#im in awe of you

[hinamie]

ṇ̵̛̱͌̅̃͛̔o̴̮̓̀͂́̃_̴̛̲́s̷͈̋̈́̄̋͠ị̶͔̗̐͐̐̒̕g̵̛̱̘̣̑͂ņ̴̰͔̘͇̏̒̓̇͠͝a̸̜̥̩̭͋̌ḷ̶͔̖͗͋͛͛̃͆

[biptari]

seriously why is erik like that

[collieii]

someone probably said this already but in spiderverse i think it's interesting how when pavitr was first introduced everyone thought something bad was gonna happen to him bc of how confident and optimistic he was. and then in the actual movie we see that something bad was supposed to happen to him (police chief dying!) but it doesn't! miles stops it! and miguel berates miles for this, says it's going to cause the universe to collapse or whatever.

there's this idea that tragedy is inherent to spidermans growth, and while it's true that some spiderpeople learn important lessons through loss, no one stops to ask, is it really necessary? yeah, maybe the chief was supposed to die. but why does spiderman have to be formed through tragedy? why do we (as heroes) have to let people die? pavitr didn't lose anyone, and he's still a good spiderman! maybe, if he doesn't suffer, he'll end up better off for it!

so while miguel is arguing for all this big picture stuff about saving the multiverse he's lost sight of what it really means to be a spiderman, he's not looking out for the real individual people. yeah it's just one person who would die, but that one person means something to someone. shrugging and saying "stuff just sucks sometimes, we can't do anything about it" is the opposite of what superheroes do. pretty obviously, miles arc is also a reflection of the struggles people face in real life, working within unequal systems, where it's easy to shrug and say "that's just the way it is" and not ask "but why does it need be this way? can't we do something about it?"

miguel is arguing that you can't have your cake and eat it too. presumably, miles and co. are going to find a way to get around that and change things for the better (and maybe that's why miles has that line about two cakes in the advisors office!)

[vultures-and-scavengers]

i appreciate that the plot points for inquisition are just a list of cullen's ptsd triggers. demons, red lyrium, red lyrium templars, demon armies, blood mages, possible blights, definite undead, tevinter mages, tears in the veil, and worst of all, *checks notes* orlesians.

[bunnieswithknives]

Thanks.

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[tubbytarchia]

I've finished my Pearl "Shut uppp Love" animatic, please go check it out if you're at all interested!

Please. It took me 5 hours to figure out how to render this awful beast

[brokenmachinemusings]

ok finally posting this on here but the fact they mirror each other. ugh they make me so ill i need a moment

[idolomantises]

Anyways, I know its my account and I can do what I want, but I do apologize if this is is upsetting to anyone and I do swear this is the last of me discussing this deranged fandom (at least over here).

I really wasn't planning on saying anything about that whole discourse, but as a survivor myself who has dealt with fans invalidating my own trauma because i said Hazbin having a rape joke was both in poor taste and hurts the themes of the show, I really couldn't help but feel genuine anger.

It's just not acceptable. Behaving like this is not acceptable. But it's also not worth my energy.

[lovely-v]

Me before completing the forest temple: okay I get that ocarina of time is fun and nostalgic for people but it’s a bit of a stretch to call it one of the greatest video games of all time

Me after completing the forest temple: By revealing that Link is not a Kokiri, but a Hylian, the game effectively strips him of his humble origins amongst a group of people that already fail to recognize him in his adult form. Thus, kokiri village instantly becomes a location that is no longer Link’s home in any sense, exacerbated by the fact that the game now loads up in the temple of time instead of Link’s bedroom— he is a stranger in the only place that has ever been familiar to him and he is depressingly reduced to his destiny alone. However, the subsequent introduction of the time travel mechanic, which allows the player to travel from the horrific apocalyptic future back to the idyllic past of Link’s childhood, gives new meaning to the idea of this “destiny”. In effect, Link is not a stock “chosen one”, but a protagonist who consciously decides to fight onwards. Link’s dual existence as a child who knows the grim future and as an adult who was powerless to stop disaster gives a sort of desperation to his character, because while it brings the player relief to revisit the Castle Town that is populated by cheerful villagers instead of lurking zombies, the story can only be progressed through the acknowledgement of reality — the decision to make those seven years pass again. Therefore, both the player and Link as a character must be proactive in their heroism and make the conscious choice to struggle onwards despite the darkness that permeates—

[ajwalkerartblog]

them!!! they!!!!!

[crazysodomite]

[crowkip]

ouguugh,, womnen

[pureseasalt]

congratulations to the one piece live action team for everything, but especially for perfectly, spectacularly, and unabashedly portraying how head over heels in love the straw hat crew is with monkey d luffy

[elyfonart]

They're competing over who's comfiest :)

[basketobread]

would you guys be mad at me if i said lunara was always secretly a little... evil? weird? a bit deranged? but i mean. she's TRYING to be better. SHE'S TRYING. GUYS. WHERE ARE YOU GOING. GUYS WAIT. GUYS NO! SHE'S FROM MENZOBERRANZAN GUYS IT'S NOT HER FAULT. GUYS.