#for example: [why though]

[un-till-the-end]

All evidence Till survives (1/4)

I'm way late to making this post, but I've never believed that Till died. Here's why:

Foreshadowing

1. Being Shot

Many fans have heard of the "red tape theory." But did you know Till being shot has been foreshadowed at least two other times, potentially non-fatally? The first time was back in early May 2024 in this art for ALNST Friday:

@crustyfloor noticed the bubble gun pointed directly at Till's head and the impact motion lines of a gunshot on the other side. They speculated that since it's not an actual weapon but a bubble gun, Till would be shot in the future but the wound would be non-fatal.

Then, for those who don't know, the "red tape theory" refers to this album cover art from late September last year:

The idea is the tape is meant to symbolize a bandage or perhaps a scar: a treatable wound. The splatter indicates where he will be shot (the same as above).

Next, @rotingdoll noticed in the teaser trailer for Round 7, a crosshair made of light appears, and a moment later that creates a flash of light over Till:

Similar to the bubble gun, it could be argued a crosshair of light is also meant to symbolize non-fatality, since light is usually harmless, just like bubbles. The light passes through him from top to bottom, covering him only fleetingly.

@kitsquared noted the same symbolism happening here as well:

This time, the light isn't even covering him but is behind him. The burst of light is in the same location as the impact motion lines and the red tape: over his branding.

Blood spray from a bullet comes from the exit wound, not the entry, according to @verdantlights. In other words, Till was not shot from the right but from the left, the exact same location as was foretold.

2. Round 5 & Round 7 Parallels:

@cepheusgalaxy pointed out Ruler of My Heart and Blink Gone are the only rounds Luka is a contestant in. As such, Mizi and Till fall prey to the same psychological manipulation that exploits their trauma and grief. In parallel, both Sua and Ivan purposefully lost so that Mizi and Till would win - and therefore live.

(Gifs from @sailermoon)

@noven-warsh outlined Luka's strategy:

1. taunting them with intimacy

2. reminding them of their dead loved ones

(Gifs again from @sailermoon)

3. and then maintaining his composure as they lose theirs'.

@mikhardwheat noted Mizi and Till are equally overwhelmed, they've had no time to process the deaths' of Sua and Ivan, and are surrounded by reminders of their grief. @cepheusgalaxy pointed out Mizi and Till are both extremely emotional.

They both struggle to focus and engage in the competition.

They look to the crowd and are demoralized by the overwhelming support from Luka's loyal fanbase.

Meanwhile, Till is witnessing Mizi's round, and Mizi is witnessing Till's round.

Even more significantly, as again identified by @cepheusgalaxy, Hyuna has returned to the stage. Ruler of My Heart is the only round no one died.

Not only is Round 7 a replay of Round 5, it's also cyclical. Mizi has returned to the competition. The rebellion is back on the stage again. We've come full circle.

Observations | Official Art & Symbolism | Criticisms & Commentary

[tea-cat-arts]

Shen Yuan getting transported into pidw isn't "the system punishing him for being a lazy internet hater," but instead representative of "step 1 of the creative process: getting so mad at something you decide to go write your own fucking book" in this essay I will

[fetidbog]

Obsessive ASOIAF theorizing misses the point of the stories, I think! George's goal is to tell us a sweeping fantasy with heavy romantic elements and really beautiful characterization grappling with themes of redemption, power, agency, identity, love, loss, growth, death, (re)birth, etc etc. He obviously has some big plot points and mysteries, but those serve to reinforce the themes (e.g. Rhaegar and Lyanna are there to talk to us about love and tragedy and cycles and identity). George isn't chucking in a mystery to just have a wild and shocking reveal, he's putting it in to serve a narrative point and when you lose sight of that you are losing the plot, quite literally.

To me, it's much more interesting to see how certain themes develop over time as George sits with them (e.g. Jaime's progression from the outline into his POV character form is a perfect example), historical inspirations (BUT not as a way to crack a code!!!), and literary allusions and references.

[lycandrophile]

at this point i don’t even have any commentary to add to this. i’m just tired.

[pencilofawesomeness]

How Fairy Tail could have had a really cool thematic parallel if they Committed to the Bit:

I often joke about my constant urge to spew essays on characters and topics I have thought too much about, but I refrain because translating all the thoughts in my head to words takes time and effort, and sometimes I am speaking to the void. However. I am spinning in my chair, gnawing at the bars of my enclosure, and frankly thinking way too much right now so I must scream.

It would have been so impactful if Fairy Tail emphasized Jellal being brainwashed.

Jellal is my boy, of course, but I’m not even just talking about the impact to his character: I mean the impact of the entire plot. This, of course, if we went the whole mile with the theming. The machination of being controlled, emotionally or magically influenced, or even unable to fulfill a desire due to an insurmountable obstacle, comes up numerous times throughout the plot, to both primary characters, supporting characters, and antagonists. While Fairy Tail is absolutely a series about friendship, it is also about choosing your path, with a large recurring theme of, regardless of connotation, about being selfish, and what that means on both ends of the spectrum. It’s a matter of free will, and the antithesis to this is all manner of external control. So really, it makes sense that this should be a thoroughly explored theme.

I could talk all day about all the different examples and aspects of this but I came here to talk about Jellal. First, the slavery aspect really hits the nail on the head, so we’re off to a great start—this, of course, applicable to multiple characters, which I really enjoy. Things go wild, however, when Jellal effectively chooses to trade himself for Erza in the punishment game and gets the ever-living shit beat out of him at the ripe age of eleven or twelve years old. He is, understandably, not in a good place, and he comes to the stunning conclusion that… he hates the slavers. Yeah. Checks out. Then, he hears the voice of ‘Zeref’ spewing rhetoric about hate, and it overwhelms; this, we know in hindsight especially, to be Ultear casting a mind-fuck spell in order to manipulate him, under the guise of pretending to be a figure young Jellal believed to be a god. 

When I first saw this flashback, watching the anime, I was unbelievably hyped. For all of Fairy Tail’s odd relationship with foreshadowing, I got the gist of it as soon as the magic went into his right eye and overwhelmed him. In Japanese media especially (largely due to the prevailing symbolism of the daruma doll), the right eye is a huge indicator of free will and the future—namely one’s goals. Creepy magic ghost entering the right eye with magic-bind looking things and immediately warping Jellal’s goal? A+ delivery. Of course, at the time Zeref—an unrevealed ‘evil’ entity—seemed a likely culprit, but Ultear being the puppeteer changes little of the result. In fact, it actually creates a super interesting parallel, but more on that later.

First, there are the consequences of Jellal being an antagonist who is not in control of his actions. I see people lament that it “cheapens” the severity of the arc and provides a cop-out redemption for Jellal, and while the execution of the latter certainly could have been different, I don’t think the premise of mind alteration cheapens the overall plot and theme of Fairy Tail at all; on the contrary, it could have been used to further emphasize intra- and inter- character conflict as well as provide a super engaging parallel for the end of the series. The theme of nakama, family, and friendship is huge, so what better way to emphasize that than to show a twisted example of it?

Jellal goes from ride-or-die loyal and ‘good’ to circumstantially loyal to an ideal (and the people attached to it) and ‘evil’ with the flip of a magic switch. Erza gets the immediate short of the stick when she is the first victim (aside from Jellal himself) to this meddling, and the caring friend she had seen days or weeks before is now cruel, insane, and full of threats—threats she takes heed to as she is cast from the island. Now, Erza is also a child, and one full of trauma, so I am not trying to invalidate her fear or blame her for any outcome. This also does not dive into the intricacies of saving friends at cost to oneself, and all of the conflict thereof; if anything, the complication of the matter bolsters the drama and impact. And then, we have the rest of the squad. Sho, Wally, and Milliana buy into the idea without any trouble, and they continue to buy into it as they get older. Beyond morality, it’s a power fantasy, and those are easy for formerly powerless people to latch onto. However, Simon is the only one who realizes that something is fundamentally wrong and twisted with Jellal… and his ultimate goal, developed over the course of roughly seven to eight years, is to wait it out until he finds the opportunity to kill him, or get somebody else to do it. Ultear, even after integrating herself into the group out of nowhere, gets away with her plan, because ultimately nobody questions that Jellal’s sudden change was anything but a result of trauma and his own will—even in a world with magic, where the very first arc revolves around the use and mistreatment of charm magic.

(Now, as an aside, I unfortunately have some experience in friends suddenly changing. In real life, it is rarely so sudden and obvious, of course, and the culprit is usually those horrible little signals and hormones within the mind, and nothing so fanciful or external as magic. I had a friend take a nosedive into some truly batshit ideas—cult-starting worthy—and exhibit wild mood swings and displays of unprecedented behavior. It admittedly took me a moment to ascertain it among the known issues, but once the pieces clicked, it clicked. I wished I had noticed sooner, and even though she was more culpable of her choices than a person supernaturally influenced by an outside force, I still can’t hate her for all the harm done. This is all just to say that I have, especially in recent years, a personal perspective on this trope and an appreciation for the painful nuance.) 

Refusing to reveal this mindfuckery in the arc diminishes the severity of it a great deal, I fear. We, along with the characters, spend time believing he died an insane villain… and then when he comes back amnesiac, it softens his character but does nothing to contradict how awful he had been. It’s not until years later, arcs later, that we get this random instance of the long overdue reveal to tell us that the manipulation has been discovered off screen. Not only is this utterly underwhelming, but Jellal is now actively working with Ultear and is fine with it! He’s still (understandably, after all this damn time thinking otherwise) blaming himself and lighting his own pyre to atone for things started by a factor completely outside of his control, and every character lets him. The discussion of autonomy is wasted. So, too, is all the juicy emotional fallout. We don’t see Jellal grapple with the horrifying reality that he has not been himself, that years of his life were wasted as a mental slave instead of a physical one; we don’t see Erza beat herself up (likely unnecessarily) because she could have potentially protected him but she hadn’t out of fear, and then she condemned him unknowingly; we don’t see the others truly come to terms with the fact that Jellal had been stolen from under their noses and they never noticed; we don’t even get more than a glimpse in Ultear’s head, who committed the deed because she thought her means wouldn’t matter and then they did. 

It’s horrifying. It’s tragic. It was, perhaps, preventable—in that the problem was a punchable one, to a degree—except the people involved were just children, just human, and it wasn’t enough. Friendship and flashy magic power could not trump trauma and entrapment, not this time. No matter how I think the series could have and should have handled it (and I have several ideas, of course), Jellal’s story provides a haunting case of failure regarding the themes of friendship/community and freedom that our protagonists embody. 

Which brings me to the perfect opportunity to follow up this occurrence of stripped autonomy and loss of freedom with a culmination of the affected themes, plot points, and more: the books of Zeref. 

Namely, the idea that the etherious—sapient, cognizant, and fully capable of autonomy via every depiction given of them, from Tartaros to even Lullaby to especially Natsu—can be and have been resolutely manipulated and controlled via the books by Zeref. Now Zeref, infamously hands-off up until the finale, barely utilized this. The most we ever see is instilling a directive and supernatural need to kill Zeref in the texts, which serves as an externally imposed goal. (Sound familiar, yet?) Provided Larcade clearly doesn’t have these instincts, it is not a guaranteed addition either, which further adds to the sense of deliberation. Natsu experiences this only in the last arc, in what I assume is supposed to be a very tense and jarring plot of a friend and protagonist suddenly losing himself, but it does not get expounded on for long enough to hammer the point home. The plot point of reclaiming the book becomes about saving his life only, and not his autonomy. Not only could this have been emphasized to be properly horrifying and devastating, but the effect—and the suspense—would be doubled with the prior establishment of Jellal’s arc and the tragedy therein. 

To back up for a moment, this parallel is further accentuated by the fact that Ultear and Zeref are clear mirrors of each other. Ultear was afflicted by a magic condition outside of her control and she was enslaved as a lab rat for it. When she broke free, she perceived her mother to have abandoned her, so Ultear, in her unresolved anger and grief, aims her entire goal to rectifying it, which culminated in planning to undo the entire timeline in order to make the one she wanted all along. Any casualties, any cruelties—including the mental enslavement of a slave child—are means to an end, and will ultimately be forgotten. Zeref lost his entire family to tragedy, and in his grief, he refused to forfeit the idea of regaining what was lost, namely his brother. He became afflicted with a curse—a magic condition outside of his control—and experienced cognitive dissonance for it. Ultimately, this miserable existence culminated in the idea of erasing the timeline entirely and forging his own. Any casualties, any cruelties—including subjecting his creations to the same lack of complete cognitive control—are means to an end, and will not matter. 

I mentioned that selfishness is also a recurring theme and this is a prime example of the dark side of it. For Lucy, claiming her independence and following her own path against the wishes of her estate, it is a wondrous thing. Freedom cannot be achieved without some selfishness, and this is a wonderfully handled theme in Fairy Tail, where our protagonists unabashedly put their friends above concrete morals and follow a creed to live their life to the fullest—the eternal adventure. For characters like Ultear and Zeref, their personal desires—born of horrible tragedy and frankly understandable things to want—come at the cost of the autonomy of everyone else, especially the pawns they use to further their goal. This, in true fictional hyperbole, begs the question of where the line in the sand is to be drawn, of what is acceptable on a moral standard and what is not. It is, of course, colored by the protagonist’s point of view as clear antagonism, but as a viewer of the media it provides to us to question when protecting one’s ideal becomes irrevocably an attack on the sanctity of others. 

Which brings us back to the matter of the books. The intended horror of Natsu losing control of himself, I think, could have been really emphasized in order to highlight these aforementioned themes. Imagine if, instead of a complete menagerie of new characters as the final invading force, Zeref’s key piece of his invasion was Natsu. With the intended goal of undoing time, having Natsu kill him is no longer necessary, so it would be more pragmatic to use Natsu instead as a weapon of mass destruction for his goal. Not only is he inside of Fairy Tail, but Zeref is, theoretically, doing this for Natsu too, and he won’t remember this upon success—nevermind that the Natsu we know, that presently exists, that we have watched develop over the entirety of the series, would be forever erased regardless. 

Armed with the knowledge of what happened to Jellal, and how he ultimately had no one to intervene for him, this increases the urgency within the characters and will likely expedite their discovery of why Natsu turned against them out of nowhere. This time, a resistance is launched, and characters have the chance to intervene on the behalf of a friend. Gray couldn’t save Ur, Lucy spent years ensnared by the will of a family member, Erza didn’t recognize Jellal’s plight until it was too late, but they can save Natsu, and save him quickly. Fairy Tail, Team Natsu especially, can rewrite the book of E.N.D. solely for the great cause of freeing their friend and handing him back his free will, and in the process, Fairy Tail saves their own future as well. This doesn’t preclude the ability to free Zeref from his curse, but with or without that we have a beautiful culmination of fighting for the sake of a friend, for the individual and for the whole group. This time, friendship wins. 

I just think it could have been really cool.

[whiteboardartstudios]

I SAID I WAS GOING TO DRAW THAT CAR SO HERE WE ARE (I hope you enjoy this is the stupidest thing I've drawn in months /affectionate)

(I put the image descriptions in the Alt text this time because there's so many images. If it doesn't work please tell me and I'll yeet them in the actual post!!)

happy finale of Wild Life everybody! :D

[tinseltownie]

i have a vision.... I don't actually think Lando likes to be casually touched.... someone come discuss with me.....

[stupidlittlespirit]

this is maybe a niche complaint and people might disagree but i think it's really fucking foul how talking about your own experience with abuse is considered 'trauma dumping'. These weaponised pop psychology terms have done a number on normal human interactions.

[meanderfall]

i will never be over the perfect slow burn of leonardo's deteriorating mental health from s1 to s3 in tmnt 2003

he's a pretty reserved and quiet guy but we still get to see him be a dork in s1 and act like a typical teenager!!! having fun riding his scooter during the blackout with his brothers, getting SO excited over perfecting his split kick, and the background stuff too, like reading a book (and getting interrupted by the battle shell almost running him over in "fallen angel" rip), and eating junk food with his brothers.

but you get further into the series, and a lot of that stuff just kinda... fades away. he'll still mess around and play with his brothers sometimes before the plot starts, but the more obvious dorky teenage stuff sort of stops, and 99% of the time in the background shots in the set-up to the plot, he's training. And it's not even the fun, "i REALLY want to get this move right, hey look guys i did it!!! :3", kind of training like with the split kicks. he's taking it 100% serious, like it's life or death. And well..... I think for him, it definitely feels that way.

I mean, Tales of Leo pretty much shows us what is most important to him. (and i always go kind of bonkers over just how explicit they are in laying out just who exactly Leonardo is and what makes him tick in that single episode. Obviously the show does it at least once for the others too bc it's a kid's show, but once they give us the basics of personality early on, they let the characterization come through more subtly. In comparison, this episode comes late into the season and it kind of feels like them grabbing us and going "are you paying attention? this is important. it will be important.")

we get to see how focused he is, how he's been there to save his brothers when they get into trouble, how they trust him and his judgment, and most importantly from splinter's tale, protecting his family will always outweigh any fear he has. Leonardo is at his bravest when his family needs him. and we get proof of this moments later when he wakes up from his coma ("Leonardo, my son, you must gather all your strength and confront your fear"), he wakes up because he heard his family tell him they needed him.

and I think, pre-series, this protective drive, this responsibility he has gladly put on his shoulders, wouldn't be that much of an issue. Obviously, there were dangers but. Intermittent ones. Ones any of them were fully capable of handling on their own and as kids.

But then the show starts happening and their adventures get more dangerous, more lethal. And the stakes keep getting higher and higher.

And Leo feels this change the most keenly because he feels so responsible for the lives of his family. And, unintentionally, his family ends up reinforcing this belief, inadvertently places expectations on his shoulders, because at least once per season there's some big high stakes fight and everyone looks to Leonardo to pull through and finish things.

And obviously if they knew, if they realized how this might be affecting him, they would say something, do something, but Leo would never tell. He wants to protect them. He's probably happy and proud that they rely on him.

And so the series goes on, with his family none the wiser of what's happening, but, imo, you can see the cracks in the façade.

We know from Return to New York with the way he freezes and has a flashback when fighting the Elite that he most definitely has a little trauma from the Shredder Strikes Back. That he was afraid during that fight, even if he didn't show it. That he might've been scared during other moments in the show but didn't show it because his family needed him.

When he makes a mistake, he's so harsh with himself. In s3, Hunted, Leo steps on a mine and he immediately goes "stupid, stupid, stupid!" at himself. In the recap episode of s2, Raph points out that Leo isn't so perfect considering how he almost believed the Shredder when he tried to get Leo to join him. And unlike in the first episode of s1 where Leo pushes back against Raph's taunts, he just full-on agrees with Raph here. Splinter tries to let him know it's not his fault but he brushes off any comfort or reassurance, because in his mind, he should have been better.

All of his spare time now seems to be spent on training, because he needs to be ready for anything. And on that point, his hypervigilance is through the roof. If there's someone in the shadows, some quiet sound hinting at an attack, it's almost always Leo that notices. I think constantly of the moment in Hunted when Mikey would have been sniped if Leo hadn't noticed the glint of the rifle and got him out of the way. I'm sure what could have been haunts Leo. And it's those small moments, where Leo needed to be ready and able that keeps reinforcing Leo's belief that he has to be on the look-out, has to protect his family, because if he isn't, they will die.

And it just builds and builds and by the time you get to season 4, where Leo is spiraling and isolating himself and lashing out, it feels like it's been a long time coming.

[mythtakens]

so here's a scenario if a character was, completely random example, shot by a sniper in the street and they had one singular coherent thing they said in between getting hit and waking up in the hospital days later. what do you think is the most absolutely sickening heartwrenching line you could have that character say. like for instance to their closest friend. who is let's say idk covered in the blood that just sprayed out of them straight into said friend's face. a best friend who is actively trying to stop them from continuing to bleed out in that moment because they were just SHOT by a SNIPER and they're DYING. let's chew on this hypothetical situation for a minute or five. what is the most insane yet still fully in character thing a person could use the last of their energy to say in the chaos of everything that's happening before passing out. they're in pain, they're in shock, hell they're not even fully aware at this point right and this is something that could easily easily be the last words they ever speak. what do you think would be the version of those words that would clock me in the face the hardest and why did Eddie Diaz from 9-1-1 say it on network television in 2021

[taibobo]

As a black gay man who finds the fictional version of the average bass pro shop credit card owner slash NRA member attractive I am constantly fighting myself so i kind of love when posts discuss the complex ways people (even marginalized people) use aesthetics associated with dominant groups and oppressors or enjoy characters who are parts of those dominant/oppressive groups

[pseudophan]

they're a little too fixated on gay saunas recently. like do we really need to share this

i think dan's doing that thing he always does where he gets hung up on something really random and keeps bringing it up all the time for seemingly no reason. i don't know if it's the autopilot entertainer brain that just throws out any remotely interesting thing on his mind or what but he does it a lot 😭

[bleue-flora]

Ok, I recently wrote an essay [here] talking about the definition and duties of civil engineering as well as the ethics because of the brain rot @swordfright gave me with calling Dream Sam’s ultimate engineering project. So, because I actually am a civil engineer I took it upon myself to design the title and summary of quantities sheets just like I do at work for roads but with Dream as the project instead. And in honor of angst day sponsored by @sixteenth-day-event, I figured I’d share it because I feel like it kinda works for the prison of the mind prompt.

“Sam’s “ultimate engineering project” he deemed too damaged like a bumpy road or crumbling building that wasn’t worthy of patching and filling in the cracks or reinforcing, that’s too eroded to be fixed and preserved. So, Sam strived to tear him down to the bedrock so he could remake, remold, and reengineer Dream according to his design for the common safety, public health and well-fair.”

{These are very similar to the actual sheets I make day to day, which I shall not share for the sake of doxing my location, but yea pretty much everything has a significance. Some of it doesn’t necessarily make sense but that was because I was more so taking inventory of what we see in lore (so you know I counted ;) lol)}

[ducktracy]

i was watching Jerma make tierlists yesterday and he ALMOST DID THIS ONE but thought it was "inaccurate" and skipped it and that made me so mad and upset that i decided to do it myself. this follows an odd and slightly convoluted logic so don't overthink it too much... but this is my verdict. 95% of this is born out of indifference towards certain characters rather than actual dislike

[rawliverandcigarettes]

honestly, re: my last reblog, but it's so funny to me how unbearably annoying humans in mass effect are, like you guys!!!!! calm down!!! you JUST arrived!!! maybe take in your surroundings for 5 seconds before declaring you should be treated like the most special princesses of all and have all the advantages ever without any drawback and be recognized as the supreme leaders who have all the clarity and drive and righteousness to solve everything and be the victims of everyone's envy and meanness and the ultimate heroes who will save everyone in spite of themselves...... 😔😔😔

[infinitelystrangemachinex]

Veilguard vaguing:

It's not automatically a good thing, actually, that the game de-emphasizes or even outright removes racism against elves, and bigotry against other groups, from the story