#but like 99% so close

[smile-dance-breathe]

It’s very cloudy here today and we’re just now able to see the eclipse at all

[grimgummies]

Not going to lie, I’m surprised the fandom isn’t eating up the new tone shift and characters’ struggles in ep5. Maybe I’m not looking in the right spaces but fandoms usually love that stuff.

I KNOW I mean the amount of angst art that was made prior to the episode really made me think people were gonna take everything from the new ep and run with it. Though that's not to say people didn't. I've seen plenty of people discuss what happened in the episode (especially regarding John and his daughter/his family in general,, people were going insane over that and I get it like we're getting deeper into what happened to him and his family which I'm also super interested in. Plus seeing his photos in Ignacio's house really got people discussing his connections/past with the cult and how there's such a specific focus on John).

[detentiontrack]

Happy day 10 of this migraine. Should I throw a party when it inevitably gets to 14 days?

[lostplanetvoltia]

Joining Art Fight for the fifth year in a row! Wow does time flies.

I'm lostplanetvoltia there too.

some pics i did last year under cut:

[molliemoo3]

I'm glad Will called David and apologised, and that David is all ok with him 💙💙💙

[kyliafanfiction]

I sometimes feel like characters who do truly monstrous things while also having been victims of some pretty insane shit themselves are sort of an exercise in empathy. Or at least, should be seen as such.

Like, in real life, if a person who has been horribly broken by their experiences and failed by society than proceeds to rape someone - it's hard to feel the justifiable sympathy/empathy for that person (without excusing their rape, never do that) because well, you can look at this actual human person they hurt, or worse, and it feels gross and disrespectful to the rape victim.

And this is understandable. (And applies to more than just rapists/rape victims of course, that's just the most visceral one and thus picked for that reason)

But a fictional rape victim is... fictional. You can't 'disrespect' their trauma, and while obviously rape/whatever else is real, and people may related to the rape victim and thus see your comments about the rapist also being a victim as somehow being about their experience...

Well, it's not.

Because the rapist here, didn't actually hurt a real person. Fictional characters are objects. They're objects that often grab us by the throat and refuse to leave our fucking heads, yes, but they're objects. They are tools used by writers to tell a story, and readers to tell a story.

And one of the things fictional characters are good for is allowing us to consider experiences we never had, and imagine ourselves in other circumstances and lives. (Also just fun and fascinating and interesting to watch their stories).

It's very easy to feel for the rape victim in fiction, and rightly so. That's Level 1 Empathy there. Granted, some people IRL fail that, but that's not really what we're talking about here.

Advanced Empathy, hard Empathy is feeling for the rapist. Not for the rape, of course, even if they feel guilt about it, but if someone really was failed on multiple levels and was broken and damaged and went through the sort of psychological wringer that would leave most of us here on tumblr catatonic - they do deserve the same Empathy any human (any person) who went through all that.

Even after they also do the bad thing, critically they still deserve Empathy. And that is fucking hard. I very often have a hard time feeling bad for truly awful people who also deserve empathy and sympathy, real and even fictional (despite all this, yeah, I'm not perfect on this) for what they (separately) went through.

It also becomes even harder when what they went through is utterly bound up with what they did. How what they went through and experiences is in part responsible for what they did - because they still made a choice. The circumstances may have left them not in their right mind, may have left them feeling without choice, may have driven them to things they normally might not think of or do, but they still chose to do that bad thing. And that's not okay. They still hurt someone.

And yet - one cannot remove the action from the circumstances. So you can still feel empathy, and elucidate all the factors and circumstances as to what led up to their choices and why, and it doesn't change that they did the horrible thing. The rape, or the murders, or whatever.

But circling back - with a fictional character... they didn't hurt a real person. There's no one who is real that suffered. The things the character did IRL are bad because they hurt real people.

So you're not being disrespectful to the victim by feeling that empathy, or sympathy. By exploring the things that they were a victim for. Even by wanting to focus on those things - fictional characters should be compelling in all their aspects, if they're written well.

And yet, of course, if you do that empathy and do talk about what the bad person went through and all that context, people come at you. They call you evil, just as bad as the (again, fictional) character, or they say that you're treading dangerously close to the arguments people use to defend the real people who do these things in real life. Or you're disrespecting all the victims of these crimes IRL. Especially of course, if the person coming at you has a reason this comes close to home.

But again - fictional.

In an ideal world, we'd all feel sympathy and empathy when it's called for, regardless of what the person did. Even the worst most monstrous people deserve human treatment in prison. And if you don't have empathy, that's hard. Even if you do have empathy, that's hard.

So if you look at a fictional character (who doesn't hurt a real person by virtue of being fictional) that does horrible, vile things, but went through so much, and you still can't empathize or sympathize with them... I mean, it doesn't make you a bad person, not even close, this is still fiction, and there's people I should empathize with in fiction that I don't, but...

It's still a failure of your ability to be empathetic. And we're all humans. We're all failing at that, among other things, all the time. But... it's good to be aware of that. at least?

At the very least, bear that in mind when other people are talking about that context, and that victimization. And please, for the love of god, don't fucking pretend that the victimization didn't happen, that this person who did do terrible things (in fiction) suddenly didn't also (in fiction) experience awful shit, as if doing a bad thing erases all the bad things done to you.

Again - it doesn't necessarily make you a bad person, but like... the horrible state of prisons in our society is a real, actual problem. The way we as a society dehumanize people who do bad things is a real actual problem for a lot of reasons (not least because it creates an incentive for authority that wants to dehumanize a person or a group to expand the definition of 'did bad things' to make their dehumanization now acceptable, among other things).

So yeah. Fictional character who suffers but than also makes others suffer - that's a useful exercise in Empathy. And doing that doesn't make you or anyone else a bad person, or actually defending the sorts of crimes, IRL or Fictional, that this character did. Contextualizing is not whitewashing, empathy is not erasing, and humanizing is not disrespecting the victim(s).

So yeah, they fictional character did bad things. But there's more to them than that. And you can say but and talk about what comes after but without disrespecting the fictional victim. Because the fictional victim... is just as fictional. Just as not real.

Is it possible for this to end up being taken too far? Yes. But that's a reason to be mindful of yourself when it comes to real people, not to never do it. And when it comes to fictional people - again, fictional. Nobody was actually, really hurt.

(I really do want to make clear, before people read the tags, that this applies to all crimes these sorts of characters do, rape was just picked as the one to use as the example.)

[autisticlee]

it kind of sucks when all your friends and family, everyone you know, are all pairing off and getting married and havinf families, except you. you're the only one that doesn't have a partner and probably can/will never get one. especially if one around you has time for you anymore, they never reach out, never get back to you, because they're only focused on their partners and families. you're stuck alone and drift away from everyone through no fault of your own. you have no hope of finding your own partner or no motivation to look for one for whatever reason. the lack of connections while seeing everyone around you having their own can get overwhelmingly lonely at times....

[eorzeashan]

this armor is so cool dshjhksdh

[unhonestlymirror]

A bit strange feeling of living in Lithuania while looking like... Lithuania

[carcarrot]

this time last year i was probably sitting in the kitchen while my dad started making an early dinner of chicken bolognese trying not to get too nervous about the concert i'd be going to in a few hours

[cowboyskeletons]

hc that willscam wasn't made with hermie's memories. so when he asked who hermie was it was genuine because he would have no idea who that would be.

but he was made with the idea of hermie.

so he has this vague, fluttering ache, this groundless attraction. has the stage directions and nothing else. and everyone else has the script, sees the one he's understudying and all the ways he doesn't add up. he's pulled on in the final act and he's never seen the play before

so he has to know. they're in heaven, so he wishes that he did.

and then he knows. it's not quite like becoming hermie, not like hermie being reborn into a new body-- it's like a parent telling you a story of something impressive you did when you were younger that you had forgotten. it doesn't really change anything about you, but now you've incorporated it into your memory.

so now he has context.

now he knows the nameless shadow, the ultimate goal, the boy that died among friends but died yearning and alone nonetheless. he knows every stray thought, every mindless interaction, every rejection, every act and reality.

and he sees that boy and he understands him. feels his brightness and his bitterness and his love. (sees that what he was given when created pales in comparison.) he mourns for that boy and what he could have had and what he did and vows to carry that with him from then on.

and when he was brought back from the dead and got the chance that hermie never could, it solidifies.

they're not the same person, but he vows to carry the legacy that had once been forced upon him. vows to be more and have more than hermie was ever thought to. because they both deserve it.

[baekuras]

I also need people to know that just today I learned of the 'first dlc boss' aka the Dancing Lion

yeah

I killed Rellana before going there and only learned about it due to a random twitter post

i never even turned into that directions

[aria0fgold]

Thinking more about my isat au and I'm gonna need to change a LOT more than I thought. First things first, Siffrin's connection to the wish. Since in Of gems and pages, all the wishes stayed the same. So why is Odile the one looping and not Siff? So basically, what I think I'd do in my au is that the Universe decided to change things up a bit.

The first time the Universe granted Siffrin the means to fulfill their wish, things went horribly bad (just look at Loop). So this time, the Universe decided to give this new Siffrin, something a lil different. They still gave Siffrin the timeloop But made Odile his proxy. So that Siffrin may have helpers in this new timeline, with Loop as the guide and Odile helping as well, it Should go better, right??? And since the wish is connected with Siffrin's emotions, the Universe can't just completely make it Odile's problem now, sooo basically... Siffrin can still remember Parts of a previous loop PRIOR to their deaths.

That means during the beginning of canon when Siff was crushed by a boulder, he remembers that. And found Loop as well, but when he accidentally ended up touching a tear, he now Doesn't remember being crushed by a boulder but by being frozen in time. At the same time, he ALSO doesn't remember Anything else prior to it. So he doesn't remember that there's a boulder that can kill him by the entrance of the House, he doesn't remember Loop. All he remembers is that somehow, one way or another, he was frozen in time within the House and needs to be more careful with the tears. And because of the way that the loops affect Siffrin now is faaar too different than how it affected Loop, he can't go forwards or backwards in time. Siff will always awaken back in the meadow and Loop will always have to do their whole speech all over again (which would most likely annoy them immediately cuz why? Why is it so different now? Why can't this Siffrin REMEMBER?)

Odile on the other hand, remembers ALL the loops and finds a lot of discrepancies with Siffrin. It takes awhile for her to meet Loop and they get to talk to each other. Their meeting would be pretty... rocky at first. Loop still getting regarded as a stranger by Odile, Loop finding out that Odile is the one getting affected by the timeloop from their own selfish wish. Even if that Siffrin isn't them, it doesn't change the fact that they both made the same wish. Loop thinkin bout being such a favourite cosmic joke of the Universe that not only were they turned into This, one of their family members are suffering cuz of them. And she doesn't even recognize them. It'd be pretty hard at first too cuz Loop doesn't know that their appearance changed yet, there's no mirror. For Loop, they might still look like Siffrin, right? But Odile's reaction to seeing them says otherwise.

Anyway in this au, stage wise, Odile is the actor, Siffrin is the director, and the Universe is the audience. Book wise, Odile is the character, Siffrin is the writer, and the Universe is the reader. Why is Siffrin the director or the writer and not the Universe? That's because the timeloops are Still connected to his emotions, if something he didn't want to think about happens like, that argument with Bonbon (just as an example. I'm wondering if that'll still happen here considering that only happened because of Siff had memories of all the loops in canon. He doesn't have that in this au anymore), time would loop back still, so in a way, Siff Is writing how the timeloops go.

[lock-my-feelings-in-a-jar]

Please BE EXCITED about stuff you like/ want to be excited about 💞 That's what life supposed to be about, finding joy in the smallest things, in the things we enjoy and love. And the people that judge us for having that joy in our hearts lose their own life, because they spend too much time judging someone else's life instead of doing something with their own. FUCK them

this is one of my favorite asks and i love you

[sparebutton]

The fact that there are going to be “historical” American Girl dolls from 1999 is too much for me

[inamindfarfaraway]

I rewatched “The Richest Duck in the World!” and noticed something new. It’s only a theory, but it could easily be true, and… oh my God.

Bradford Buzzard has been working with Scrooge for about two decades or more by this episode, right? He's the CEO of McDuck Enterprises. He can overule Scrooge on business decisions and has access to and knowledge of everything, including Falcon Island, the portion of money afforded to it and that it's used for magical defence. Scrooge took the time to remove that island from all maps because he was so desperate for nobody to ever be able to meddle there. This is as top-secret as it gets. But Bradford knows. Scrooge trusts him implicitly with ALL his money. That's a lot of trust!

So Bradford almost certainly knows about the Bombie. It's hard to imagine a conversation where Scrooge told him about Falcon Island and what resources it needed without telling him why it needed them; and never before this episode has the Bombie been released due to financial strain. Not even in Scrooge and his finances' lowest point, when he was blowing through savings to search for Della, resorting to draining the Money Bin, his personal store of sentimentally valuable coins. Not even with Bradford wanting more of McDuck Enterprises' money available so he can siphon it off for FOWL. There was always, always something less important than Falcon Island.

But then Louie - an inexperienced, physically weak and unskilled eleven-year-old - becomes the richest person on Earth. On his very first morning in this position, he has to compensate for his wasteful spending by taking money from the company and Bradford immediately suggests cutting funding to the Bombie's containment measures. That is the first thing he comes up with. And he agrees to it unhesitatingly without a word of warning. This is why the entire plot of the episode happens!

Even more dammingly, he has a button specifically to deactivate the magical security system on hand at that moment. Without it, the Bombie escapes in an instant. But how did such a button come to exist in the first place? Scrooge would never have asked for it. Nobody else knew anything about Falcon Island. Bradford must have made it and connected it to that magic himself. He saw that Louie was vulnerable and wasted no time engineering his fall, unleashing a lethal threat upon him that was, as far as anyone knew, absolutely unstoppable, yet in a manner indirect enough to deflect suspicion from him.

Bradford tried to murder Louie.