#he's so haunting the narrative

[camo1000le]

León ♡

Sometimes you create a desvastating story for a character with ZERO screentime and then you have to deal with it

[tackykachowch]

Silco SO should've haunted the narrative in s2 I can't stress this enough. Like, we knew Vander, Mylo and Claggor only for 3 episodes, but their presence was felt aaaall throughout s1. And now you're telling me that a PRIMARY ANTAGONIST of s1, a leader of Zaun, Jinx's dad and The person who started the negotiations with Piltover for Zaun's independence only got a couple of mentions?? Which aren't even relevant to the plot or character motivations??? Are you LEGIT FOR REAL kidding me???? I still can't believe this happened chat.

He's literally a part of the main cast. He literally was present in every single episode of s1. And again, given just How Much was tied directly to him his death should've had just. Massive consequences. For almost every single character. And yet.

My honest reaction to this information:

[anna-scribbles]

if the agrestes weren't rich i think that gabriel would be the normal one. like gabe's problem is that he stopped running into natural limits due to absurd wealth and his obsessive nature led him to develop some kind of god complex where he won't accept that anything is out of his control. I think that if gabe was broke again and just simply couldn't afford to go on an international goose chase for ancient magic artifacts of untold power, if he had to work a 9-5 to live and couldn't just disappear into his basement lair to commit domestic terrorism and say evil monologues to himself, then he would be way more normal. he'd just be some guy. he might even let himself have a mowhawk again. but I think that emilie would be way LESS normal if they weren't rich. like emilie needs so many people to be obsessed with her so much all the time in order for her to function. and gabe would still have his toxic codependent obsession with her, sure, but that wouldn't be nearly enough. emilie has to be at the center of the world's spotlight at all times because she doesn't know how to exist if she's not performing. anyway all this to say I am so certain that if the agrestes were not disgustingly wealthy, emilie agreste would one million percent be running a massive family vlogger youtube channel

[arianna-creates]

Something something... mama's boy... something something... doomed yaoi...

Guys I'm gonna be honest here and say that I think that Timothy Jackson Drake-Wayne— the boy who became Robin to save Batman and keep Robin's legacy alive, the boy who was haunted by this poor dead boy and constantly hallucinated his existence, the boy whose middle name is a constant reminder that his father is dead— would NOT want to name his kid after a dead person! I know lots of people are fans of him naming his kids Jack/Jackie or Wendy, but I can't really see him naming his kid after a TV character...I wish I was good with baby names so that I could branch this out a bit,,,

N E WAYS this silly little phone sketch was bc of @hyperblue 's post!! <3 Thanks for the inspo!

[hinamie]

hhmmmmm uh im dusting the cobwebs off my brain trying 2 come up w something interestinf uhh.......anything non spoiler-y you can discuss w regards to geto in the atla au perchance?

hi rin !!!!! tysm fr sending i hope u r doing well <3

atla geto lore fr u courtesy of sam:

he's a waterbender from the northern water tribe. he can bloodbend but finds it distasteful

he gave gojo the betrothal necklace/proposed to him when they were 20 (all of the adult characters are aged up in the fic vs jjk canon ages)

all of his decisions are driven by a desire to lighten the burden placed on gojo's shoulders

aaaaand atla geto draws fr u courtesy of Me :3

jjk atla!au with @philosophiums

[thewhizzyhead]

looking at the npmd tumblr posts I'm kinda glad that we seem to be all on the same page when it comes to npmd's portrayal of bullying and that putting a stop to it isn't as easy as simply having the victims stand up to them - examples being Max still beating the shit up out of Pete, Richie, and Ruth even when they make a stand in their own way. Standing up to them directly and telling them "i'm not a loser" or "you're just a bully" or something along those lines in order to take away their power is simply a disproven cliche because bullies don't care if their victims retaliate. They only care about the power they hold and when such power is taken away from them by force - so kudos to Starkid for having bullying portrayed as not just a regular schoolboy nuisance but as genuinely life-threatening shit that needs to be taken seriously because if it isn't nipped in the bud, once that bully gains more power, they will grow crazy with it.

[amuelia]

small drawing as im looking forward to watching tales of the empire tomorrow

[ghostdrinkssoup]

the thing that really gets me about mizumono is that will doesn’t even fight back. he saw alana mangled outside. he knows jack might be dead. he has a loaded gun in hand. but not once does he try to hurt hannibal. he doesn’t even shoot. will just lets him caress his cheek, fingers curling into his hair. there’s no resistance. when hannibal stabs him, will leans into it. he doesn’t want to escape. and it all hurts so badly because it’s not like will tricked hannibal into loving him; he simply persuaded him that he might love him back. because that’s what will thought hannibal did to him in s1, and only now does he realise that maybe it was more real for hannibal than he thought. or worse, that maybe he wants to be with hannibal regardless of whether hannibal genuinely loves him. that maybe it’s worth it to be close to him, even if his touch splits his stomach open

[eliotquillon]

i think a lot about john and ian and their strange, implicit estrangement. it is never explicitly addressed but it is there. blunt going out of his way to say that ian was a good agent but john was a better one. alex always being compared to john despite ian being the man who raised him. ian never telling alex anything about his parents. john never sparing a thought for ian in the snakehead coda. ash being chosen to be the best man at john's wedding and alex's godfather instead of ian. ian being recruited to mi6 straight out of university while john went military and none of it mattering in the end because it was still john who was chosen for the scorpia mission, john who died the hero, john who got blown up and martyred while ian's own death barely registered. you're twentysomething years old and your older brother has just been murdered after being better than you at the one thing you are defined by and you will spend fourteen years raising his son, and none of it will matter. here's a question: why does ian hate being called 'uncle' so much? here's another: can you still be an uncle without a brother?

[bleuarte]

Lord Esen in she who became the sun

And General Ouyang in he who drowned the world

[stardustedknuckles]

It's looking like there's a growing divide between Campaign watchers and Tlovm watchers in terms of like. We're here for the characters. 12-episode seasons aren't. They can't be. I'm already making peace with everything we'll lose in the Mighty Nein show, and I know I will enjoy it for what it is but I also know that almost nothing that made the story so special will translate to the screen, because turning it into a show automatically means (in this day and age) that plot must be the number one priority. They've already come out and told us it's going to be different, the characters we know and love but new stories.

Because that's how this has to work. And I feel bad for campaign one lovers, because while it is certainly the easier of the two to translate to a big, overarching story, even though it's a more "traditional" high fantasy story with easier archetypal characters, the archetypes and the plot aren't what cemented most people's love for the campaign. So much of the love for critical role is stored in the interpersonal dynamics and the payoff that comes from hundreds of hours of tiny interactions that one day become cornerstones of development and even affect or dictate the plot.

There's no room for that. There's no room for Bard's Lament in a story that cannot afford to remove and replace a main character. A lot of tlovm is for people who have been here for all of campaign one. Most of it, however, isn't. It's for a new crowd. While CR may have creative control, you can bet your ass that there were months and years devoted to figuring out how to map a character-focused love of the show into a plot that hits the right beats to be viable in the show market.

And it worked. Tlovm has consistently high viewing numbers, and its popularity has brought and will continue to bring new people into the universe who have never interacted with CR previously. That's not a bad thing - imagine finishing your favorite show and discovering it has another FIVE HUNDRED HOURS of the equivalent of behind the scenes content. That's incredible for these newcomers. But man, it is in many ways a loss for us.

[sweetpaintedladie]

Keith Richards in Catching Fire: The Story of Anita Pallenberg (2024)

[cirr0stratus]

Erich Maria Remarque you have ruined me

[graciepasty]

Carl Grimes. The Walking Dead (2010).

requested by anon

[piosyne]

My 700th shitty death mark au of the week in which saya survives but as a rabbit and they just get her some assisted talking devices and then she just continues on as normal

[allovesthings]

We know how Dick would react to Donna's death, there is an entire run on how Dick would react to Donna's death: badly. But how do we think Donna would react to Dick's death ?