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[licantropa]

I would love to hear more about this season 2 gods as the four horseman idea 👀

From left to right you have Death, Famine, War, Conquest

(painting by Viktor Vasnetsov.)

Fair warning, I ramble for about all of this, and it's all my opinion. I am going to explain from right to left.

Conquest—Mianite

The word conquest as defined by the oxford dictionary is “the subjugation and assumption of control of a place or people by use of military force.”

And throughout the season, that is exactly what Mianite and his followers do. His most prominent place of worship, his cathedral, is a prison. A factory that has been molded to be a place of fear, where his followers get the final say and anyone who does not fall in line gets met with pain.

“A person whose affection or favor has been won.”

In Dagrun, it's the same. It is through Lt. Alister and King Helgrind that Mianite sees his control over the town. This is possible because both of them are also under his control, and no amount of second thoughts or regrets can change that. They, and all those who follow him, belong to him forever, not even their deaths are their own.

He gains Tucker through attention, one he didn't receive through his season one counterpart, and gains Jordan through deception. (I do not count Sonja because, to me, at this point in the story she's following herself more so than any god.)

“The overcoming of a problem or weakness”

Mianite views his humanity exactly like that, a weakness to overcome. Exchanges flesh for metal, sacrifices his heart for the 'good' of the world, and yet he was still capable of being slain by a small spider, is still not loved/cared for/respected like his siblings. He needs it. Craves it even. But he can't get it the way they do, so he dominates and controls, gives up his connections for his authority.

War—Dianite

This version of Dianite doesn't really encapsulate the idea of war as much as his season one counterpart. Is he an asshole? yes. Underhanded? yes. Capable of doing the worst? yes. The personification of war? no.

Dianite can prod and poke the wrong person at the wrong time to start a problem, but he does this to give the solution. He is a problem-solver (for a price). He enjoys being owed, especially by people who have gained his attention (good or bad). Dianite, as we meet him during season two, feels closer to 'conflict' than outright 'war'.

However, it is his death that starts the beginning of the end.

Pestilence/Famine—Ianite

Pestilence in some interpretations rode in place of Conquest on the white horse, but I am counting both of them for Ianite, because I think she embodies one in her actions and another in her (and her followers') personality.

Between her brother dying and her champion leaving, Ianite has lost two people she feels she has genuine care for, through the anguish she feels over this, she corrupts her town. Although, I do not believe it was as 'out of her control' as she stated.

Ruxmor's Ianite hungers. She is starving for attention, praise, affection, and companionship, and the closest she got to having all of this was through The Tree of Katsir and Spark. Neither were ever going to be enough.

Ianite slept for a year in the hopes of getting what she wanted, and when she didn't, The Tree burned. When she saw Spark's admiration through Dagrun, married him, had children with him, maybe then she finally felt full, but Spark was always going to age, always going to leave her. And when she fixed that, he left her anyway.

Ianite's wants to feel fulfilled supersede anybody else's wants, leading to corruption both in her relationships with others and the land itself.

In her final appearances, Ianite had a sickly demeanor, and stated she felt hunger and more mortal.

Death—Botan

Death is many things, in tarot it is the card of endings and letting go of attachments.

For Botan, he went from a lackluster mortal man to something more. Having had a hand in each of his children's demise, and then his own short term death, inciting the actual end of the realm.

According to the wiki, his appearance is one of a rotting corpse.

[chappell-roans]

I agree let women made mediocre movies and im not saying that emerald fennel should get less opportunities its moreso about general perception from the public. we had women like celene song and Justine Triet last oscars but nobody payed attention to them and most of the people online complaining about barbie probably didn't know or at least didn't watch their movies. I just doubt all the people who were so outraged greta didn't get a nom even go out of their way to watch female directors or be aware of them.

supporting smaller filmmakers making original ip's will allow them to build the type of following and acclaim and get the funding to make the bigger original movies that are acclaimed and popular.

Yes, I agree. White women's movies, and sometimes not even the best white women's movies, are pushed to the forefront, almost always. Emerald getting way more recognition (save from the Academy) than Celine Song, Justine Triet, Kelly Reichardt, Jane Campion, etc by the general public. Most people don't care unless they "know" the woman... idfk.

And yeah, they just were excited that a movie they actually saw was nominated. Yeah. Makes me wanna scream kinda lol. Almost nobody did, because many incorrectly stated that Greta was the only/first/whatever woman, when that wasn't true for even that year let alone history lol. That's not the truth Ellen, etc.

Yesssss I really wish! Like this is also why I am so glad Sofia Coppola always gets recognition and is liked by the general public, even though I personally don't connect with most of her movies. I want more original women filmmakers! And I feel bad that I keep bringing up ones I don't like, but thing is, there are pleeenty of male directors I dislike, and sometimes you like one movie and not the next, etc etc etc. Anyways. Yeah.

[thekaiserroll]

Hug

It's nearly impossible to have a quiet and peaceful day with the crew, like the strawhats. Nami is mostly used to the noise on Going Merry but one day she gets fed up with Zoro and Sanji arguing. Not only are they extremely loud, but they've also already broken way too many things during their fights.

She decides that If they want to act like brats, then she's going to treat them as such. So she makes them apologize and hug each other in silence for an hour. None of them are happy about this punishment, but Nami threatened to raise Zoro's debt, and Sanji couldn't say no to her. It could be worse.

It's awkward enough for them to not incite any fight for a long time and Nami is quite proud of herself. She knows it won't last forever but at least now she knows how to handle them. It inevitably happens again. And again. And again.

Much to her surprise, those fights became more and more frequent. And what's even weirder is that she could see the way both Zoro and Sanji occasionally glanced at her to make sure she was nearby. It's almost as if they wanted someone to make them hug each other. As if they needed an excuse.... these idiots.

Soon, they don't even need Nami's help. When they aren't busy training, cooking or fighting, they cuddle together. Sometimes Luffy or Chopper would join them, but most of the crew knew it was their time.

After two years spent separately, they became extremely clingy. It's no surprise when they start sleeping in the same bed. What is surprising is that despite them behaving like a lovey-dovey couple, those oblivious idiots are STILL unaware of each other's feelings.

[alicornze7]

Silly guys goin' on silly adventures:]

@rorydrawsandwrites's puppeteer au but the only difference is that jax gives consent

My contribution to this wonderful au has been long overdue:')

Rambling in tags ehe (cw: ribbun:p)

Well maybe it's not the only difference

[freyadragonlord]

Finished Heavenly Tyrant and my first comment is.........

......... Qin Zheng was WAY too funny for how much he sucked. Made me feel so conflicted.

Anyways, Heavenly Tyrant is an amazing book, highly reccomend!!!

Power to the people ✊️

[a-driftamongopenstars]

something I find extremely well done with Halsin's character is his sexuality. i've been thinking about it on and off but I wanted to write out my thoughts on the matter because it's really well done!

it's rare to find a good representation of a character with high libido in video games. most of the time it's either used as a tool or as a representation of 'sin'. to be fair, most games don't focus on it and don't put it at the forefront, but Larian has gone far and beyond to include intimacy and questions around sex in their game and showed a whole array of very different people with very different tastes. they showed a whole spectrum, from asexuality to the very other end.

with Halsin, his drive is never judged. it's a big part of his character, but not because he's obsessed with it or it's all he thinks about - it's simply a thing he enjoys doing, it makes him feel good and he likes making other people feel good. you can tell it's one of the ways he connects with those he cares about.

and the thing is, he's never judged. he's not the butt of the joke for his desires, it's a part of his druidic nature as well as a part of self. it's beautiful!

he is also so extremely good about boundaries and a healthy discussion of expectations. he never steps over any lines, he is always keeping a door open for more discussion if necessary, he never pushes but he also respects himself greatly. he shows vulnerability when it feels safe to do so.

and like i said, while it's a big part of him, it's also not his whole personality. he is an experienced man who knows what he's about, he is touched by awful trauma, both from his youth but also his more recent times, but his sexuality is not the product of it - it's just who he is.

i love finding mature characters in video games as i myself get older and I love watching devs tackle characters who had a chance and time to grow and become something, someone. in this case, Halsin is so well done, it raises the bar very high for me.

all in all, I'm just really glad they turned him into a proper companion and expanded his story. i know the joke is to thank the "thirsty fans", but really, Larian did very well with him and I think they gave him a very good part in this amazing adventure while also representing a lot of people who are condemned as sex-crazed by the society but are actually just. people.

[cartoonytoonycharacters]

I DID THIS!!! :D

I participated in The Wishing Star Zine for the 25th Anniversary of the movie!!!

i'm really proud of how it turned out considering it was my first time doing a lot of things and it took me a lot of time BUT IT IT WORTH IT!!

please check the zine out if you haven't already!!!

@wishing-star-zine

[dittobtch]

I'd like to hear about leatin

ah yes my favourite topic:

leah, just a lonely girl living in a lonely world. a girl who falls in love with an older disgusting man only to get her heart broken later on.

then there's fatin: bold, gifted, and tired. so fucking tired of being held back by her busy schedule that she doesn't even want.

both of them fear love for different reasons. fatin thinks she's incapable of it and even if she was, all it brings is pain and heartbreak and she's had enough of that. besides, she doesn't have the time for anything like that: not romantic love nor platonic. familial love for fatin is... well... complicated...

leah on the other hand is familiar with the sting an intense, burning love leaves behind. she's suddenly left alone and has to deal with the consequences on her own. despite everything, all she wants is that toxic love back. to her, it's the only thing that can cure the emptiness she feels.

even on the island all she can think about is jeff. she gets into a literal fight with fatin over him (and fatin's "laziness" and lack of cooperation, but anyways).

then shit gets real. specifically, fatin goes missing. (cue the beginning of a beautiful, complex, sometimes toxic relationship).

only after Leah's confronted with the thought that holy shit someone could die - Fatin could die, does she finally burn his fuck ass book and metaphorically let him go (for now, anyways).

things are good for a bit, then they're bad. the ups and downs of the island. sometimes they get along, like when they think they're going to get rescued. other times they still have trouble getting along and that's okay too; they're learning and they're there for each other and that's all that matters.

well, they're there for each other until they're not. leah's mental health goes into a decline as season 2 begins. fatin tries to hold it together for the both of them, but she can't help but (homoerotically) argue with leah (for the second time) to defend her grieving friend.

eventually they make up because of course they do. afterall, fatin "was starting to like her" and knew that she could never really stop caring about leah.

in fact, the opposite starts happening. she cares about leah so much that she begins to look for the truth for leah. she devotes herself to the very thing that nearly drove leah insane. because she believes leah, for real this time.

and it's good but it's makes her feel so guilty because holy shit leah was right and fatin let her believe that she was insane. she unknowingly helped in gaslighting leah, but she can't give up now. she has to prove that leah was right; it's the only thing that can make up for it.

so, fatin attempts to pick up what leah left behind. fatin, who less than two months ago was unwillingly to help in building a simple shelter, puts in so much of her time and energy in figuring out the truth for leah. she'll let herself go insane the way leah did, do all the ethically questionable things, as long as leah doesn't have to do it anymore.

because fatin loves her:

and even though leah doesn't know fatin does all of this for her, leah loves her back:

(i could not for the life of me find a "the voices you love" gif, sorry)

ultimately, i love leatin because it's a story of these two complex teenagers who heal and break together. neither of them are fond of the idea of love when they meet, especially not with each other but together, they form a unique bond. their love doesn't fix each other but instead, they do things out of love for one another that helps them both.

they relearn how to love together. it's not perfect, but it works for them.

in the words of basically everyone left in this fandom: THEY COULD HAVE BEEN EVERYTHING but also they kind of already were everything and i don't think i'll ever get over it.

anyways if you liked this you should read my new fic too lmao

[applestorms]

ok, well. if last time i talked about parallels between near & light, i guess it’s only fair that this time i talk about parallels between mello & misa. yap central on this blog lately.

the main thing that stands out the most about mello & misa, and the reason why i will forever Defend them and their place in the story, is that in my mind they both function in a similar way on a narrative level: namely, both of them are incredibly active wild-card characters that keep the action going and the story moving forward when the other main characters like light, L, & near start getting too passive.

notably, while i often see this trait praised in mello, usually in the context of a comparative criticism of near for his overly-abundant passivity, i have also seen it used as a criticism of misa's character, that she breaks up the status quo of DN too significantly and thereby makes the story feel less realistic. this last point in particular is an odd argument to make imo, as if anything misa's presence only increases the realism of DN by adding some extra luck/random chance into the story in a way that is ultimately still character-motivated and thus easier for the audience to go along with-- something DN in general is very good at, often introducing elements through pure chance but keeping them grounded in characters enough that you almost don't even notice.

take light meeting naomi misora, for example: the only reason he runs across her at all is because he offers to run an errand for his mom on a bored laundry day, literally stumbling across her right at the exact moment she is divulging important insights she is literally the only person capable of making about kira. yet this moment does not stand out as particularly aggravating or out of place in the story, as ultimately the only reason why light is able to get out of that situation is his own quick thinking and ability to calm himself while under immense pressure, squeezing his way out of a potentially run-ending situation he didn't even know existed moments prior.

(not a fan of that big joel video, if you couldn't tell. lmao.)

point is, mello & misa both fulfill about the same narrative function in the story by being so aggressive in their actions, catching the others off guard even if their plans aren't as well thought out or careful as they could otherwise be. they're both incredibly passionate, dedicated characters as well, tough enough to take the hit when it inevitably comes, and in my opinion neither of them are nearly as stupid as the other MCs like to make them out to be. to some degree, i think both of them are aware of the fact that they can't win at the Mind Game Cold War Bullshit the others are inclined to get involved in, so they instead choose to carve out their own place in the story through sheer perseverance alone.

which, speaking of passion: one of the most interesting parallels i think you can make between mello & misa is the ways in which they idolize their respective heroes, misa's obviously being light while mello's is L. allow me to elaborate.

as this post points out, DN has some very interesting use of its religious imagery & theming, and in particular its use of christian/catholic gothic imagery in its story and especially its art. however, as op notes, a lot of this is quite superficial, ascribing to an aesthetic of "kitschy Catholicism," that was characteristic of a lot of early 2000s japanese goth style. yet, while i admit that a more serious consideration of religious elements in the art & story could add some interesting flavor to the story, i also think that, regardless of intention, the superficiality of DN's religious elements works really well in the context of this particular story. as i stated in my tags on that post: light is a superficial god. he is a fake, a scam, some idiot human that stumbled across the powers of a real shinigami and got his head up his ass about it. and a lot of the arcs of other characters in DN is about their reaction to light's claims-- whether they choose to follow him (e.g. misa, mikami), follow somebody else (e.g. mello), or follow nobody at all (e.g. near, also kinda soichiro?), and the implications that has for their lives and personalities.

this is all to say that while you can, on a surface level, connect misa & mello pretty easily as the two aggressive, fashionable blondes of the series, i also think that these somewhat superficial traits betray a greater connection between the two of them. if we understand the christian/catholic elements of misa & mello's fashion as a demonstration of their connection to not just a higher power but a lie, a superficial deity simply reflecting the sunlight of powers greater than himself, then i think we have great insight into another key element of both their characters.

do not forget: in the world of DN, heaven & hell do not exist. at least in the context of death itself, the realm & lore of the shinigami reign supreme, a point which the DN musical makes even more overt: "Isn't it a laugh? / Isn't it a shame? / Thinking there is someone in heaven to blame?" and "Going through the motions / as if there will be a reward / Oh, while we stay eternally bored!" (BEST SONGGG.) everyone is destined for the same fate of MU, the same void of nothingness awaits all. no reward, no punishment, no greater deity looking down upon us than the bored, slothful shinigami, lazing about in their realm and picking people off only when necessary (for the most part).

misa & mello are thus dedicating themselves to false idols, and we can see the negative effects this has on them in almost every facet of their character-- particularly for mello, who is perhaps more self-aware and has more of a mixed emotional outlook on his idol, but maybe even to a more extreme degree for misa. i keep going back to this idea of equating boredom with depression in DN, but where light/L/near are all "bored" in a very quiet, passive, stewing-in-bed late at night kinda way, misa & mello are characteristically a lot more aggressive and intense about it-- while neither of them are super overtly suicidal, necessarily, their actions still betray a distinct lack of care for their own safety or lives, expressing the same thematic sentiment as the others. even if they still don't straight up say it, through their actions they're a lot louder about not liking themselves, and seem to take the problems they see in the world more personally, shouldering the blame as a failure within themselves instead of projecting it outward like the others: e.g. light taking his unhappiness at the emptiness of his life at the start of the story & placing the blame on the world for "going to shit" & humanity's moral failings, versus misa being willing to literally & figuratively give up her life for KIRA the second he demands it, whether that be in the form of shinigami eyes or killing her own friends w/o second thought-- all because he was the only thing to bring justice to her own parents' deaths, an almost undoubtedly traumatizing/horrible experience for her considering how much value she places on KIRA/light afterwards.

to clarify, this is not to say that all of these characters are actually and literally depressed and/or suicidal, though you could certainly make that argument for some/all of them-- this is just one way that i think you could interpret their roles in the plot, and their thematic attachment to the story. even if DN isn't all that interested in considering the True Moral Answer to ethics/the justice system/human society/etc, it definitely takes at least some interest in the emotional viewpoints of characters in relation to those concepts, so i think this is a fair enough approach to take. or to say this another way, it's less about justifying the claim that "the world is shit," and more about trying to understand the emotional motivation & experience of feeling like the world is shit, if that makes sense.

that being said...speaking more on the whole "not liking themselves," thing: even if she doesn't say it aloud often, if ever, i think that misa is deeply aware of the fact that she was not supposed to live this long, that her existence at all is a pure stroke of luck that let her live on past her destined date. she dedicates herself to light so fully, not even necessarily expecting reciprocation (though she at least reserves herself the possibility of such), because being a disciple to her god at least gives her life some kind of purpose. similarly, i think mello is also aware of just how out of reach the one thing he wants is, how his desperation in and of itself is ironically the one thing keeping him from surpassing near and truly being #1. it's important to note that pre-time skip misa & post-skip mello are almost exactly the same age, around 20 years old at the time of their main arcs. they're immature, and in the case of mello especially, are lashing out at the world in whatever way they can because they know they don't quite fit into it in the way that they want to or should. regardless of the intent behind it, mello & misa both still make the conscious decision to kill with the DN-- perhaps in a way that still keeps their humanity, at least following near's logic, but it's a decision to end a human life either way.

anyways, going back to my previous point, this "worshiping of false idols," idea has some interesting implications-- for misa & mello yes, but also for L and the ways in which he contrasts again light, as under this logic mello's treatment kind of inherently gives L a similar status as a sort of false god/idol. which-- actually makes a lot of sense? or at the very least, viewing wammy's house as a kind of mystery cult a la the eleusinian mysteries is a neat approach to take. L & light's mutual alienation from humanity fits them both filling a false god status, anyway. also there's another thread of analysis you could follow here where near is instead fit into the role of the person mello is fixated on which AAAAAAAAA has interesting implications but jesus fucking christ, this post is long. some thoughts for another time, i suppose.

[secriden]

love sea episode 2 rewatch thoughts:

in hindsight, this opening should've clued us in that this episode was going to be horny as fuck.

ok so if episode 1 was about establishing mahasamut, i think the purpose of episode 2 is really to give us a much more nuanced introduction to tongrak. what's fascinating is that the show chooses to impart this insight to us through a rather unusual medium: sex (and, specifically, tongrak's attitude about sex).

we open with kinky kinky beach sex and it tells us that tongrak is impulsive, hedonistic, and tends to give into the emotions of the moment (something that, as the series develops, he does with increasingly self-sabotaging results; eg. when he lashes out at mahasamut after the 1st run in with prin or when he runs off to appease jak when he gets fearful in episode 9).

it also tells us that tongrak is very comfortable with his physical wants and needs. sure, mahasamut kinda flusters him because he awakens desires that are more intense than he's is used to, but tongrak's still grounded enough in his sense of self that he can roll with it pretty quickly and becomes an active, willing, even enthusiastic participant. (it's not going to be his physical desire that drives a wedge between them; its going to be the emotional connection that ends up being terrifying to tongrak.)

this episode also lays a ton of groundwork to set up why and how intensely mahasamut and tongrak are drawn to each other.

a lot of it, early on, is purely physical.

mahasamut and tongrak clock that they're compatible in their (D/s) kink immediately and they embrace this with gleeful abandonment. other people have made this point a lot more clearly than i could ever hope to (see @williamrikers excellent analysis of mutrak's kink dynamic), so i won't belabour the point, but i would like to point out how thoroughly the show wants the audience to know that these two are a perfect match physically and sexually (specifically with their particular kinks) and that they are incredibly comfortable with that.

(an aside: one thing i adore about peat's portrayal of tongrak's submissiveness in the beach scene is the way he starts out being the initiator in the kiss - in the gif above, it's tongrak that grabs mahasamut and yanks him into the kiss at first - but once its clear that mahasamut is on board, tongrak is almost constantly angled up, head tipped back, responding to mahasamut's cues but making no attempt to direct whats happening. there's so much surrender in the pliant way peat holds himself as they kiss and the way he goes from pulling mahasamut into the kiss to just clinging to his torso as he lets mahasamut take control. even when he reaches for mahasamut's dick, the second mahasamut pins him down and gives him an instruction, tongrak makes no attempt to redirect and just goes with what mahasamut wants. there's just such great detail in this portrayal of surrender.)

but what makes this encounter different (from the many, many other ones they've both had) is going to be how neither of them were able to keep this connection as purely physical for very long. (this is what episode 3 is for, though, so lets put a pin in that thought.)

back to insights into tongrak's character: we also get an escalation/confirmation about how tongrak views sex (and relationships) as purely transactional. tongrak's entire backstory is grounded in the idea that 'everybody has a price' because that's what his parents showed him. to tongrak, every human interaction is about finding the right things to give (usually money in his case) to get what he wants and this has allowed him to rationalise that feelings and emotions (both his own/the other person's) don't matter.

tongrak firmly believes that as long as he's offering something of sufficient (monetary) value, he's perfectly within rights to demand what he wants without consulting mahasamut's feelings, wants, or thoughts about the matter. in fact, he thinks of mahasamut as kind of an object for his sexual gratification and/or convenience. this is why he feels no remorse about kicking mahasamut out after they have sex even though mahasamut clearly wants to cuddle/come down from the physical high together. the next morning, it never pings to him that he should be guilty about how he treated mahasamut.

(look at his face. he's such an entitled diva. i love him so much.)

not only is this attitude - in reality - a very inaccurate way to view human beings (because as a species we are creatures very much led by our emotions), but it is the source of tongrak's own dissatisfaction and unhappiness. he never acknowledges any of his own emotional needs and so cannot manage or address them in a meaningful or healthy way.

so to summarise tongrak understands and is comfortable with his physical desires but does not know how to even acknowledge his emotional ones whilst impulsively being led by them in the heat of the moment: already we can see that this is a recipe for disaster and tells an unspoken story of pain and trauma.

(i also want to mention how well mahasamut continues to respond to tongrak's specific brand of caustic entitlement. he doesn't bother making a big deal about tongrak throwing money at him, but he also never names a price for his 'services' either. he blatantly refers to tongrak as his "owner" but also makes it clear that it's not tongrak's money that's keeping him around, but rather mahasamut's own desire for tongrak. it's like he'll act in tongrak's play but he won't quite stick to the script either. its so, so effective because he doesn't trigger tongrak's fight or flight response but he's still undermining and proving tongrak's assumptions wrong at every turn. this is what allows mahasamut to worm his way behind tongrak's walls whilst simultaneously chipping away at them.)

one last little bit of (this time non-sex-adjacent) insight into tongrak: he has a great capacity for compassion. (which will, eventually, turn into love.)

mahasamut, at this point, is mostly just an incredible lay to tongrak. but already he shows care and concern for mahasamut that's separate from what he can offer tongrak. he's concerned at a (relatively minor) hint that mahasamut has been mistreated in the past and then again concerned that mahasamut will suffer the repercussions of any hit to his reputation. [note: this is informed by a backstory regarding homophobia on the island that's from Khom/Connor's story in Love Sand, but even without that insight we can see tongrak's concern is for mahasamut.] (again, this is something the show is setting up to callback to later when tongrak gets offended on mahasamut's behalf when he thinks the waiter made fun of mahasamut.)

these little glimpses give us such a contrasting perspective on tongrak compared to episode 1, where he was mostly just a rich, entitled, and fairly unlikable character. we're being shown that what we've seen so far is really a mask as tongrak's true character slowly starts bleeding through as he has more interactions with mahasamut.

and then the episode closes on heartbreak: You're aware aren't you? Love is just a figment of our imagination.

tongrak's expression right before he says this is filled with resignation and disappointment. he hates that he has to say it but he feels its his duty to burst mahasamut's bubble. he genuinely believes this and so to him he's just doing mahasamut a favour by telling him a Truth about life. for us, this is the final crack in the mask and we see just how lost and fragile and hurt tongrak truly is.

(and the way peat sells this part - the cold almost clinical look in his eyes when he says the line. the tiny pout of his lips like tongrak can't help but feel sad about it, even though he accepts it as reality. the cold, flat tone peat uses to deliver the line when tongrak's usually quite expressive and uses lots of inflections and intonations in his speech. ugh <3)

but this is also really important because this is why we, the audience, start to care about tongrak. mame takes us on this journey, sets us up to wonder why tongrak's the main character when he starts out kinda of awful and then shifts the ground out from under us by showing us his soft, wounded underbelly. we can't help but want him to be loved, now, and this is why we become invested in 'tongrak mahasamut'.

[borealing]

i was going a little off about how well the squid game 2 narrative is put together as an act 2 of your classic act 1: establish, act 2: deconstruct, act 3: destroy (either the system or the players) dystopia narrative (in this case the act is a season but e.g. in the hunger games it was books) but unfortunately i was with my parents and cheering when thanos got chin stabbed and to defend (?) myself i said "i promise im not enjoying this as much as it seems like i am. im actually enjoying it more"

[preciouslittle-bhaalbabe]

HIS HANDS.

Literally my two weaknesses are a pretty voice and nice hands and this man has both (regardless of if he's ascended or not mind you he just uses his hands ALOT more to talk when ascended.)

[hall0wedwyrm]

Observations and Notes from TADC episode 4!!

Spoilers!! Obviously!!

why do they know about the unicorn horn.

"We have a Suggestion Box?" "Basically no."

Caine and Bubble share a tongue?

Gangle remembering that she used to be a manager...????????

JAXS EXPRESSIONS ARE FANTASTIC IN THIS EPISODE. heres some highlights/my favourite ones:

I love the dynamics of this episode,,, its so good,,,

GUMMIGOO. THEY DID THAT SHIT ON PURPOSE!!!

Pomni is us. she's just like us fr... "Do we know eachother?" OW

he knows he knows when she said his name HE KNOWS AAAAH

the absolutely insane horror elements. what the hell. the training tape is my favourite omg.

Manhandling Jax.

what the heck was in that sauce

"Yeah that clocks broken." SCREAMING

Jax actually trying to have a conversation with Pomni, but shes used to him being a jerk so she brushes it off... and then pulls these faces...

the bit after Jax clocks out... hm.

Gangle assuming Zooble wanted them to take Ragatha home...

I really like Zooble in this episode... They really get to show their caring side and how they actually DO care about the others, they just hate the adventures and the circus (and themself but-)

Gangle's breakdown is so crazy and good. Pomni offering to close for them is very sweet :(

I cant help but feel like its all supposed to be a metaphor for Gangles human life..? like they were having an episode (she said earlier she was having a manic episode too) and ended up being hurt.

"You could... offload the blame onto one of your coworkers... what do you think?" "No.. its my responsibility..." yeah that means something

Caine going crazy too what does THAT mean.

Zooble and Gangle <333333

and last but not least

dont think i didnt see that. because i did. oh my god.

[cloudcountry]

I’ve noticed whenever people write the tweels mistaking yawns as a show of interest, they never write how the tweels would react to someone who covers up their mouth when yawning. Do you think they’d just brush it off as a normal yawn if the mouth is obscured? Or do you think maybe the tweels would think that person is trying to be coy?

Not asking this as a request, just as a silly question.

Heck yawns can be noisy, so would they take that as trying to draw attention to one’s mouth? Do moray eels make sounds? I’m under the impression that most aquatic life doesn’t, but I don’t really know and I think learning is fun if you happen to know and are willing to share.

!!!! i've never thought of that before (despite covering my mouth when i yawn myself JAJHSGDJA)

honestly,,,, i'm sure they know what yawning is, so if a random person yawned at them they wouldn't care. i think its if they have an interest in the person themselves that they'd start thinking about whether or not it meant something.

so when their precious little shrimpy yawns in front of them but covers it, they'd probably think they're shy. i think it would be something like looking away from them when you're embarrassed. you're displaying a sign of interest but you're covering it, and oh if they don't get a kick out of that.

since they're underwater and opening their mouths is how they breathe, morays don't "yawn" loudly. however, if you yawn super loud, i'd bet they would take that as a hey, pay attention to me!

they're both total assholes though and would tease the hell out of you for covering your yawns or yawning loudly. ESPECIALLY if you did both. like, you wanted our attention shrimpy, why are you hiding from us, huh?

[railwaycreature]

Another OC I've not introduced to you all yet:

Beatrice the Haunted Engine!

Beatrice (She/Her) is a Stanier 8F Class locomotive, quite a gentle, pleasant lass despite her strength, and a very diligent hard worker. She's a trans woman, and owing to her busy life she doesn't often get chances to shave, leading to her having a bit of scruffy facial hair. She's quite fond of it, though :)

You may be wondering about her title, haunted how? Well, in real life, a handful of Stanier 8Fs were involved in peculiar accidents, in which they fell off of boats and were lost at sea. Spending so long underwater, one of those 8Fs began to change... and so was born

Silt the Sea-Swallowed Engine!

They're a... strange being, to say the least. They don't have a permanent physical form, and can only hold one for a short amount of time. By default, they are ghostly and they often reside within Beatrice, resting in her consciousness and scarcely ever revealing themself. Silt haunts Beatrice and is linked to her physical form, using her as a sort of host since they can't sustain a form themselves. They can take full control of her at will, which has caused Beatrice's social life to take a nosedive because under Silt's control, she just... stares, and moves strangely, and mumbles non-words or unsettling ominous sentences

Beatrice feels very conflicted about Silt. She feels very sympathetic towards them owing to the terrible accident that caused them to gain this form, but she does really dislike being used as a puppet, and how it's affected her relationships with others

[gomzdrawfr]

Can we know more about Ghost with Raven? For those of us who are new here. 👉👈 I'm especially curious if Price is involved when those two are together, or how his dynamic is with the both of them if not. OT3? Do we throw Nik in there somewhere? Get all the poly going on? Or is it just Ghost and Raven against the world? 🤍

Hello!! Welcome to my lil ramble spot :3

I like to mix up my OC with the other characters for fun 😂 (imagine me holding them like dolls and smashing their faces together) and make things up along the way. So my uhhh explanations are gonna be wonkey

Rambles below! Kinda messy sorry!

GhostRaven started off as a separate thing, the idea was to explore something different like “these two are always fighting and cursing each other out but you mess with either one of them they will make sure you regret” or “I hate you so much vs You want to kiss me so bad it makes you look stupid” vibe, yk. I just like to make them bud their heads together. The other part of it was just wanting to see what two people who have fucked upbringing would behave in a relationship since Raven’s lore is based off of Ghost (well kinda)

I do have like, a whole backstory for GhostRaven like PriceRaven but I just never really compiled it or make it official because my brain could only get organized for one pair at the moment 😂 This itself can be a whole post which I’ll share next time if you are interested about it!

Tbh, I started off with GhostRaven first when I decided to make a cod oc, but because OC x Ghost stuff usually get targeted for no reason (on anywhere really, but tumblr is the safest among all the platforms I see) so I didn’t post much about them until much much later xD I got nervous doing PriceRaven back then too but eventually I kind of just went on and ramble about them once I felt comfortable enough :3 so for the longest time it was just PriceRaven or GhostRaven

Then I decided to spice it up with Price in it (PriceGhostRaven is thus born) (and also, Im projecting to Raven cuz I want Price and Ghost both HFHSHSHSH) There’s no real answer to the way their dynamic works but I did had a few stories? Or ideas? As to how the three of them became a thing? xD

I like to imagine Price and Ghost had a thing going on, and then Price went on ahead with Raven and Ghost was just kinda chilling, and then Raven found out their history and went “so what if”, Ghost goes “huh” and then Price went “yeah so are you in or not” and Ghost went “sure fuck it why not”— yeah HAHA Price is the one calling the shot in their relationship, Ghost and Raven follows (tho Raven can be a tiny bit of a brat sometimes)

The other part is GhostRavenPrice where it’s mostly Ghost and Raven ganging up and spoiling Price…imagine two grumpy growling wolf(GhostRaven) surrounding their owner(Price) - that’s the vibe 😂 I like to draw em in a way that both Ghost and Raven are possessive and insane with their way of “loving” another, and Price just went “ayt bet”

I haven’t consider throwing Nik into the party because I still donno how to feel about NikRaven yet :3 also because so far I’ve only ever done ot3 and never explored beyond 3 peeps. I did consider PriceGhostRavenJelly? (Jelly is another OC of mine shipped primarily with Ghost and Rudy) it might be fun to dabble on it sometime

I had, and will not consider ghoapraven xD but perhaps will consider ghoapjelly, but nothing’s for certain, entirely based on my mood LOL

But basically, the main ships that I do here are PriceRaven, GhostRaven and GhostJelly, and three of these ships have their own separate stories and they exist on different timelines. However, I like to mix them sometimes just for the fun of it (eg: PriceRaven that becomes GhostRaven and eventually PriceGhostRaven or PriceRaven double date GhostJelly)

Then I do other poly ships sometimes for fun, without any backstory or anything, just doodles