#fuck being woke

[capricreatives]

(via "Fuck woke culture " Bucket Hat for Sale by CapriCreatives)

[prlssprfctn]

Batboys, who finally got Jason to agree to join them in their Farm Weekends at Kents, and who beforehand warned Kon and Jon that, well, Jason can be a little flippant, but it nothing personal, only to find out that Jason has an awful, tooth-rotting soft spot for Supers.

Kon, sighing: Okay, Jon, remember, this guy is probably like Damian but older and worse... On the other side, you probably would like that, but just in case if he makes you cry, call me. I'll deal with him. Jon, giggling: Don't worry, Kon. Jason, appearing on the doorsteps: Hey, little ones. I wasn't sure what people usually bring as a gift when they are staying at someone, so I bought the bunch of sweets for ya. You don't mind, do you? Kon: L-little ones? Jon: SWEETS!

Batboys are flabbergasted. Jason never acts like this with them, so what the actual fuck. Tim checks on Jason's temperature, like, three times in the row, and gets his hand smacked. Damian stares at Jason, trying to figure out if the Pit madness had returned in a different light. They have no explanation for this.

Kon: Dude, you said that he was meanie. Tim: He IS. Usually. Kon: I don't know, man... He lets Jon sit on his shoulders and piggybacked me this morning. That's not really mean to me. Tim: WELL. HE NEVER DOES THIS WITH US. Kon: Maybe he just doesn't like you that much. Tim: SHUT UP.

Jason, helping to Lois with some chores: So, I need some help in stalls. Pretty boy, come and help me. Kon: (keeps standing cluelessly) Jason: (glares at him, confused) Kon: Oh! I am pretty boy? Jason: Yeah? Chop-chop, come on. Tim, muttering: All I get is Timbers. And Timberline. And Timmers.

Jason, cooing on Jon: Aw-w, here goes my itty bitty tiny- Damian: (growls) Tim: Somebody sedate me. Kon, twirling around in new leather jacket that he stole from Jason: Yeah, we are his new siblings at this point.

Dick: I am. SO. Happy. That. Little. Wing. Finally. Can. Unleash his. True. Cringey brother. Personality. Tim, concerned: Is that kryptonite in your hands? Dick: No. No. Don't get me wrong. I am very happy. I had waited for this day for years, even. Well. I expected ME to be his itty bitty tiny weenie. But. That's fine. I am fine. Damian: I'll fetch father... Tim: Yeah. Please.

[heyhanibee]

cliffhanger so disrespectful i had to draw it sorry🐸🐸🐸

[serpentface]

The pylidaigh, a type of vampiric snow ghost, as imagined in folklore in and around the Highlands.

This is a ghost believed to come into being when a person dies in the snow and their body is not found before their soul (still trapped without its funeral rites) 'freezes' inside of it. The body then reanimates into a pylidaigh's twisted form. It looks like someone who slowly died of starvation, just a thin layer of flesh over bones. Its skin is as white as the snow itself, so pale it can blend seamlessly into a blizzard. Most of its body appears subtly stretched and lanky, save for its exceptionally unsubtle long, skinny arms, which drag on the ground behind it when it walks. After a big meal of blood, its belly swells like the abdomen of a tick.

A pylidaigh can only tread across snow and ice, and so doorways and windows are best kept clear of snowfall during the winter in order to prevent it from reaching inside. It mostly comes out to hunt during blizzards when there is little that can prevent it from catching its victims.

In spite of its fragile appearance, a pylidaigh is supernaturally strong, and can run at great speeds when it wants to. No mortal weapons can pierce its body, nor can any bonds known to craftsmen hold it in place. It is usually said that chains forged like iron but made out of ice can bind a pylidaigh and render it immobile, but this smithing technique remains tragically elusive to the average joe.

This ghost is either cast as a wildly dangerous but tragic figure, or one that is more simply malicious. In either case, it is described as experiencing nothing but bitter cold. It shivers endlessly. It retains distant memories of what it was to be alive, and it is motivated by a futile desperation to experience the feeling of warmth again.

In more sympathetic framings, it is described as using its freaky gibbon arms to capture its victims and pull them into an embrace, rather innocently trying to warm itself against their body. This inevitably fails, and the embrace becomes a bone crushing squeeze. When that too fails to warm the ghost, it rips out the person's throat and drinks their blood until the victim is as cold and drained as the pylidaigh itself.

In other cases, this more pitiable narrative of a ghost seeking warmth with no comprehension of its actions is discarded in favor of making it purely monstrous. Here it is a type of vampire with an insatiable thirst, practically a physical manifestation of the worst of winter itself. Some tales acknowledge both variants, suggesting a pylidaigh's violent attempts to warm itself may be initially devoid of malice, but turns into an act of furious jealousy of the warmth of the living after years of suffering.

The only (more or less) surefire method to permanently kill a roaming pylidaigh involves trapping it with fire. They are attracted to any source of heat, and will attempt to warm themselves with the flames (if not tempted away by a juicy living human body). The fire itself cannot kill them (as the sheer cold of their body is more powerful even than flame) but they can be trapped if kept near the fire long enough for the snow it depends upon to melt. This does not kill the pylidaigh either. The monster will remain in stuck in place (and potentially become a threat again if it snows more) for the duration of the winter. Only when the spring comes and all the snow melts does it revert into a normal human carcass (though mysteriously invulnerable to decay), at which point it can be cremated.

Pylidaigh in the wilds also revert to a human corpse during the snowless seasons, but will roam again each following winter unless it is burnt in the interim. It is of critical importance that any human corpse found in high mountain pasture is cremated- not only out of respect for the poor soul trapped as an earthbound ghost, but to prevent the threat of the possible dormant pylidaigh emerging next winter.

[wh0r3zzz]

I'm so tired of feeling like this.

[queen0fm0nsterz]

I really like how Little Nightmares explores masculinity and femininity.

The experience of a female presenting LN protagonist (and even character, if you want to extend to the antagonists, notably the Pretender) is generally one of survival induced solitude, where companionship can be sought but ultimately denied due to circumstance - especially among each other. Six, Noone, Alone and Raincoat Girl all display different degrees of longing for someone to understand them - Six being an extreme on the side of isolation with the occasional source of comfort (the Nomes), Alone being a comfortable middle where she is indipendent and curious while also having a companion, and Raincoat Girl being the other end, an helpful force who seems to desire companionship. In Little Nightmares 1 especially femininity is displayed as the painful experience it can be. It's raw, visceral, and worst of all it's isolating both when you conform to it until it destroys you, like the Lady does, and when you reject the standard of what is expected of someone like you, like Six.

The pain you feel, physical and emotional, doesn't seem to be as important no matter how deep it cuts you. Noone's tumor being hidden and neglected, her headaches being dismissed... and of course Six's hunger, unforgettable in how much it hinders her, but I could also point to her monster form and the physical and mental toll the entire ordeal in the Tower has left on her.

The conflict between Six and the Lady becomes especially poignant under the lens of this argument because it is a confrontation of the two opposing sides of the spectrum, metaphorically. It's a little girl who has yet to experience the devastation of conformity performed as a means of survival facing a woman who lived all her life so set on following these rules that anything outside of them is perceived as a threat.

(One can't ignore the more obvious point of the class difference with Six being at the very bottom of the chain and the Lady being at the top, which certainly influences the dynamic, but I digress.)

Femininity is hyperindependance in the Little Nightmares world. It's the desire to be left alone while also longing for understanding. It's ambition and curiosity, but it's also the loss of identity both in the pursuit of it and in defiance of it. You end up being alienated either way; you can't really win.

On the other hand, I find that generally, masculine Little Nights protagonists tend to be driven by sentimentalisms and emotion. They are often defined by what community surrounds them, be it a single friend, family member or group; the most lampant example of this are, of course, Mono and the Thin Man, but the same argument can be made for the Runaway, whose story ends up leading him into finding a genuine community with the Nomes, something that no female protagonist experiences. You could argue it was clever foreshadowing, and it was! But does it make the observation any less valid? Personally I don't think so. Low also seems to be pretty set on keeping Alone by his side, although it might be too early to tell; however we do know he's a dreamer who dreams of a future where he and Alone can escape the Nowhere. You could call him a romantic.

Masculinity in this world can be care and fortitude, but it's also singlemindedness. It's the ability to find companionship and meaning while also letting one's own hubris destroy it.

Otto himself is an incredibly interesting example of this because we can hear how his desires, his emotions, are eventually what ends up driving Noone into the arms of the Ferryman. It's a prime example of how masculinity and femininity clash with one another -how his emotional wounds and eventual loss of clarity caused a little girl to fall prey to that hyperindependance where she refuses to be helped by him even when he does mean it.

(Along with his vaguely misogynistic remarks, but again, I digress...)

This singleminded focus on one's own emotions is what I think makes the Thin Man and Mono as relatable to many as they are. His is an endless cycle of violence caused by his own hand; by his own inability to process his emotions in a way that can allow him to progress and move forward. It's not a justification of Six, whose eventual exhaustion was what caused her to react the way she did, but rather it is an observation through again metaphorical lens.

The Thin Man is stuck in a dark room that gets progressively smaller because his inability to understand his wrongs causes it to shrink. He's locked in a bubble that is not entirely of his own making, but it is his responsibility to burst. But how can you burst it when you have no conscience of the fact that the room has been getting smaller to begin with? How can you care, when all you can think about is the emotional hurt that brings out the worst of you, the part that you don't even realize is the worst of you?

Masculinity can be just as isolating as femininity not because it's visceral but because it's fragile. It's unaware of itself while also being incredibly concentrated on the self. It's based entirely on how one is perceived and treated and thus easily destroyed once one is left alone to their own devices, which is why it requires community. Once that community is taken from you, it shatters, and leaves one without the tools to rebuild it.

I suppose the true difference here is that, at their worst, while one is self aware to the point it is actively damaging to the self and everyone around you, the other is so out of touch with itself that it can cause unintentional hurt to the self and others which can't be processed properly.

At their worst, they're monsters that help make each other, you could say. At their best, they're companions who help each other.

(This is in no way an attempt to diminish one or the other, by the way, nor does this reading apply to every single character. Both social constructs have their good sides and bad sides. The main quartet of Six, Lady, Thin Man and Mono are very strong cases, but I was simply making a general observation.)

[valtsv]

unfortunately being in the military runs in my family all the way back to my distant ancestors because for some reason we seem to have a really strong genetic predisposition to go die in battle fever. fortunately i managed to control this dark urge by getting into war history instead.

[acedavestrider]

i dont think gerard talking about his bag of knives before sleep was funny silly or quirky i think it was a very real look at how he handled/is currently handling the grief he feels about his friend dying. something about wishing someone would come and hurt you so you have an excuse to kill them is like very... its grief thats so intense and violent it makes you wish you could project it onto someone else. anyways.

[mr-malumm]

Hey guys did you know agent 1 is in the new helluva boss short hey guys did you know agent 1 is in the new helluva boss short hey guys did yo

[dontevenpmodarlin]

Ada’s idea of love is tied to power, validation and stability, rather than real genuine connections. And with that I don’t mean that she cannot love normally or anything, but that her idea of love is heavily influenced by rather specific experiences she has had in life before she even meet Thomas

She fixates on powerful men bcus they represent an ideal of power, strength, control or/and protection.

Her constant shifting in personality- as in acting posh to fit in with lee’s and around Prospero- and then more chill when in Montrio may suggest she doesn’t have a strong sense of self (Ik it’s Will’s thing but she kinda gives that vibe)

We know her self esteem is at an all times low with how she speaks of herself when rejected by Prospero. We already knew that her pretending to be all posh and better than others was one of those simple and hardly rare in life methods for her to feel better about herself, to fit in, and try to push the image of who’d she’d like to be seen as onto others.

Whatever grants validation, kinda.

At core, what Ada wants the most is truly just what anyone in life wants, love, understanding, and validation. Whatever has had happened in her life must’ve make her believe that she doesn’t deserve any of it, we saw how when she broke down she called herself stupid and ugly but in that sad way of asking “why?”

None of these things make her stupid or silly.

She’s build her entire identity around being desirable. Accepting that her approach to love isn’t right would destroy her.

Her manifesting was caused by Prospero’s harsh rejection in which ‘I could never love someone like you’ is what shatters her fully.

And when it switches to Tommy flashback, and we see her being betrayed, she asks why, and he answers that it’s because she gave him no choice, putting all the blame onto her. And in the latest flashbacks we see what kind of self centered and egoistical twat he is.

What she screams in her banshee form is “Do you think I’m stupid?” Which are her self doubts and projections.

The interesting thing is that a part of her abilities is ‘Fear itself’ which we see in how she uses it against Prospero and Annabel and later on Monty, where she makes them see their worst fears. The fact that she possesses such an ability is genius. Throwing people in a trance where they spiral paranoid into their worst fears?

And what breaks her out of it? Annabel uses her fear against her to instead force Ada into her self loathing circle, forcing her to leave Annabel alone and out of her fears. She forced Ada into her fears. Because when Ada falls into them they’re like a trance.

“A wounded little girl, throwing a fit, because she didn’t get what she wanted.”

She’s putting the blame on her (I’m not saying she isn’t to blame, but this is said harshly in ways to trivialize Ada’s feelings, reducing her emotions to something meaningless, twisting the blame onto her and making her question her reality. Smart of Annie to say, but very hurtful.)

“And I pity you, Ada.”

Which no one wants to be, that’s opposite of respect.

“No one will take you seriously again.”

Whilst Annabel has a right to these words (we ain’t hating on her, she’s smart, kinda stupid as well in her own beliefs, cruel but smart)

“Unless you cease this hideous display at once.”

Giving her an ultimatum, calling what she truly is (their forms do lowkey reflect on who they r after all) hideous.

What it took to break Ada out from her spectre? What does she fear the most after not being lovable? Stuff that prevent her from being loved ofc. That her feelings are invalid, she’s just throwing a fit, she’s hideous and ugly and no one will ever respect her or take her seriously.

“H-hideous” Moss babe says, looking at her hand.

She has built a fragile illusion around herself that keeps her from falling apart. The stuff that let her feel on the surface that’s she’s beautiful, desirable and worthy of love are dependent on outside forces: such as men🙄 (lmao, bbg let me treat you better on the wlw side-🧑🏻‍🦰) ((Morella stfu)) and since it’s dependent on other people, which are moving and changing forces, it’s fragile.

Y’all shocked she gets with Montresor when they both depend on people on the outside for self validation. If she and William were to make out aggressively when Monty dies in episode 184, y’all still would be shocked.

Anyway, self doubt starts to creep, and what she always feared- that’s she’s hideous, unworthy of love, unlovable over all- that all men who used her, treated her like nothing, were right. As Thomas said, she gave him no choice.

She breaks down apologizing and crying and telling everyone she didn’t mean it and promising that she’s a real lady, a proper lady- since that is what makes her worthy and lovable in her head.

It’s no wonder that she rejects Morella when she tries to help her. She’s self loathing rn, accepting that someone may care about her just for how he is, and even in this state, is unacceptable to her, because she herself cannot love herself in this state. So others must be simply lying.

She lashes out because she can’t bear to let anyone see her like this, raw and exposed. The shame, the fear, and the realization that maybe she’s been fooling herself all along, it’s too much. So she pushes everyone away before they can confirm what she dreads the most

Beautiful thing here is the rhythm of her words, her hitting herself, and Montresor taking steps down the stairs all fitting into one scene that is delightful to imagine. The visual aspect of her hitting herself and the devil nearing, his steps closing in with every self hating comment she makes, and with her guard being lowered down to hopelessness, is mastery in writing and drawing so props for that besties.

Ada at core has beliefs of being stupid, mean and ugly.

Stupid as in not posh-manipulating-lying smart and fitting in I’d guess. Idk what she sees as smart.

Mean, as in rejecting Morella, or being mean to people to impress others even tho she knows it’s wrong - cut to the “Pissing all by thy self, handsome?” Scene-

BRAND NEW NEWS, ADA IS NOT STUPID CONFIRMED THREE YEARS AGO.

Be a darling and try to focus on how Ada is self aware, knows why she acted the way she did, but even if she knew that it was wrong of her when she did it, she had no self control then. She needs someone, she needs to matter the most to anyone in any way.

No shock she doesn’t react well to

“Nothing you say will make you good enough.” -Prospero.

She feels silly, she apologizes, she explains how she felt and apologizes fr for being cruel for ‘no reason’ Girl woke up in a life death game and found out her roomie has a crazy goth bestie that is willing to cause drama and public embarrassment to make sure Ada’s roomie is ok. Duh girl felt vulnerable n left out.

So when Monty appears with “I think you’re pretty.” It’s no shock she says “That’s not funny.”

But then he pulls his face card and a serious voice seeing honest asf telling her that he wasn’t trying to be funny.

He, opposite to Morella, finds her when she’s not in anger any more but in hopelessness and in pieces. He feeds her delusions rather than simply offering what Morella wanted to give. Since Ada can’t allow herself to be loved unconditionally (even if that’s what she wishes the most, girlie doesn’t realize she puts conditions in her head herself on when and in what form she’d be allowed to be loved in such way, making it impossible for others to love her in that way) She would rather accept someone loving her like this.

And how does a Montresor ‘love’ her? Surprise of the day is that the things he says to her don’t even necessarily have to be lies in any sort of way. He is a meddling guy, people that are the most dangerous in life, (very much the same way the most dangerous beliefs we can have) are the ones who mix truth with lies in order to shift perception of the reality.

He can appreciate stuff about her, the lacing she gave Prospero and him being fortunate to be above the snakes.

Him telling her that it was beautiful, and that she’s beautiful doesn’t have to be a lie in any way. He doesn’t need to think of her ugly, he just needs to see what she wants to be seen as the most, and no matter if he thinks that she’s hot for nearly killing the prettiest boy in school, he is going to let her know that, because that lets him manipulate her.

Y’all shocked and thinking she’s silly for falling into this, or stupid. Well, good morning to you too, imagine your worst fears being let out under from all the illusions you keep daily, and some hot blond guy comes and tells you say your lowest that hey babe we can totally keep those illusions up, I’ll lie whenever dw abt that you won’t even know, you’ll feel worthy and will be able to avoid all your GREATEST fears (pls remember that everyone now days avoid what they fear the most, and that in mf 1930’s you wouldn’t hold up anyone to a standard of facing their worst fears cuz it’s ‘healthy’ for em) and also feel all the things you want to feel the most.

He offers her a quick escape of her own hell, back into the world that she has built and wants to live in. He is the boulder her self worth is propped on, he knows how this works because he himself most probably has lived through such things when young, and sees it as the way of being. You’re either strong and decide or weak and serve others. He needs a cute squad to survive this game, so he needs a hello kitty pants girl to his cat boi if he wants to be the true alpha daddy.

Episode 113 I cite

“I did something stupid…. I’m stupid~.” - Ada dying.

“My hero! I knew you’d come back for me. You make me so happy… Honey.”

“O-oh sorry I got mixed up. I remember now. You said No. I’m not… good enough… for you.”

This either proves that it doesn’t specifically matter in her head who is it that loves her, but that there’s a figure that does, and she just mixes it up as in thinking that Prospero is taking up the role of being that. Or she thought it was Yeehaw. Or god knows, maybe Twatmas.

Anyway she needs someone to fulfill that role for her to feel stable and to be able to act, the way everyone in life needs some sort of stability, but most of the thing- well I’m optimistic- we find it in ourselves, not in the outer world on which we have oh so little power over, compared to the amount of control we can manage to maintain without ourselves.

What emotion was it that triggered her flashbacks whilst doin’ rodeo on the stag? I’d guess holding on, the way she tried to hold onto Thomas, emotionally or physically- whatever.

Anyway what I wanted to say with all of this, is that Ada is not stupid, silly, or anything. It’s normal to see her actions and facepalm because we feel the sting of ‘oh no darling, this isn’t the way’ cuz we all hate going in circles and we know how annoying it is to realize you’re in one, and seeing other ppl or characters be in such can either throw you into a fit of empathy or annoyance, depending on how you feel about yourself when you notice yourself living in such ways and experiencing such things.

Her behavior may be driven by unresolved childhood trauma or repression.

Her ID aka primal desires crave love, security, and validation. She throws herself at powerful divas cuz they represent control and protection.

Her super ego aka moral conscience shaped by social expectations, tells her that she must be desirable an perfect to be loved “a proper lady” she suppresses any feelings of insecurity by kinda forcing herself to believe in her beauty and worth ig?

Her ego aka the balancing force, struggles to reconcile these forces, so she builds a false self, a persona, to attract love and hide her deepest fears. Which as usually in life just brings her closer to her fears and makes everyone see who she is.

Because unlike Montresor who is good at lying, Ada isn’t. She is closer to finding who she is because of that, whilst he is closer to doom.

By Freud (don’t grill me) he’d call this repetition trauma I think, repetition compulsion.

She keeps pursuing Divas who reject or use her, she’s unconsciously recreating past traumas hoping to “fix” them, perhaps?

She uses denial & defense mechanism. She uses denial to avoid confrontation with her self hatred. Her reaction to rejection is to outwardly act confident to suppress the deep belief that she’s hideous. Aka Reaction formation (“Reaction Formation happens when an individual exhibits behaviors opposite to their actual feelings” - google)

Her outbursts with “STOPP lookin at me Jason! 🥺” are projections, she pushes people away because she believes that they see her the way she secretly sees herself.

Also why she pushed Morella away, right after Annabel told her that she pitied her?. Maybe in her mind that’s what Morella did, pitied her. After all she accuses her of lying.

Ada doesn’t love those all random guys perhaps, but the idea of them and what they provide for her, which Ik ive said like three times alr but protection, power, security and validation. She chases an ideal, not a real connection.

She projects her desire for love onto men mistaking their coldness for strength and indifference for being mysterious.

She needs to reach a point where she will be forced to face herself, and idk when that will happen, maybe soon since she is dissolving into atoms. Anyway Lenada when?

[simswoon]

My babies and their parents

also the other siblings and spouses

[corneliaavenue]

We as a society have got to move past dragging up decade old tweets as some sort of gotcha.

[chonkymoth]

how dare a character established to be a teenager/young adult—the typical age people explore their sexuality!—be seemingly straight in the first game but have the *option* to romance a guy in the second. it's almost like he's human and discovering himself at the typical age people do!

[totallyradicalmucky]

HAPPY PRIDE GUYS

[choccy-milky]

Finally had time to catch up on the raven and the snake. I am just in awe of everything.

Also, I kinda like Clora hanging out with Garreth and Leander. (don't kill me 🤐)

aw thank you!!🥹💖💖im happy to hear it! and NO i wont kill you, you are so right. the garreth/leander/clora hangout was my fav part of the chapter and also the most fun part to write, and it gave me an appreciation for the leander and garreth dynamic, which is amazing

i now headcanon their relationship like brothers LMAO, garreth constantly badgering leander and getting on his nerves, while leander is just exasperated in dealing with him (BUT IN A FRIENDLY WAY) theyre like characters in a sitcom tbh BAHAHA (and to anyone wondering, im gonna TRY to have the next chap up within the first week of feb!🙏 ive just been busy with the dark relic comic + work + and now i feel a bit under the weather. ive been sleeping almost nonstop for the past 2 days LOL oop)

[sovaharbor]

actually am i the only person who finds it so fucking weird that varric of all people was the one to die for solas. like. varric? varric??? they didn't even get along half the time lmao... like there's an entire part of cole's arc where him and solas are diametrically opposed and whoever "wins", the other is very much not happy about it. what the fuck happened between trespasser - where varric is literally viscount of kirkwall and kinda fucking busy with that!! - and suddenly him giving this much of a shit about solas????

okay, yeah, he's in the comics. okay, yeah, he's working for the inquisition in the comics. but honestly

i'm gonna be so for real, i don't really think i'm going to listen to the comics when this is apparently a plot thread in knight errant lmao. VARRIC got an invitation to SEBASTIAN'S birthday party?? varric, the guy who literally hated sebastian???? who would be hated by sebastian, in turn, especially if hawke saved the mages - which i'm 99% sure is what happens in bioware's canon? so like???

i dont know. it's just so weird. varric being in inquisition makes sense. cassandra forces him into it, there's a lot going on, man he just works here. whatever. but his role in TV just does not to me. him choosing, apparently, Apparently, after this, to continue with the inquisition, when he's busy being viscount (and hates it, yeah, sure, but he's still doing it because kirkwall is his home) and doesn't really care about solas except now he DOES, actually, to the point that when he is confronted with solas actively doing the ritual he's supposed to stop, he thinks he can talk him down. when EVERYTHING he knows about solas points to the opposite. he knows he is stubborn and obstinate and yeah, he cares, but that is why he is doing this. he knows solas cares to a fault. knows he will do anything to fix what is apparently a wrong by his own hands.

so why talk to him? why DIE for him? varric is smart. varric knows people (or so he thinks). that's his entire fucking schtick. you're gonna look me in the eye and tell me he's gonna sacrifice his life for SOLAS?????

it's so weird man. i don't even know if any of this made sense. but it's so weird to me.