#it just hit me right in the feels

[bass-alien]

not me starting a new book and crying after just reading the 1st chapter lmao

[caffeinatedopossum]

Me when I remember something I said ages ago that was wrong or my values no longer align with

[stemmmm]

the scene people keep screaming about from chapter 5 of theseus' guide

[rocceater]

love it when people draw aus differently so some ideas for art styles and designs

ink belongs to comyet fresh belongs to loverofpiggies dream + nightmare belong to joku-blog

[madamemiz]

sad: falling out of a hyperfixation

tragic: watching your beloved friends and mutuals fall out of the hyperfixation while you're still in it

[benevolenterrancy]

("Always. Continuously. With increasing apprehension, and decreasing hope. I will love you if I never see you again, and I will love you if I see you every Tuesday. I will love you as a corpse loves the beak of the vulture. I will love you no matter what happens to you, and no matter how I discover what happens to you, and no matter what happens to me as I discover this." -- paraphrased from The Beatrice Letters, Lemony Snicket)

[doctorsiren]

Maybe you could call it Reunited Stans AU?

Also, how do you think the gravity falls locals would see those two? I think Ford would end up getting out of the cabin much more because of Stan. Maybe you could draw them going to town for drinks? I don't know.

I like to think the town locals would either be horrified of them and talk about them as cryptids in their own right, or just be annoyed by their shenanigans

I just remembered they’d be in their early 20s when coming to Gravity Falls haha

But yes they’d definitely start out as “those weird twins that live in the forest” but once Stanley starts feeling like he’s actually safe from that old life Ford pulled him out of, he starts going into the town, which then leads to him dragging Ford along

It’s probably a mix of both, where the town sees them as those odd guys and then also get annoyed by what they do, but also I think they’d think of them as a new endearing staple of their town once the whole “newcomer / stranger” title fades from them. It’d be sort of the same way Stan is in canon with the Mystery Shack, where even though people find him annoying, they also always come to the events.

Also Stanley 😭 your brother does not wanna be in that bar, let him go do nerd things

[hinamie]

色彩 [Shikisai]

[vaguely-concerned]

I honestly don't think lucanis would have gotten much gentler training than most of the other crows -- if anything I expect he got more direct and intensely focused/constant attention on and control exerted over him than most of them might, since caterina has so much bound up in him both emotionally, politically and (ultimately, as the case always is with the crows lol) financially. she does not seem the type to as it were risk spoiling the sole viable heir by sparing the rod (derogatory). she has too much on the line here leave stuff like that to chance. where the 'first talon's favourite kid' privileges DO likely enter into it for me is that he can every so often make the move to spare a target based in nothing but his own conscience and not be killed for it himself.

which also has me wondering like... did caterina know she was sending him to kill a child, with that one target he mentions to davrin? or was it a surprise to her too? from what he says, she is the one who picks the contracts for him. was that contract how she realized there are things she could ask him to do, uses she could try to put him to, that would just break him (which would be such a waste at this point she's invested so many years and so much of herself in this knife that rests perfectly in her hand)? was it a test?? did it turn into a test both ways??? did lucanis know she wouldn't have him killed for refusing to do it, or is that one of the few times he came back and looked her in the eye to see what she would do, as the closest he's ever gotten to actually telling her 'no'???? 'you have every right to kill me for it, but this is one thing I can't do for you' with his hands not dripping with blood... and for whatever reason or set of reasons you might choose to believe, she doesn't kill him. what an absolutely nuts relationship this is

(how does illario feel watching that go down. knowing lucanis can gamble on love or sunk cost logic or whatever it is that stays her hand to hold on to having a soul, while illario could surrender his whole soul unquestioningly every time to her and still not have the love.)

[cyberpunkboytoy]

I see a lot of people in the Mouthwashing tag frequently listing 'keeping Curly alive' in the list of crimes Jimmy has done, implying or sometimes outright saying that not mercy-killing Curly was a cruel and unusual act...and would like to caution against that.

There's a long history of abled people deciding someone's quality of life is too horrible to merit letting them live (usually to nonverbal or otherwise 'low functioning' people lacking a clear means to communicate) and condoning the murder of disabled people under the guise of kindness. Curly is an extreme example, and one could argue he might prefer to be 'put out of his misery,' but it's important to note that we don't know, no one asks, and there's no attempt to communicate either which way.

How extreme pain and 'low quality of life' are handled are very nuanced and complicated topics, but you can never decide for someone else what kind of life isn't 'worth living.' Curly is obviously a videogame character, but these attitudes can and do affect the lives of real people & are worth being aware of.

[padfootastic]

i just remembered that canonically, sirius got to godrics hollow after hagrid.

which means that after he had his godson taken away from him (bc lbr that’s exactly what hagrid and dumbledore’s orders basically did) then he went into the house and saw james and lily’s dead bodies alone. no buffer in the form of harry crying out for his parents or even the godfatherly instinct of making sure his kid is alright.

he was there, with his brother and friend’s cooking body, all alone. stewing in grief and pain and rage and guilt. ALONE.

do we even know how long he was there? for all we know, he could’ve been catatonic right there besides james all day.

[artuurle]

because today has been a Bizzyboy kick for me i decided to sketch my hcs about the height and builds of these guys. who knows if i draw them like this again or iterate upon the designs though.

Also calling out how horribly I dressed Grujaja. theres a reason i did it but its still foul XC

[aishabellasbigblogofeverything]

I love it when women hate men. I love it when women are allowed to vent to each other about how horrible and creepy men are. I love it when women form friendships with and prioritize each other over relationships with men(whether they're attracted to them or not). I love it when women put men dni in their bios and on their nude photos and on posts on their blogs. I love it when women refuse to mollycoddle and accommodate entitled male feelings with "but this doesn't mean I hate all men, I know a few men who are great, I love my father/sons/brothers/uncles/male cousins/guy friends" I love it when women complain about men WITHOUT "not all men" being a disclaimer. I love it when women avoid socializing with/refuse to be around/befriend/get close to men because they know men can't be trusted. I love it when women make "kill all men" jokes. I love it when women offer absolutely no concern or care for men's feelings and if their misandry offends men whatsoever because why should we, men are the oppressor class who have raped and killed and abused us and kept us as subjugated as second-class citizens for millennia, they regularly mistreat us and the women in their own marginalized communities still every single day and make this world so much harder and more awful for us to be in, and if we choose to hate them and not spare them any sympathy then so be it, and I don't just mean "men as a class" either, you can be a woman who doesn't want to have anything to do with any man on an individual basis and completely cuts off men from her personal life too and ykw I will love and fucking support you in that because men deserve absolutely NOTHING from us. If they're so tough and strong then they can handle it just like they can handle being lonely. If you are a woman who hates men, ESPECIALLY IF YOU ARE A LESBIAN AND/OR A TRANS WOMAN, then just know that I love you. I love you, I support you, and you are safe here.

[rin-sith]

*That* scene in Six Hundred Strike is not about vengeance, it's about vulnerability ... because the Vengeance saga isn't about vengeance

To think all of this started because I was trying to determine why it feels so natural to read intimacy into the torture scene in Six Hundred Strike ... See, I'm personally not someone who reads an angle like this into things easily, but this time I found myself doing it too. And I just needed to know why.

It just made no sense for a while, because if you look at it superficially, it shouldn't make sense; it's a freaking torture scene. But I don't know, somehow, I must have felt that there was something there ... and I think I figured it out.

See, the reason why it feels so natural to read intimacy into this scene is because ... it actually is incredibly intimate. Not in an actually sexual way, but more so in a, "Imagine you were suddenly able to read someone's mind, and they yours" kind of intimacy.

It's really easy to just assume Six Hundred Strike is literally about vengeance, but it isn't. Now, please stick with me for a bit because we are going on a bit of a tangent here, but I promise we'll get back to this eventually.

The tangent I want to explore first is (as you've probably seen in the title) that the whole Vengeance saga is, ironically, about the unnecessity of vengeance and how destructive grudges and resentment can be. Think about it:

In Not Sorry For Loving You, Odysseus lets Calypso rant and then walks away without confronting her or accusing her, even telling her what she wants to hear one last time. I already discussed why Odysseus is an incredibly non-judgmental, non-resentful person in my Monster essay, and here is another excellent example of that.

Charybdis (I'm skipping Dangerous because he doesn't encounter any enemies there) is the first "monster" enemy he leaves alive since Polyphemus (Scylla doesn't count because he still "kills" for the sake of getting past her, even if it's in the form of sacrificing his men.) While one might argue that he had no choice since Charybdis is virtually impossible to kill, I think placing this encounter here might be an intentional choice especially since it differs greatly from the way that Charybdis is in the Odyssey. There has to be reason behind this change.

In Get In The Water (my beloved 🫶) we are explicitly shown that Odysseus offers Poseidon (the god who killed his whole fleet and is responsible for most of his suffering) forgiveness. The reason Odysseus has to torture him in the first place is Poseidon's own refusal of this mercy—he's literally torturing Poseidon in order to make him finally release the grudge because he has proven that this is the only way to actually get through to him. It actually shows perfectly that Poseidon's own inability to release his resentment became his downfall in the end, disproving his own "ruthlessness is mercy upon ourselves" motto as his own ruthlessness bit him in the a** this time, as I talked about in this post.

... And there is no resentment or vengeance in Six Hundred Strike either.

On one hand, it's easy to assume phrases like "For every comrade, every one of my friends, almost all of whom were slaughtered by your hand" or "How does it feel to be helpless? How does it feel to know pain?" indicate resentment, but ... not really.

We already know that Odysseus doesn't want vengeance, or he wouldn't have tried to lead from the heart one song earlier.

And then make yourself aware of something else: Not once during any of their encounters is Odysseus actually accusing or resenting Poseidon for anything.

"Almost all of whom were slaughtered by your hand" is an objective fact. It's just true. Someone vengeful may have said "I'll make you pay for all of those you slaughtered" or "All of their deaths are your fault" ... Odysseus just says, "for every comrade". He doesn't specify what he's doing for his comrades ... and it sure as hell isn't that he's (trying to) cause Poseidon pain or harm for them (which would be vengeance.)

For every comrade, he is fighting Poseidon, in order to finally reach his goal. For every comrade, he's doing everything that he has to do in order to get home, and in order to end this feud.

And then we get to the torture scene and it's ... actually so incredibly freaking intimate. Because it's not actually about vengeance, it's not about accusing Poseidon, or making him pay, or suffer more than necessary. If Odysseus were speaking from a genuine vengeance angle, he'd probably sound more like, "You killed my friends, now you pay for it. You did this to me and now it is your time to suffer." But he doesn't.

The torture scene in Six Hundred Strike is actually ... just another, much more extreme, repeat of Odysseus' lines from Get In The Water (my beloved 🫶): "Aren't you tired, Poseidon? It's been ten years, how long will this go? We're both hurting from losses, so why not leave this here and just go home?"

Odysseus tried saying it nicely ... now he's stabbing him with his own trident, hoping, practically begging, that he finally listens and accepts. Just lets them both go home.

And the thing is, this time, he isn't just saying "we're both hurting from losses" ... All you have to do is repeat to yourself Odysseus' entire monologue that he unleashes while he's stabbing him in a calmer, gentler tone and you'll see that what he is actually yelling out at Poseidon are all of the reasons why he is hurting. Sharing with him all of the pain that he probably hasn't shared with anyone ... ever.

"How does it feel to be helpless? How does it feel to know pain?" -> How does it feel to be vulnerable? I've felt vulnerable for so long without anyone to talk to or because no one truly understood me or what I'm going through.

"I watched my friends die in horror, crying as they were all slain. I heard their final moments, calling their captain in vain." -> This is why I am hurting. These are my losses.

"Look what you turned me into. Look what we've become." -> Look what I could be if I actually followed your lessons. Is this what you really want? Why can't you understand the harm that this is causing both of us?

"All of the pain that I've been through ... haven't I suffered enough?" -> Aren't you tired, Poseidon? It's been ten years, how long will this go? We're both hurting from losses, so why not leave this here and just go home?"

"You didn't stop when I begged you." -> I asked you to "Stop this, please" mere minutes ago. You didn't stop. That's why I'm doing this.

"(You) told me to close my heart. You said the world is dark. Didn't you say that ruthlessness is mercy?" -> I'm doing what you said you wanted me to do. Do you really want this? Do you really believe this? Can something like this really be mercy?

The first time I heard this, I firmly believed that Odysseus was actually crying during this part, and honestly, I believe that to this day. The canon visuals don't show us his face and I want to almost say that's intentional.

This whole scene is about vulnerability. Forced vulnerability, in a lot of ways, but raw, real vulnerability nonetheless.

This isn't just a torture scene; it's actually one of the most intimate scenes we've ever seen Odysseus share with anyone on screen. Seldom do we see him this honest in front of others (the vulnerable scene with Circe at the end of There Are Other Ways is the only other example I can think of.) Otherwise, all of his honest, raw songs are his solo songs (Monster, Just A Man, ...)

But here, Odysseus is essentially using the symbol of Poseidon's invulnerability—his trident—to force him into the most vulnerable position that he's probably been in centuries, if not ever ... and at the same time, he is being incredibly vulnerable himself. He's opening up to Poseidon in a kind of absolute way that we have actually never seen him open up to anyone.

... If that is not intimacy in its rawest, most painful, uncomfortable, and yet cathartic forms, I don't know what is.

As if that weren't sad enough... The saddest part about all of this is actually Poseidon's "Monster!" ... Because it tells us without a doubt that he is actually incapable of receiving or understanding those words from Get In The Water (my beloved 🫶). He is incapable of understanding vulnerability. All he can see is the "monstrous" act that accompanies it because that is something he knows and recognizes.

Although I believe, in the end, Odysseus did get through to him, and did get him to drop the grudge, I believe it happened on a kind of subconscious level rather than genuine acknowledgment or agreement. It's further proof of how Odysseus is capable of growth while Poseidon isn't (yet.)

Poseidon remains stuck in his ways, in his "ruthlessness" philosophy, because he isn't ready to acknowledge its flawed nature, essentially making it his own cage that prevents him from growing or moving forward. Meanwhile, Odysseus is walking away, walking ahead.

... Part of me almost wants to claim that he started begging Odysseus to stop so quickly not because of the physical pain, but because of his words. Because the vulnerability forced on him was hurting in a way that physical injuries, even from his own trident, never could. Because deep down, very deep down, he must've ... "felt" what Odysseus wanted him to understand and feel anyway.

Remember how I compared this type of intimacy to the sudden ability to read someone's mind before? I chose this analogy for a reason. What is intimacy if not using the very source of a god's invulnerability, essentially putting yourself into his divine shoes, doing what you know he would do to you ... in order to force him to connect to your mortal feelings and pains, even if he can still not truly understand them?

Here is where we see, for the first time, maybe ever, what even Odysseus and Athena couldn't do (yet), and the core reason why their partnership broke apart: a mortal and a divine genuinely understood each other's perspectives ... saw themselves in the other, even if only for a moment.

Given all that ... there is absolutely nothing I can say against kicking my feet and giggling excitedly over this scene.

[guardian-angle22]

911: Lone Star | Tarlos Head Kisses (S1 -> S4)

↳ for @rmd-writes

[harmonictechnicality]

oh my god okay. The fact that Wayne narrates the lore of the Creel House and Eddie narrates the Vecna campaign is so important to me. It means that Eddie grew up listening to his uncle tell stories. It means that those stories left such an impact on him, that he started telling stories of his own.

It means Eddie inherited the storytelling trait from Wayne.