seemed impossible. And yet, there it was, in front of him.

The painting was more than just art. It was a message, a way of saying what neither of them had yet dared to speak aloud. You had used your work to tell him what was in your heart, and now, he had to decide if he could find the courage to do the same.

The weight of the moment hung in the air, heavy with unspoken words. As he reached out to touch the canvas, a sense of longing surged within him—something that hadn’t been there before. Perhaps, in this moment, the dream of escape no longer felt as appealing as the dream of something real. Something tangible. Something he could finally reach for.

He closed his eyes, allowing himself to imagine a future where the colors of love—your love—were the only ones he ever saw.

Aventurine sat in his private study, the dim light of the lamps casting shadows on the room’s elegant furnishings. His fingers idly turned a deck of cards as he gazed at the newest painting displayed on the wall—a work of art that had both mesmerized and unsettled him. The colors, the brushstrokes, the way your soul seemed to be embedded in every layer of paint—he had seen many paintings in his time, but none like this.

The subject was unmistakable. It was him.

But this was not a simple portrait. No, this was far more. It was raw. It was a confession wrapped in the hues of the artist’s emotions. His face, framed by dark shades of green and gold, looked almost serene, yet there was something deeply intimate about it. The delicate touches of rose and violet reflected a softness that made his heart beat just a little faster.

He had always prided himself on being able to control everything—every move, every decision, every game he played. Life, to him, was a high-stakes gamble, a game of strategy and manipulation. But here, with this painting, everything felt out of his hands. This wasn’t a game. This was real.

Aventurine had always been surrounded by beauty, charm, and a sense of power, but there was something different about this. It wasn’t the typical adoration or fascination he was used to; no, this was love—true, unfiltered love. And somehow, it was aimed at him.

His gaze lingered on the painting, every brushstroke sending a jolt through his chest. He wondered if this was your way of confessing, of revealing the feelings you had hidden beneath the surface. He hadn’t expected this, not from someone like you, someone who had always remained so distant, so reserved. Yet here it was, in full view—a revelation he could no longer ignore.

He had been careful with his emotions, always keeping them locked away behind a facade of confidence and control. But this… this painting had cracked that facade wide open. He couldn’t deny it any longer. The truth was there, laid bare on the canvas, just as much as his own heart was.

Aventurine smiled, a rare, genuine smile that softened his usual playful demeanor. Maybe, just maybe, this was one game he wasn’t so keen on playing alone. Perhaps it was time to place his bet—not with cards, but with his heart.

And when the time came, he would show you that his feelings were not a gamble, but a certainty.

[disastersappho]

something i adore about mismag2 is how aabria has repurposed the never stop blowing up system’s potential for insanely high rolls to have a completely different tone. in action hero land, the busted rolls were comedic and unbelievable. they switched on looney tunes laws of physics and made the players laugh at the absurdity. in mismag, with the process of breaking their items to push and succeed, in the intensity of stakes and consequences that aabria is so keyed into, rolling a 100 feels not stupid or ridiculous, but awe-inspiring. it makes you want to stand up and cheer and tear up at the feeling of magic itself. the crazy high DCs at the beginning and a blown up arm set up the weight of the miracles these people are trying to work, so that when we come to episode 10, we understand the sheer command that the characters have come to grasp over their environment. we believe that they can do the impossible, and with a bit of luck, we watch it happen. i love this world and this story so much.

[robjn93]

˗ˏˋ stephanie brown accessible entry point

this is a list of comics to understand the basics of her character! ive seen a lot of people who didnt know where to start to read so ive compiled this list to make it as easy as possible for new readers to get into stephanie brown

who is stephanie brown?

daughter of the criminal and abusive father cluemaster (arthur brown), she became the spoiler to ‘spoil’ her father’s robbery and overall to protect herself and her mother from him. eventually she digs the vigilante life. she becomes robin briefly and is currently one of the batgirls!

as SPOILER:

⟢ secret origins: 80-page giant

this comic /technically/ is set in the future and is steph ‘telling the story of her childhood’ but honestly i find it pretty suitable even with no context and a must read in my eyes to understand her motives and character

⟢ detective comics 647 - 649

her first appearance… with the iconic brick in the face 😭 this comic is not set in a precise timeline, just post-robin 1991 and pre-knightfall so you can read it with no context as well!

⟢ showcase ‘95 #5 (second story)

PLEASE READ THIS i never see it in reading lists and its sooo important to me. it shows steph’s strained relationship with her mother when her dad is not in the picture and briefly some of her school life!

i’d say read robin (1993) afterwards because it consistently features steph, as much as it is ‘tim’s solo run’, but here THE most important stories (they were very hard to pick)

⟢ robin (1993) #3 - 5

her first appearance in the monthly! and lordd the timsteph here makes me sick. tim being saved by steph 🫶 also more on her and her mom as crystal is starting recovery from drug addiction

⟢ robin (1993) issue 15 - 16

not gonna lie, a huge part of me wants me to suggest it because you get to see arthur get his ass kicked by steph (sweet revenge) but theres also steph being saved by tim for a change and more on steph’s relationship with her dad

⟢ robin (1993) #35

this story for me conveys properly the impact that steph’s upbringing had on her sense of justice and morality being fundamentally different from batman and robin’s, something tim and bruce just can’t understand

⟢ robin (1993) #40 - 41

warning / implied SA (ariana ☹️) the story is a two-parter, steph’s side in issue 40 uses diary entries to explain how she feels about the whole vigilante ordeal. issue 41 is more timsteph oriented but it shows tim finally acknowledging his feelings for steph

⟢ huntress/spoiler: blunt trauma

this story happens during cataclysm but its not necessary to read the whole thing + dean’s first appearance 😒 he is the scumbag bastard ‘father of steph’s child’ + helena and steph linkup!!

⟢ robin (1993) #54 and 56-57

BAD CASE OF THE STEPHS MENTIONED + steph and crystal bonding and tim and steph getting together!!! + robin 57 as guilty pleasure :3 their first official date

⟢ robin (1993) #58-65

warning: dixon tackling teen pregnancy. we all know how that goes. remember dean? well steph got pregnant! and that guy bailed on her. dean when i get you. this arc breaks me everytime, steph you deserve the world ☹️

⟢ lewis era robin (1993) aka robin #100 - 120 HEAVY ON ROBIN 111

warning for SA / glimpses on steph’s childhood + dealing with the fact that her father is dead etc etc that will just make you think we should all just kill ourselves yk!!!!

as ROBIN:

⟢ robin (1993) #126 - 128

warning: debatable writing. robin steph! but take everything with like 5 pinches of different salts 😭 its bad y’all but it is essential. dan didio when i get your ass. dan didio when i get youuu

⟢ steph is dead! arc aka batman 634, detective comics 800 and 809, batgirl 62

i fucking hate war games so im not putting y'all through that. here instead: tim being so overcome by grief he can barely react to steph's passing, bruce remembering steph and cass hallucinating her as she is about to die

after that please just imagine that steph came back cause about every issue after her death was the worst ooc writing ever so, again, not putting you guys through that (its tough for stephanie brown fans)

as BATGIRL:

⟢ batgirl (2009)

i wanna say im conflicted about its writing but its about the best thing steph had post-revival. they constantly insult her spoiler legacy so not a fan of that!! but it is essential and i mostly like the rest so whatever :3 steph’s uni arc!

after that honestly nothing happened for her character, so heres on hoping she gets more stuff

[spotifyreleasegaydar]

I mostly disagree with this take, but I checked the tags and now I feel like understand where this perspective comes from. people are just watching mid shows lol

I wholeheartedly agree that different formats work better for different stories, but I feel this extends to serialized television with short seasons and lengthy episodes. or two-part movies. or a truckload of 9-minute shorts. or whatever esoteric format you can think of. these definitions of television and film are arbitrary, and need not be "distinct," because they only exist as formats in which to express an idea. if a work is better suited for twenty-four 22-minute episodes, I don't believe that's the fault of the trendy "limited series," rather a misstep on the showrunners' part to express a well-paced story within their chosen artistic confines

and like always, many of these decisions are sparked by capitalistic greed at the cost of artistic freedom (often out of the artists' control). this is especially relevant when discussing franchised IP. but again, I don't think the "limited series" format is to blame on its own. the biggest upside to a "limited series" for me is its ability to be artistically complete before streaming services have the chance to can it. in episodic television, this matters less, but in serialized television, it can be deeply unsatisfying to leave a show's pacing up to whether executives allow the showrunners another season. shows avoid this by writing complete self-contained seasons (or even anthologies), knowing they likely won't be renewed, and while that's a deeply frustrating aspect of the industry, it often results in what I believe to be a much more cohesive work

there are plenty of fantastic shows being made with short episodes and long seasons. and vice versa. you just gotta keep looking!!

we need 15-20 episode seasons again these limited series have the worst pacing in the world and none of the character decisions hold any weight

[evelynpr]

Might be a hot take as a bkdk and tgck truther here, but I find izuocha endlessly fascinating, beautiful, but also tearfully tragic.

I see their love for each other as something representative of their innocence and naivety when they only knew so little about who they were, and what was to come.

I think the main barrier of their relationship is that its rooted in how they see each other very idealistically, specifically that they're attached to the image of their Best Heroic Selves, and not the deeply selfish, destructive, freaky, and egotistical parts of them. To each other, they need to keep fulfilling that image or else that same person they looked up to would almost die in front of them, and that would be too cruel. Although that hero is still there, that same person they looked up to is not the same now because of...well...everything.

Izuku had barely even talked to girls when he first met her. She was Izuku's first ever real friend (Sorry Kats, everyone and him knows he was terrible), so he saved her in that entrance exam even if it was so dangerous. She gave a new meaning to his derogatory nickname just by being a friend that believed in him. After that, she saved him several more times (Blackwhip and Megaphone are the biggest samples iirc). It makes perfect sense that she is Deku's hero.

Ochako hardly knew what it meant to be a hero when she first got into UA. Just by reaching out to some kid tripping, she made a new friend who would then save her in that exam, then save him again in return. This boy then became someone who was always working so hard to save everyone in trouble, and she realized she wanted to be just like him too. "I want to save people"

But...Deku changes. The weight of One for All is on his shoulders and he needs someone to carry this burden with him. He continues to want to save other people at the expense of himself, still not letting his true selfishness and ego ever show- and it only grows more and more unbearable.

Then...Ochako fell in love with Himiko. Truly, relentlessly, selfishly and devotedly in love with a girl who then dies giving her blood to her- the greatest expression of love Himiko could ever give.

Not that they can't love each other because of this happening (and...so many other things oh god), I'm honestly not sure how to explain it- But them ending up together after losing that innocence and naivety? After Ochako will forever grieve the girl who showed her love in its most beautiful and ugly form? After Izuku changed so fundamentally as a person that the butterflies of a nice girl talking to you doesn't exist anymore? After that simple image of being a hero and being in love has completely changed for them both?

Even so, I believe they still love each other. There is no label I know of that can properly describe them though. They are each other's image of being a hero when it comes to saving people. Aside from Shoto, no one else can grasp the grief of the person you tried to save dying in your hands. They would no doubt try to cope with these losses together, and just try to get better together...but so much has changed. They've changed. The world changed. What are they now? Who are they now?

"What happened...to us?"

[rodanseys]

ok i finished my yearly reread of trc and i must say something!!! it is likely someone already said on the internet far before me, but i must say it!!!!

and that thing is how trb and trk mirror one another because of the inversion of adam and gansey's function within the narrative.

obviously, in trb, we see adam sacrifice himself to cabeswater. it is a huge risk, yes, but it's true to adam's character because he's willing to do what gansey isn't because he thinks choosing anything other than listening to gansey is freedom. as a result, he's the leader of the group for most of the series. the first thing gansey does when interacting with adam is ask adam a qeustion. adam is consantly called on over the course of the series to find an alternative solution when gansey can't- he even mentions that in his own monologing (i think in bllb). the gray man refers to the gangsey, as we all know, as "adam parrish and his band of merry men." in other words, he is the king, driven by duty, both that he cannot choose bc of his upbringing and that he chooses bc he can't understand what true freedom yet.

meanwhile, we see development of gansey as the poet. he's the heart of the quest, the person who believes in it to make others believe. this is especially true in trk, where its repeatedly pointed out that gansey can say things in his Gansey voice and making them true. this not only reinforces his place as the poet, but his own (and other characters') awareness of it.

so there's been established and really, really hammered-over delegation of adam as the king and gansey as the poet. then, in trk, we have the scene where adam is being taken over by the demon that's also taking over cabeswater. at the end of that chapter, he is able to regain control over the demon and separate it from cabeswater simply by saying his eyes and hands belong to him again- like gansey would. liek a poet would! his necesity to do this within the plot, the obviousness of him doing this as a chracter (he never wanted to be controlled, just gansey's equal, but he couldn't realize the difference yet) also means that he has moved into the role of the poet (and what could be more of gansey's equal than him becoming who gansey was within the plot?). this leaves the king role, as a narrative function, finally open for gansey to fill.

and it works because we've already seen gansey becoming increasingly anxious throughout trk. he's feeling this sense of power start to shatter, the fear of a life after glendower. but he knows he must finish what he started. how is this shown in the text? when he leaves in the middle of the night to find glendower- a literal repetition of adam leaving alone to sacrifice himself on the line. but, this time, gansey is the one to initiate. he's finally on his way to becoming a king, figuratively and literally. but then, we realize geldower is dead. and this is where this mirroring becomes so rich and fascinating to me.

but why? because gansey, after discovering glendower is dead, also discovers something contradictory to the way this story must go: "glendower was dead. gansey kind of wanted to live." the moment after he realizes it, he becomes so afraid of receiving pity because of his selfishness to live outside the bounds of responsibility thrust upon him. he never had that before. no one stopped him from searching for glendower, from being obsessed. he had the time, money, resources, and charm (unlike adam) to pull off this really kind of ridiculous activity. but, now, he finally uderstands what it meant to sacrifice and it brings up a vulnerability he doesn't know what to do with.

and guess who else dealt with reponsibilites thrust upon them that they didn't know what to do with? who was afraid of being pitied instead of respected as a response? adam! gansey's becoming more like adam. like the king! and the narrative literally acknowledges this: "for the first time, gansey understood adam parrish perfectly."

so, of course, like adam, he must sacrifice something to achieve the actual power of the king in the narrative. so he does. he kisses blue and sacrifices his life. and how is it written? "he fell from her arms. he was a king." he was a king!!!! he was actually a king!!! because, like glendower, he was dead. he couldn't be glendower (which is all he wanted to be- brave, respected, loved, remembered) without dying. because glendower died! and gansey wanted to live! but he couldn't. because he couldn't be who he wanted to be without also taking on the responsibility of what it meant to be that person. he never reallt understood this; adam always did.

i really appreciate this inversion because it gives precedence to their friendship on the plot level: both of them had to meet, to get to know each other, to fight for the plot to start. but then, they had to understand each other, to work hard to love each other, and actually end up on the inverted of the narrative in order to become who they needed to be for the plot to conclude. and it also reinforces another large theme of the series: time as something cyclical. gansey living adam's younger years while adam lives gansey's. that this was required for them to know and love each other fully and for gansey to come back to life and not "throw it away."

[accio-victuuri]

goodnight song is what we thought it would be and more 🌙

even before this was fully released, we already had expectations and clowning related to it. and a line from this song was the first real clue we had that the rumored album was actually true. so cpn aside, this track will always be special. there is an official explanation to this song and everyone is free to keep it that way because it’s a perfectly good message that goes well with the entire album. however, as with all other kinds of art, it is up for interpretation. and who’s to say there aren’t alternative meanings. it’s not like he can publicly say that oh, this is about the loml. anyway, while i was reading through some reactions to it i found one that perfectly describes it:

There is not a word about love, but every sentence is filled with love. Every word in the lyrics is a clear love story that people who know can understand at a glance.

and that’s the beauty of this song. it doesn’t have love in big bold letters but to those of us who have paid attention for years, we can see it.

so what did we see? …..

let’s look at the lyrics. 📝

Using a bowl of noodles, a bowl of soup

To flush away this piece of sorrow that warms the heart

Thinking again of her, or of him

Just think of it as an after-meal refreshment

i was already freaking out with the first line! sure, you can say he is talking about a comfort food that makes him less lonely but then the next part goes that he is thinking of someone. who could it be? who was the someone who nagged him to eat noodles? not only that, the same person who always asked him to eat well? YIBO.

i think this is common knowledge by know. the infamous wonton noodles. even his solos cannot deny what they saw in the cql bts. even in lrlg, this is a usual scenario.

🟢 "I'll cook noodles for you"

🟢 “Get off the car and eat noodles”

🟢 "Mom said, when you come back, let me cook noodles for you."

🟢 "I'll cook noodles for you. Where can you eat your first meal if you're not at home?"

yibo making sure that xz is eating well and vice versa. as a cpf, this is one of those clues that made me side-eye their relationship. it’s not even the fact that wyb made sure he eats cause any friend can do that — but the lengths he would go to make sure xz did. it was different.

and now xz gave his answer of how he saw that. in this first line alone. it warmed his heart. it was and is an act of love in it’s most basic form 🥹🥹🥹🥹

i also feel like this is a case of if you know, you know. if that first line didn’t hit you in the head then no amount of explanation will.

Don't be too pessimistic; need to try to become habituated sooner or later

The one left behind has no choice but to bear it

A 'good night' left for my past

this to me is him having to get used to the distance from a lover because of his work. but they have no choice but to bear it and try to live through it by the good night from the last time they met/spoke.

How many people, must take how many corners

Before being able to find their other half

Don't retreat, seeing your single-mindedness

Is able to disperse my anxieties

xz acknowledges how hard it is to find your soulmate. your twin flame. and most likely, harder to keep it. but as explained here, that person’s single mindedness or maybe you can say that person’s devotion towards him is enough to soothe his anxieties.

when you hear single mindedness or maybe single minded focus, doesn’t that remind you of yibo? and i love how cpfs went back on how persistent yibo was when it comes to xz (evidenced by mostly cql bts). some saw it as being a gremlin or him being a naive boy with a crush but clearly xz was comforted by it. most likely even now. as yibo said, what he decided when he was 21, he will continue on till 81. that level of commitment to xz is what he needs to drive away the anxieties.

Using a short phrase, a bowl of food

To take away the entire night's loneliness

Time to stop speaking, the sun's about to rise

Thank you for the warmth you gifted me

Thank you for the 'good night' you gifted me

there we go with the sunrise again 🌄 and love and affection equated with warmth.

this is a really sweet way to describe love. it’s not about someone being with you at night but one who can take away the loneliness with just a good night. no kiss. no hugs. nothing barely physical mentioned. but something as simple as a good night. that at the end of a long exhausting day, or whatever happens, he has that someone who will wish him a good night.

i’m gonna cry 😭😭😭😭😭

and oh someone pointed out that the lyrics, you can see Y & B. YIBO. what a coincidence!

-END.

P.S: feel free to interpret this song however you want. this post is not a space to argue about what other meaning it could have. if you want the official meaning, his team already released that. there is no point in debating or trying to convince me of whatever. this post is on the cpf side so if that’s not you, why are you even reading this post lol.

[sweemmy]

Darkness had never been a problem for Vi. She had grown up in it, embraced it as both a refuge and an ally in a world that gave her no quarter. But now, the darkness within her is different. It suffocates, ravenous—a beast that feeds on her deepest thoughts, on her obsession with you.

You are a glimmer in her shadowed world. At first, you seemed to bring a fragile light to her broken life. But that light didn’t heal her; it didn’t soothe. It was a spark that ignited everything she had left intact within herself. Vi knows this isn’t love in its purest form—love shouldn’t hurt like this. It shouldn’t burn through every fiber of her being. But what else can she call it when her entire existence revolves around you?

Sometimes, when she’s alone, her mind drifts back to the past. She sees herself as the girl she used to be—a girl with hope, with unyielding morals, with a sense of justice that brought meaning to her chaos. Those images feel so distant now, as though they belong to someone else. But they weren’t always this blurred. Vi remembers how she clung to that version of herself, struggling to reconcile her principles with the choices she made for you. Until one day, she stopped trying.

“Look at what I’ve become,” she thinks bitterly, staring at her hands, hardened by fights and scarred by the things she’s done in your name. Her knuckles, always marked, tell stories of the lines she’s crossed, of the faces she’s struck simply for coming too close to you.

The first time she stepped over the line, it was almost accidental—a punch thrown harder than it needed to be, a moment she couldn’t take back. But the effect was instant: a surge of power mixed with a dizzying rush that left her trembling. After that, it became easier, darker. Each decision pulled her further away from the Vi who once vowed to protect Zaun, the Vi who believed in something greater than herself.

But it’s not the actions that haunt her the most. It’s the constant thought, the unrelenting mantra she cannot silence: “I would let the world burn for you.” It plays in her mind like both a prayer and a curse. Because she would. Because she is. Every choice, every sacrifice, every boundary she’s destroyed has been for you, and she knows she’s losing herself in the process.

The darkness isn’t just in her mind—it follows her like a living shadow. The nights are the worst. When silence fills the room, the endless hum of her thoughts becomes unbearable. Every shadow on the wall seems to mock her helplessness, her lack of control. She dreams of a world without you, where she might find freedom again, but those dreams are fleeting and bitter. Because even in her fantasies, your absence feels like an abyss she cannot escape.

She watches you from a distance, trying to understand how someone like you can hold so much power over her. Sometimes, your words confuse her. “You don’t have to do this,” you say, but the smile on your lips betrays the truth. You enjoy being the center of her universe, though you’d never admit it. And Vi, caught in the web of her own obsession, can no longer tell if what she feels for you is love or self-destruction masquerading as something else.

Vi fights it sometimes. In rare moments of clarity, she tries to reason with herself, to remember who she was before you. But even those memories are fading, because everything that came before now feels insignificant. She wonders if her obsession began as love or if it was always this destructive force wearing the mask of something pure. But it doesn’t matter anymore. She doesn’t know how to let you go, how to tear you from her chest without bleeding out completely.

Every time she looks at you, she feels that toxic mix of devotion and despair. You are her salvation and her damnation, the anchor keeping her afloat and the chain dragging her down. And Vi, so proud, so stubborn, doesn’t know how to ask for help, how to admit that she’s losing this battle within herself. That her love for you isn’t saving her—it’s destroying her.

In her mind, the scenes replay: the faces of those who fell beneath her fists, the chances she missed to do what was right, the Vi she might have been if she’d never met you. But those images fade quickly, consumed by the fire burning in her chest. “It doesn’t matter,” she tells herself, “as long as you’re with me.”

When she closes her eyes, she sees it all burning: Zaun, Piltover, the entire world consumed in flames. And at the heart of that inferno, there you are—untouched, existing solely for her. The smell of smoke, the searing heat, the ash choking her lungs… all of it vanishes when her gaze lands on you. She knows there’s no turning back. Her love for you is her undoing, and though it hurts, though it scorches her to the core, she wouldn’t change it.

Sometimes, she imagines a different ending—one where she lets you go, where she finds redemption, where she becomes more than the chaos she’s created for you. But those fantasies are fleeting. Because at the end of the day, the truth is she doesn’t want to let you go. She can’t.

This love has turned her into someone she barely recognizes. But if that’s the price of having you, she will pay it without hesitation.

[thecolorblockcurator]

I’ve been thinking about a few things lately

And it seems like we’re at the precipice of another dark age. Dark ages are typically when education, reading, writing, scientific progress are lost

And by precipice I mean, it could go either way. Historically the rise of fascism has lead to incredible powerful art movements - as well as aggressive censorship

Now I don’t think it’s so dramatic that everything will be lost, collapse of a civilization -only ruins will be left kind of thing. We’re in a completely different age with more visibility and information than ever before

But I do think this time it’s a shift from reading and art to content that has been happening over the years & with generative AI it’s only pushing it further.

What got me thinking about it was- I just read about a new publishing company that is only selling AI generated books & plans to publish and flood the market with 8000 new ai generated books next year.

There is power in art. Art is transformative, political, it teaches us to be curious, to think creatively, to see things from different perspectives. Making art of any kind helps us from everything to processing trauma, to expressing our voice, to creating communities.

Content passes the time, it grabs our attention. It fills the room with noise. And it keeps people distracted. It keeps people in a passive yet heightened state.

And the second thing I’ve been thinking about is feudalism. The economic / political system that was around in the last dark age in Europe.

Now what I studied in my history program was more of the rise of industrialization & colonialism so I’m not as strong with my background in feudalism and I want to fully understand it before I completely form this idea

But, I’ve seen others write about this too and I think they’re onto something- it seems like we’ve breached late stage capitalism to some new type of feudalism. And I think that has some validity

Whether it’s related to the tech industry or corporate real estate. Or some combination of the two. I can see how this could be a type of feudalism. The effects are the same in terms the distribution of power, wealth, labor, ownership, as well as the cultural factors of approved art what art is allowed to be made and visible or in our case, consumed.

In regards to art- I can see how content, noise, trends are more valuable to a new type of feudalism than art. And how they both lend themselves to create a new type of dark age

So what does that mean? What should we do?

Create art. Write stories, poetry, zines, paintings, collages. Wrestle with ideas. Learn about new things that are confusing and difficult to understand at first. Carve out time for silence, so you can actually think without 3 different types of media all playing at once.

I think we have to actively fight this. And trust me I get sucked into instagram and tumblr more than I want to be.

And for me I know what I’m fighting is- it’s gotten to this point where it feels like by not being engaged in content I’m not being productive. That sitting in silence to let myself wrestle with ideas for a bit is somehow wasting time. - Which of course it’s not.