#its just never made sense to me

[shamelessexplosions]

I'm about 8 years late with this but one thing in the Civil War dispute I have never seen anyone from either side point out (and I could just be completely wrong on this):

There is no indication Steve actually knew Bucky killed Tony's Parents

Steve knew it was Hydra because, and as far as I am aware ONLY because of Zola's little exposition scene in Winter Soldier where he shows a bunch of newspapers clippings of things Hydra is responsible for, including Howard and Maria Stark's death.

I repeat: things HYDRA is responsible for. So, yes, Cap knew Hydra killed the Starks, and knew Bucky was working for Hydra. That does not mean, because of that little exposition scene, Cap decided, 'oh yes, in the last 70 years Hydra has only had one man doing all their assassinations, so that must mean Bucky killed Howard and Maria.'

The thought it might have been him could have occurred to Steve, but either way, that would be a theory, and not something Steve has any reason to tell Tony.

For further proof, this exchange from Civil War straight after Tony & Steve watched the security footage:

Tony: "Did you know?"

Steve: "I didn't know it was him."

Tony: "Don't give me that shit, Rogers. Did you know?"

Steve: "...Yes."

To me at least, that 'yes' means Steve knew Hydra, as an organisation, killed Stark's parents, and he elected not to tell Tony, which he is shown to have found out in Winter Soldier so we know that. But his initial statement, "I didn't know it was him", we have no evidence wasn't entirely truthful.

(Whether Tony hears that 'yes' as 'yes I knew Bucky killed your parents' or 'yes I knew your parents death wasn't an accident/orchestrated by Hydra' is ...debatable, but either way I can't see any reason to believe Steve meant the latter, especially since he has already said he knew it wasn't Bucky specifically.)

Why didn't Steve tell Tony Hydra killed his parents?

I can think of a few reasons, whatever side of the Civil War divide you are you can probably come up with more:

1. Steve knew Zola was trying to distract Steve and Nat when he showed those newspapers, so was just trying to keep them engaged, and hinting there might be more to the death of an old friend and get Steve emotional would be a great way to do that. Steve might have suspected it was true, but with no actual evidence he didn't want to open Tony's old wounds.

2. The avengers were going after Hydra post-Winter Soldier, and Steve was worried about what Tony might do/how reckless he might be/didn't trust him enough to risk telling him the people they were targeting killed his parents.

3. It was more than 30 years in the past. If Steve didn't know it was Bucky, it would be likely the person who did it (or at least authorised it) was long dead or unfindable (again, 30 years cold case, no evidence except in a bunker in nowhere siberia that Zemo spent a year searching for when he knew exactly what he was trying to find), so there would be no justice to get, so it would be only hurting Tony for no reason.

But the point is there are a lot of reasons Steve wouldn't tell Tony (admittedly a lot aren't very good or wishful thinking, and Steve probably should have said something, but it is a common theme across the MCU that Steve doesn't always have as much faith in Tony as he should (and then sometimes Tony builds Ultron because he got scared and you can understand why Steve might not trust him when emotional), I'm not here to idolise either of them or say either were completely right in this movie, just point out one thing I see a lot of people complain about). A lot of those reasons don't hold if Steve knew that it was Bucky, and we will never know if Steve might have told him if he did, but you can't blame Steve for not telling Tony something he didn't know himself.

[gunsatthaphan]

"do you like me?"

[tea-cat-arts]

Shen Yuan getting transported into pidw isn't "the system punishing him for being a lazy internet hater," but instead representative of "step 1 of the creative process: getting so mad at something you decide to go write your own fucking book" in this essay I will

[blluespirit]

I was thinking about the southern raiders again and i think one of the reasons i love it so much, is that despite not being in the group for very long, zuko immediately understands what katara needs to do more than anyone else in the group and takes it upon himself to give it to her - peace and to earn her forgiveness.

it's not really about revenge, its about confronting her trauma head on. ripping the monster from under the bed so it can no longer haunt her.

i like that zuko never puts an idea for what she has to do. it's actually aang who brings up revenge. zuko never says that's what she must do, and when she snaps back at Aang that hell, maybe revenge is what she needs, zuko doesn't shut her down either. its absolutely up to her.

the argument between aang, katara, zuko and sokka is telling - aang, while well meaning, can't understand katara's perspective. aang's pain is vast and deep and he has processed/is processing that in his own way, but what works for him, will not work for everyone. zuko sees katara's anger and it resonates with him - that is something he can understand.

I just love that zuko offers to find the man, and then goes all out defending katara's need to confront him. she needs this.

Here's the argument:

KATARA: We're going to find the man who took my mother from me. ZUKO: Sokka told me the story of what happened. I know who did it and I know how to find him. AANG: Um ... and what exactly do you think this will accomplish? KATARA: [shakes her head in dismay] Ugh, I knew you wouldn't understand. [begins to walk away] AANG: Wait! Stop! I do understand. You're feeling unbelievable pain and rage. How do think I felt about the sandbenders when they stole Appa? How do you think I felt about the Fire Nation when I found out what happened to my people? ZUKO: She needs this, Aang. This is about getting closure and justice.' AANG: I don't think so. I think it's about getting revenge. KATARA: [angrily] Fine, maybe it is! Maybe that's what I need! Maybe that's what he deserves! AANG: Katara, you sound like Jet. KATARA: It's not the same! Jet attacked the innocent. This man, he's a monster. SOKKA: Katara, she was my mother, too, but I think Aang might be right. KATARA: Then you didn't love her the way I did! SOKKA: [hurt] Katara! AANG: The monks used to say that revenge is like a two-headed rat viper. While you watch your enemy go down, you're being poisoned yourself. ZUKO: That's cute, but this isn't air temple preschool. It's the real world. KATARA: Now that I know he's out there ... now that I know we can find him, I feel like I have no choice. AANG: Katara, you do have a choice: forgiveness. ZUKO: That's the same as doing nothing! AANG: No, it's not. It's easy to do nothing, but it's hard to forgive. KATARA: It's not just hard, it's impossible.

but I also love that because none of this happens without zuko's knowledge.

zuko is just the means to an end, and he's okay with that. What katara ultimately decides to do is up to her;

but zuko is going make damn sure he's there to make sure she's able to make that decision:

they make it to the southern raiders and zuko charges in, deflects the commanders fire and when he asks them who they are, zuko responds perfectly. he's angry for her. he never tries to make it about himself and his actions confronting the Southern Raiders Commander and Yon Rah reflect this:

COMMANDER: Who are you? ZUKO: You don't remember her? You will soon, trust me. [katara starts bloodbending him. zuko looks shocked for a moment, before quickly returning his attention back to the commander] ZUKO: Think back. Think back to your last raid on the Southern Water Tribe. COMMANDER: I don't know what you're talking about. Please, I don't know! ZUKO: [bending down closer to the commander] Don't lie! You look her in the eye and you tell me you don't remember what you did. [katara realises he's not the man, says as much and begins to walk away. zuko realises he still has a role to play to help katara] ZUKO: [grabs the weak commander and pins him to the wall] If you're not the man we're looking for, who is? COMMANDER: You must be looking for Yon Rha. He retired four years ago.

He does it again when they confront Yon Rah:

[Yon Rha is walking. he stops and turns around once more] Nobody sneaks up on me without getting burned! [drops basket of vegetables and firebends at a nearby bush] sensing no one, he picks up the fallen vegetables and continues on his way. He unknowingly steps on a thin wire, causing him to fall into the mud. He tries to get up only to see a fire blast coming his way which he quickly avoids. Zuko appears before him. ZUKO: We weren't behind the bush. [zuko takes a step forward to threaten him] And I wouldn't try firebending again!

After this, zuko steps back and lets katara handle it in the way she sees fit.

even its inferred that zuko thought it was violence that katara needed by what he says to aang at the end of the episode;

ZUKO: You were right about what Katara needed. Violence wasn't the answer.

the point is he never says it to her and he keeps that largely to himself and when she decides to spare his life, while visibly shocked and hangs back a moment to glare at yon rah, he respects katara's decision and sees that's what she needed:

basically what im saying is that whether you ship them or see them as friends, their dynamic is immediately compelling, interesting and respectful.

[scribbling-dragon]

missing ranchers forever and ever and ever (a redraw of THIS from a year ago)

[click for better quality! + closeups under the cut]

[lacystar]

it wouldn't even matter if he did "shit on you behind your back" when you "never say anything back." the thing it absolutely boils down to is that you knew him when he was a minor and he has come forward saying that because of your influence and power, he felt uncomfortable around you. any POSSIBLE comeback other than an apology ends there. slur or no slur, any other response to that is bad. or, is it just that someone underage you've hurt in the past telling the truth about you only scares you when you know they have the public influence to protect themself?

[princesstarfire1234]

TLDR: I fucking despise ship art and fanfics that infantilize Orion Pax / Optimus Prime

Okay so I just wanna put my thoughts out here right now because I've not seen many people talk about it and it honestly bothers me a lot...

So, it's no secret that I ship MegOp and stuff right? I like and have reblogged a bunch of art of them before and I will keep doing so, but something about how this place (or more certain parts of the fandom) portray the ship gives me major icks and I fucking hate it so much

Detailed thoughts under cut ⬇️⬇️⬇️

Case in point, a massive part of the TFP fanbase likes to ship Orion and Megatronus and I get that, I get why people like shipping those two but it's the WAY they do it. A lot, not all, but most of the fanart surrounding Orion Pax and Megatronus is him being like the smaller and more submissive one of the relationship which fine, whatever, but most people just end up drawing him REALLY small like ik he's shorter than Megs who was a gladiator and all that and he was an archivist but jesus christ... Aside the size which is weird and all but it's really all about the rampant infantilization of the guy. When they remove all agency from the character and act like Orion is gonna fucking combust the moment someone confronts him or tries to fight him like no... I've not read Exodus but I don't think Orion being a nerdy book guy is gonna make him THAT soft, this is still the same mech who became PRIME like cmon

I don't know the exact words for it other than "infantilization" but like y'know what I mean right?? I'm not gonna name blogs but there's this one AU on here where Orion is blind and it has this cutesy artstyle which is fine but I vividly remember reading a comic on that AU where some thugs confront Orion and he's all like sobbing and shit and has to be saved by someone and it's... so you made him disabled and also a crybaby and absolutely incapable of anything??? Does that NOT give you an ick of sorts or seem weird??? God I don't even know anymore because I've seen many people seem to like that so I'm just scared I'm the weird one and wrong for this lmfao... Maybe there's smthn im not getting, you tell me

Anyways this post is getting real long, but this kind of "infantilization" also applies to certain fanarts of TFA MegOp, I always thought the ship was bordering on kind of strange (since TFA Optimus is like the equivalent of some 20-something college dropout and Megatron is implied to have been doing the war stuff way way way back like Ratchet's time) but I won't get into that, I just don't ship that certain brand of the characters myself, but it's fine, do what you want with it. Just know that I have seen art of those two where they treat TFA Optimus as this sort of incapable cutesy uwu boy (aaaghh)

So yeah.... hahahaha stop infantilizing characters and taking a ship where they're both grown ass big men and like straight up turning the other one into some weird ass incapable version of the character that lacks any and all agency and honestly bordering on being really icky as fuck, thank you, idc if you make Optimus the bottom or whatever, that's not what I mean, cya ✌️

[celestriix]

thinking about klavier gavin again because i saw someone say that the fact that he's the only prosecutor in the series who wants to find the truth and isn't insanely obsessed with winning like the other prosecutors makes him really boring

and i understand it to some extent when comparing him to other prosecutors but... Klavier Gavin??? BORING????

after playing aa4 i was OBSESSED with klavier gavin and the untouched potential of this guy

he loses his best friend/bandmate, his brother AND his mentor in the span of like a year?? i think??? which is INSANE.

there's something very tragic about klavier, a person who values finding the truth above all else, finding out that two of the people closest to him betrayed his trust and lied to him and used him for their own means AND ARE MURDERERS.

and then his mentor, a person who taught that seeking the truth is what a lawyer should do, gets murdered by a person who believes that winning in trials is the most important thing above all else WHICH IS THE SAME EXACT THING THAT KRISTOPH VALUED AS WELL !!!

this core belief of finding out the truth that klavier has, leads him to finding out about the things that daryan and kristoph did, and even though they are important to him, people he CARES about, he continues to work with apollo to see that justice is served.

and the fact that we don't get to see anything of klavier getting any closure after the events of aa4 makes me insane

we never get to see much of klavier's feelings on what happened or him fully processing the events of aa4 and that one case in aa5 and it makes me soooo upset. i wish he got more than that little cameo in aa5 and that one tiny flashback appearance in aa6.

in an alternate universe, aa4 got a true sequel that fully explored klavier's character, as well as phoenix's, klavier's, AND apollo's relationship with kristoph, and klavier's relationship with phoenix post-aa4, and also a more thought out? (for the lack of a better word) backstory for apollo, and an exploration of the jury system, and a game that ACTUALLY built upon the foundation that aa4 laid out.

and i am forever upset that we are not in that alternate universe.

[luck-of-the-drawings]

[<==PREV PAGES] [NEXT PAGE==>(not out yet.wait a year.or maybe more.imagine.]

saw alot of comments on prev pages; saying 'i HATE that mean teacher! im gonna FIGHT HIM!!' & i LOVE the energy!! it WOULD be nice. to have that catharsis. but the story of young tidestrider is Not one of catharsis. it is a story of being so small and so special and sucking so bad.

[fiendishartist2]

im not fucking around anymore. here's the full "Paul is Care" essay i've been working on:

“Alright. So there's uh, nothing out here, as far as I've seen. But actually, I think there is something out here. I just haven't seen it yet.”

In Petscop, the story is told between the lines. When you feel like you have a grasp on it, a single colour or date throws off everything you’ve built up. That’s why I like to look at Petscop in another way; not as a series of events, but an exploration of a single character: Paul.

Some people like to map everything out in a single timeline; when did Care go missing, when did the family get the game, when did Lina and Mike die. I think that every interpretation of Petscop has its own value, because Petscop means something different to everyone who watches it. But, when I look at Petscop, I don’t just see a series of events wrapped up in the mystery of Care’s disappearance. I see a video game used as a device to explore and understand the connection between the past and the present. I see the ways in which Paul Leskowitz is Carrie Mark.

I know that to some that notion might seem crazy; the broader discussion of Petscop is different to the niche ones held by crazy people in the tags of a Tumblr post . Obviously, this theory is personally significant and I hold it very near and dear to my heart. But, I want to share this theory in a way that makes sense to the general audience of Petscop because I genuinely believe you guys are missing out! So, keep an open mind and enter my Petscop mind-palace…

“...were signs along the way. Um, that I ignored. Because it would have been a completely ridiculous idea to me. Um. But when I found my room, it made, uh, well, I was shocked at first, but it made sense, especially considering where I found the game in the first place, um, that it would be tied, in some way, to me through you. Um. And I'm trying to think, when was the last time I saw any of you at all? It had to have been in like, 1999. I was a kid, I was a small kid. Tiny kid. Um. And after that, just, you know. But, it would make sense in the timeline.” (Petscop 11)

A lot of Petscop theories surround the actual textual proof found in the videos, so that’s where I���ll start. There’s many instances where Paul makes the connection between himself and Care, but one moment continues to stick with me. In Petscop 11, Paul finally enters the house and takes a look around. He’s on the phone with someone, presumably Belle. Paul goes up to the calendars and starts talking about Care, “Yeah, on that topic... I don't remember meeting this girl at all. Um, I don't remember knowing her at any point (…) Um, and I remember you saying that we were, that we, we are, um, exactly the same age.” (Petscop 11). He points out that he and Care share the same birthday, down to the year. We get further confirmation of this in Petscop 14, when Paul’s conversation with Jill that he had on his own birthday is superimposed onto Care’s. The next part though, is what really gets the theory started, “I do agree there's a resemblance. Um. Very strong resemblance between us.” (Petscop 11).

Faces are incredibly important in Petscop. Marvin thought Care and Mike could be rebirthed into Lina because they had similar features, and Care had to be given Mike’s eyebrows specifically to change her room. So, for Paul and Care to have such similar facial features that someone else pointed out the resemblance is significant.

They also happen to share the name “Leskowitz”, which is both Anna and Lina’s last name. We know this because his Reddit account is “p_leskowitz”.

If he’s a Leskowitz, then that explains his complicated feelings towards “the family”. “The family” is a foreboding presence throughout Petscop. Their meddling isn’t outright malicious, but even Paul admits that he’s intimidated by them. And it makes sense, as “the family” (comprised of Anna and Jill) each have a major role in the core mystery of Petscop. Anna is the mother of Care and the wife of Marvin, while Jill is Marvin’s sister and the mother of both Rainer and Mike. To be a Leskowitz, Paul would need to be blood related to Anna or Lina in some way. Paul shows that he has this relation to the family in Petscop 22, when he’s talking to Belle about finding the windmill, “And, I don't th- and you don't have to worry about it, right, 'cause... 'cause you aren't, you aren't family, so you wouldn't... have a room, that's the thing.” (Petscop 22). In this context, Paul is asking Belle whether Jill has contacted her. When he tells her she doesn’t have a room, this is in reference to the Child Library explored in Petscop 3 and 7. This means that in order to be part of the Leskowitz-Mark family (and in our case, related to Care), you have to have a room in the Child Library, something both Paul and Care possess.

Paul being related to the family is also supported by his casual mention of meeting Rainer as a child, “‘Rainer’... I saw him at a birthday party once. All the older kids were down in the basement playing video games, to hide from everyone. He was down there, too. He was older than the rest of them, though.” (Petscop 11), and his confusion of not knowing Care, with the implication that if she was real, he would have met her through the family.

A rarely discussed aspect of Paul’s character is that he can’t tell his left from his right. When he’s doing the disc puzzle in Anna and Marvin’s room is Petscop 11, “Um, we can see what the room looks like in that recording, um, on the uh, right? ... Left? Left? Right ... side.” (Petscop 14) and before he even enters the house, “And, I mean, I still get confused about that. Because, I mean, well, I know it's always the top, but, um, I still have to think. I have to think.” (Petscop 11), we can clearly see that he has trouble with directions. In a similar fashion, Care is described as “dizzy”, most notably in the end credits of Petscop. She is also described as blind by Rainer in Petscop 17, “You were blind. At some point, your movements stopped making sense.” (Petscop 17). In the counsellor’s office, the counsellor says to Paul, “Are you right handed, or left handed? You don't know? Really?” (Petscop 22). I’ll get more into it later, but this sequence is presumably a real conversation that the game is recreating. If this scene is taken from Care’s real childhood, then it confirms that she also had problems with her lefts and rights.

Now, this is the base level of the theory. It’s easy to figure out that Paul is a Leskowitz, he literally calls them “the family”. And while I think the bits about faces and birthdays and directions are significant to this theory, I wanted to get all of the textual evidence out of the way so that I could get into the fun part of this essay: the subtext.

”Some things you can't rewrite.” (Petscop 14)

Petscop is nothing if not a collection of symbols and metaphors. Ask me what Petscop is all about on any given day and there’s a non-zero chance I will start explaining why the car is orange. While it is necessary to analyse Petscop as a real series of events, I think that another approach can be taken; what if we analysed Petscop as a series of events that are happening to Paul specifically? That the game is creating meaning by placing Paul specifically in these snippets of the past. By looking at each moment as “Why did the game make Paul do this?” instead of “What is happening in the game?”, we can see everything through a new lens.

First, I want to discuss colour. Colour plays a huge role in Petscop; almost every character is assigned their own colour. This is most often used to denote who is speaking in text, but it’s also used for other things like the tool. You are probably aware that Care’s colour is yellow, as all of her text is yellow. What you might not know is that Paul’s colour is red. Paul has exactly one instance in all of Petscop where he has coloured text and that is in Petscop 22, when he gives the counsellor his name. The calendars in the house are also colour coded, as the one showing 2017 is red.

One of my favourite moments in all of Petscop uses colour in a way that supports this theory perfectly. When Paul takes Care out of the rebirthing machine, she has been transformed into an Easter egg. A red and yellow striped Easter egg. I will get into this egg later on, but for now, I want to point out how Paul and Care’s colours have been used here. Of course, it’s significant just that they've been put together, but it's more than that. Care’s final form, the egg she has been placed in to keep her safe from all of the trauma she has suffered, that she will spend the rest of the series in, is painted a combination of her and Paul’s colours. In the same sequence, when Paul is playing the Needles Piano for Care B, the “wrong” notes he plays to turn her into the Easter Egg are all red. There’s a joke about eggs and transness in here somewhere.

Right after Care’s rebirth into the egg, Paul places her in the locker with the purple egg and the “new life” letter. If we abide by the established colour theory, this second egg would be Belle’s/Tiara’s egg. By putting them together, alongside the letter, it symbolises Care and Belle’s transfer to Lina’s care; this can also be supported by the ending of Petscop. In the final scene of the soundtrack, Belle recounts when she and Paul were adopted, “There is Boss waiting for her son. Pall do you remember being born. Smuggled away driving to your new house. Boss in driver seat me in back.” (Petscop Soundtrack). “Do you remember being born” is a question posed over and over again throughout Petscop. It’s meant to be a reference to rebirthing, but here it’s Paul being asked if he remembers being born, not Care; you can also connect this to the “new life” letter, making it apparent Belle is asking if he remembers when he was given his “new life” with her and “Boss”. There’s also the implication of the wording “smuggled away”, implying that there was something stopping Paul from being taken to his new home. Paul and Care’s final scenes parallel each other; Care is placed with Belle’s/Tiara’s egg with the “new life” letter, while Paul is taken back to “Boss” by Belle. Care and Paul are both asked if they “remember being born”.

Another, smaller piece of colour theory in Petscop comes from the board games in the counsellor’s office. The board game “Accident” features red and yellow puzzle pieces that fit together, but are broken apart. Remember that Care’s colour is yellow, so assume that she symbolises the yellow piece; Paul’s colour is red, so assume that he symbolises the red piece. The red piece is bigger and fits into the smaller yellow piece, like it’s missing the beginning of it. The yellow piece comes before the red piece, as if it adds context to the red piece. When we think of this in terms of Care and Paul, we can see that Care is the “missing piece” of Paul; the small part of his past that adds the context that completes him. Paul’s piece is bigger because he’s been Paul for so much longer (if we interpret the counsellor’s office as a real event the way it is shown, then that could be the moment he changed. Or, if we consider Care’s rebirth into the egg as the moment Care turned into Paul, then that would be the moment instead), meanwhile Care’s piece is small because she was only a small part of his life.

Taking colour into account, we can get into the meat of the symbolism in Petscop. When we view the events of Petscop through our new lens, many things become significant. Paul is placed in the role of Care many times throughout the series; on Care’s birthday, in the counsellor's office, and in Rainer’s “you are Carrie Mark” monologue.

During the “strange situation” birthday scene, Paul carries around a yellow balloon, symbolising that he is standing in for Care. This is further cemented by Anna’s dialogue addressing Paul as if he is Care on the day she came home, “You made it. Happy birthday! (...) Why are you covering your face? (...) Of course I recognize you. Those eyes. That nose. That’s still you.” (Petscop 14).

This next dialogue from Anna is particularly interesting to me; she doesn’t just tell Paul that she’s happy Care is home safe or ask him where she’s been, but instead she says this, “I sure hope you’ve realised by now. It doesn’t matter how long you’ve been gone. It doesn’t matter how much you’ve changed. You aren’t lost. Stop wandering and come home.” (Petscop 14). When we talk about Petscop, we have the urge to deny any supernatural involvement in the story. Whether through AI or predictive programming or alternate timelines, we want Petscop to be plausible. Understandable. Easy to digest. But, we often forget that Paul poses the question of a literal “ghost in the machine” in the first few episodes. I want to consider this quote– Anna talking to her child who has been “lost” for many years– as an act of this ghost. The game is talking back to Paul, telling him that no matter how much he has changed, he still has the same eyes, the same nose that made him Carrie Mark. And we know how important eyes and noses are in Petscop. Also as a side note, consider how Anna didn’t specify eyebrows; we know that Care’s lack of eyebrows is in some way due to Marvin, but when she tells Paul she recognises his eyes and nose, she doesn’t add on eyebrows. Paul said it himself in Petscop 7, “Um, and why am I doing that? Well, because eyebrows seem to be important.” (Petscop 7). I like to think that she couldn’t have said that Paul has the same eyebrows because, since Marvin isn’t in the picture anymore, he wouldn’t have any reason to pluck them.

Another scene that mixes up Paul and Care is the counsellor's office. When Paul finally enters the “girl wall” in Petscop 22, he is placed into a school’s counsellor’s office. Again, they talk to Paul as if he is Care, apologising for taking him out of class and saying he needs to “catch up”, implying that he’s missed a significant amount of school. As they start to play Graverobber (Jesus Christ, Rainer), the counsellor is confused about Paul’s name; they ask him if they have the wrong name written down, as his save file is currently “Strange Situation” and when they called out the name on file, Paul didn’t respond. Now, the connection here is a little more nuanced, but it still comes to a conclusion that I think greatly supports the theory. “Strange situation” is in reference to the Mary Ainsworth Strange Situation Experiment, a test in which an infant is deliberately separated from their mother to test their level of attachment. This is a very base level understanding of this concept, but when applied to this specific scene, it becomes apparent that this “strange situation” is another reference to Care. Care was separated from her mother for about half a year, only returning during the birthday party scene; the counsellor’s scene was accessible once Paul started using the “Strange Situation” file. Care stopped recognising the name she used before the seperation, considering herself to be “Strange Situation” instead. She has literally stopped recognising the name Care, and picks out her own name (which in the game Paul sets to his own).

Also consider the implication of the “girl wall”. At first, it’s an absurd joke, meant to lighten the mood using the same roundabout humour the rest of the series has. But, the counsellor asking if they have the wrong name, listing Paul as “Strange Situation” instead of his name, combined with the fact that when Paul is placed in front of the girl wall, he can’t walk away from it, it becomes a bit of an analogy; The game keeps forcefully showing Paul the word “GiRL” over and over and when he finally enters the “girl-world” as Strange Situation, he is called the wrong name and once again placed in Care’s shoes.

Let’s revisit the “ghost in the machine” idea. In Petscop 17, we are shown a past recording of Petscop; we never find out who was playing at this time, but it’s easy to assume Paul is the one watching the recording. The footage is less interesting than the dialogue, but it is notable that it’s a recording of the player running backwards in a very deliberate pattern. The actually relevant part of this sequence is Rainer’s monologue; in particular, the way he frames it, “You are a girl named Carrie Mark, and you were born on November 12th, 1992. You have a mommy named Anna, a daddy named Marvin, an auntie named Jill, an uncle named Thomas, a cousin named Daniel, ......I know what you must be thinking. Have these statements always been true? Or have I cursed you? Is there such a thing? A curse that changes your past?” (Petscop 17). There’s something about the forcefulness of this dialogue, “You are Carrie Mark,” as if Rainer is trying to make it so just by saying it. The inclusion of the birthday is also notable; we have been shown time and time again that Paul and Care share a birthday, and that this is an important part of both of their characters. So, when Rainer asks if these statements have always been true, or if it’s “a curse that changes your past”, we’re meant to interpret it as such: some of the statements are true, but the “you” being addressed is not currently “a girl named Carrie Mark”. Rainer casts a spell to make the player retrace their steps and although he might not be playing, the use of the word “you” and present tense language makes the statement pointed towards Paul. There’s something to be said about Rainer’s position in all of this; he isn’t the only tangible “ghost” in Petscop (Marvin and Tiara fit Paul’s definition established in Petscop 6), but he’s the only one to be fully dead. It truly feels, in this moment, like Petscop– like Rainer– is talking directly to Paul. The “curse that changes your past” is the part that ties it all together. This past that Paul doesn’t fully remember, where Anna and Marvin have a daughter named Care, where someone in his family went missing for months– by learning about this through the game, Rainer is essentially changing Paul’s version of the past. Your memory and physical evidence are all you have of the past; when your memory tells you one thing, but physical evidence tells you another, what version of your past is true?

“You’re the Newmaker. You can turn Care NLM into Care A, and close the loop.” (Petscop 9)

Finally, I want to explain why this theory is supportive of the themes of Petscop. Of course, there’s the obvious link between rebirth and the change from Care to Paul. But, there’s also themes of blood family versus chosen family, breaking the cycle of abuse, and of healing from your past. I want to provide an explanation of each of these themes and how the “Paul is Care” theory fits into them.

Let’s begin with the family point, since I already expanded on the family’s role in Petscop earlier. There’s a story behind the scenes in this series; the conflict between the chosen family versus the blood family. Anna and Jill against Belle and Lina. Anna and Jill are restrictive– they take over the channel and block certain things from the audience. Paul admits that he’s intimidated by them, and he’s concerned when he thinks Jill could be in contact with Belle. When we get the only dialogue from Jill, Paul is hostile and aggressive with her, something we don’t see from him otherwise. Alternately, Anna comes off as dismissive in most of her dialogue; when Care shows up at the birthday party, Anna treats her like no time has passed, like they haven’t been searching for her for months. We don’t get direct contact between Anna and Paul (except for a phone call in Petscop 11 that you could interpret as being with Anna), but the way she talks to the player through Care during the birthday party is still dismissive, “I sure hope you’ve realised by now. It doesn’t matter how long you’ve been gone. It doesn’t matter how much you’ve changed. You aren’t lost. Stop wandering and come home.” (Petscop 14). There’s a level of distance between Paul and the family, which is evident from the name alone; Paul identifies himself as part of the family, but he still calls them “the family” as opposed to “my family”. When you pair that with the fact that he calls them all by their first names instead of any term of endearment (like how Rainer calls her “Auntie Jill” in his spell), it paints a clear picture: Paul does not want to be part of this family.

In direct contrast, Belle is shown a significant amount of affection from Paul. Not only is he on the phone with her for a good handful of the episodes, but Belle also has a familial connection to Paul. In Petscop 2, Paul is talking to Belle and he says “When you come home next month, and uh, hopefully you're feeling a little more enthusiastic about that now, we can investigate this together, and maybe you'll find stuff that I can't find here.” (Petscop 2). I think the casual use of the word ‘home’ to describe where Belle is staying implies a certain closeness, maybe even that they live in the same household. That’s not the part of this line that is important to me, however. Take a look at Belle’s final speech at the end of Petscop; Belle says “I could not wait too be your friend,” and Paul responds, “Family”, to which Belle says, “We can investigate this together.” (Petscop Soundtrack). After distancing himself from the family, as well as directly telling her she’s not part of the family (following it up with “Uhh... I didn't- I didn't mean it that way,” (Petscop 22), implying they have a similar connection that she’s defending), Paul calls Belle family. She states that they’re friends and Paul corrects her by telling her that they’re not just friends, but family. The most gut wrenching part of this dialogue is the use of ‘we can investigate this together’. It’s like a ward, a promise that Belle is making to Paul. He doesn’t have to go through this alone, she’s promising to be there for him. She’s going to investigate this with him, like he asked her to in the second episode. Paul doesn’t call his blood relatives family, but he tells Belle that they are his family; her and the “Boss”.

How does this connect to Care? It’s not hard evidence, but when you take this theme of family into account, it makes more sense for Paul to have a strained relationship with the family if we apply Care’s story to him. Think about it; Paul was ‘smuggled away driving too [his] new house’ and he hasn’t seen the family since he was a child, and Care’s egg was (metaphorically) placed with Belle’s and the New Life Letter when she would have been around 5, since that’s the age she was when she was kidnapped. Care went through an extremely traumatic event in a toxic environment– why wouldn’t someone step in and take her out of that family? To me, this theory extends the same closure Paul gets at the end of Petscop to Care; it tells us that even after everything she went through, she finds people who love and take care of her.

Abuse is a huge focus in Petscop, both as a plot point and a major theme. Rainer’s main motivation is to expose Marvin’s abuse of both Mike and Care to the family– whether or not that’s successful is not important. Because years after Rainer’s attempt, Paul is back doing the exact same; although, his playthrough of Petscop is less of an expose and more of an attempt at solving the mystery. Now, I think it’s a little pedantic, but in this context, I think the “cycle of abuse” in Petscop refers less to a generational cycle, but a continuous cycle that happens every time Petscop is played. Care is stuck in this version of the past that Rainer has created, forced to live through it as many years as Petscop is left on. Paul doesn’t continue this cycle though; as far as we know, Paul is the only person to reach the good ending of the game, where he’s rebirthed Care into the egg and reconnected with Belle and ‘Boss’. Paul is the only person who could understand what Care needed, because it’s exactly what he needed.

Care’s trauma is replayed for us throughout Petscop. Every knowable aspect of it is shown, leaving behind a raw feeling; like somehow, Paul and Rainer have made a spectacle of her abuse. But, I don’t think that’s entirely true. Rainer, although he is bitter and vengeful, is ultimately the person who finds the truth about Care and Mike and (if we are to believe him) is also the one who found Care at the school. In the beginning, it’s obvious that Paul is playing the game to see the mystery and is slowly engulfed by it throughout the rest of the series. When the game tells him that, “Marvin picks up tool hurts me when playstation on,” (Petscop 3), Paul proceeds anyway. The same happens when Care is caught in her room; Paul sees what is obviously a child being kidnapped and continues to solve the puzzle anyway. He picks the flower, catching Care NLM, and leads Marvin to the house. Paul follows through on everything he can to ‘solve’ the mystery of Carrie Mark, but in the end, he defies what the game has told him to do and saves Care. He does what Rainer couldn’t do: he breaks the cycle of abuse in the Mark-Leskowitz family. It’s kind of poetic, the idea that the person Care grew to be is the same person who confronts and lays to rest her trauma. The fact that playing his own theme would be the key to changing Care into the egg (a symbol of birth and potential) is beautiful.

The last thing I want to talk about is the theme of healing. This concept is more nebulous; we don’t see much of Paul post-Petscop, but the final scene does always leave me feeling hopeful for him. I think the reconnection with Belle and ‘Boss’, alongside the reassurance that, “[they] can investigate this together,” shows that Paul is out of the mindset and environment Petscop put him in. I’ve always thought that throughout Petscop, we see a deterioration of Paul; in the beginning, he’s intrigued and confused, but we see him become more and more disturbed, irritable, and frustrated towards the end. This is first evident with the CD puzzle in the house, where Paul is so out of his depth and confused that he stops acting with the same calm rationality shown throughout the earlier episodes. Then, when Paul is messing about with the demo recordings, he stops speaking in the videos entirely. When Paul sees the final blacked out object, which are coordinates to the real life windmill, he is the most stuttery we’ve ever seen, “Hm. Y- y- yep, yep. Yep... yep. N- we would- we would have to find out how big... like, we'd have to find out how big a tile is..? One of the tiles..? Like, if we could- if we could figure out how big... one tile is, in... u- in, umm... Like, feet. Or... Uhh, yeah. Meters.” (Petscop 22). He’s frazzled and excited and a little bit scared, evidenced by how he talks about the family, “They didn't... I don't like talking to them. They intimidate me…” (Petscop 22). All of this changes by the end; Paul is no longer stuck playing the game and he’s free to return to the people who love him most. This freedom is summed up in a single image: the final one we see in Petscop. Paul’s chair is empty and the blue sky beyond the desk is brimming with hope.

All this to say, Paul choosing Belle and ‘Boss’ over the game as well as saving Care by doing what’s best for her instead of finishing the final puzzle, alongside his final scene where he is welcomed home by his real family, shows us an interpretation of Petscop that paints it not as a tragedy, but a story of chosen family, breaking the cycle of abuse, and healing trauma through connection.

Thank you so much for hearing me out.

Bye-bye!

[sneeb-canons]

Headcanon #500:

Mind is afraid that when he distances himself from or above the others, that he will be too far gone to come back down. That when his paranoia gets the best of him, he'll shut everyone else out and then be completely alone with no way back to where he was before.

Heart is afraid that if Mind is right, with the idea that what he does isn't genuine, that he's being manipulative without realizing it. Then therefore being Whole without himself there is the better option. That he'd be thrown out because his ideas would then be "not worth it" or even "vile"

Soul is afraid that no matter what he does or how good things will be, they'll always eventually split up again or even end up worse. Even then he has no clue what he's supposed to do or be during everything, and so because of that he'll never be whole. Or worse that he'll never really "feel" whole.

[shroommush]

Thank you to @blipple-is-confused for creating one of my favourite slimecicle fics ever, and heres to every fic to come after-

Paradoxcicle

[phinnking]

i know a lot of people like to make fun of young queer people who use a bunch of microlabels and engage in niche or "cringe" aesthetics but im gonna be so honest, i love them so much. i 100% was that kid and while now i don't really use or think about any of the labels i used back then, that doesn't make that time any less valuable and valid (and it doesn't make someone less valid if they do keep using that terminology into their adult life!). queer kids who are figuring themselves out and are learning about new fun words for genders and pronouns and sexualities deserve to run wild and be loud and happy and not carry and be impacted by the shame that many of us have been taught to hold.

my cousin is a year younger than how old i was when i first realized i was queer and they've vaguely known they were queer for a couple years now. personally, i think that's pretty awesome. recently they've gotten into the very stereotypical scene kid aesthetic and i make a point to compliment them on it every time i see them. almost every time i see them they have a new adjustment as to how they view their gender/sexuality and i always tell them that that's really cool and i give them a hug. recently they told me they have a boyfriend and listed like 3 separate labels as to how he defines his gender and i asked them if i was remembering the definitions of all those words correctly (which i was because, like i said, i was that kid lol).

it's just all these small things that seem so trivial or "weird/cringe" that so many people look down on queer kids for engaging in and i'll never understand it. i think it is so unbelievably cool that these people are figuring themselves out and finding new terms and identities and things that they can be and they're just so excited by it. being excited by queerness is cool! wanting to engage in niche subcultures is cool! allowing yourself to be who you are in that moment without the worrying guilt of having to get it "right" is wonderful and awesome and cool and how it should be!! please do not teach the queer kids to be ashamed of themselves in a time where they should be able to run wild and figure out their identities in a way that truly makes them happy!!!!

[quartzitess]

Repost.

Lots of text and ramble in tags.

(Sadly tags are not enough to express how I feel on this. So I'll try and maybe add more in a reblog tomorrow.)

[fear-no-mort]

thinkign about how alone and unloved morty was for all his life and rick was the first time anyobdy ever put such an amount of intense attention and dependency onto him . and rick had a whole new family and losing them made him stop seeing the value in other people as a whole and morty was the one and first thing that woke him up

[o-sunny-day]

LETS FUCKING GOOOO!!!!!!

(@forgettable-au go read it, its so good)

DAWWWWWWGGGG THIS WAS JUST AN ABSOLUTE JOY TO READ

not at all soul crushing…Just pure “EHEHEHEHEHE” the whole time cause SANS!!!!!!!!!!!!!!!!! him and Floweys’ interactions are always such a treat when they’re both written canonically, like Sans KNOWS Flowey is a little weirdo, but hes got faith in him! hes got faith in everyone! especially Papyrus AND WE WILL GET BACK TO THAT.

Taking in the first frame…The only thing I could focus on was I LOVE THEIR SILLY LITTLE HOUSE!!!!!

I love when people make their surface house just their Snowdin house BUT THIS IS JUST DOWN-RIGHT ADORABLE. Very very fitting, the Christmas lights in the middle of summer HDHEHEHEHEH they would

also: Flowey just hates to see a man chill

This frame in particular, but also just him being in a lawn chair in general feels like a reference to the Reward Tier video and Im here for it

That is the face of a man whos thinking “UHHHHHHHH”

also, alternate ending: Sans is honest:

Now… Im gettin nervous on what Floweys plan is gonna be in getting Papyrus to go to Hotland, let alone- THE LAB 😭

Like no way is he gonna just waltz in there without a fight

like is Flowey just gonna gaslight him like “The GREAT Papyrus isn’t afraid of a little lava now, is he??”

Then…. the last panel.

YOU GET IT OMG YOU GET IT

Sans cares, yes, BUT HES NOT A HELICOPTER MOM he trusts himmm :(( Id say more on that but thats getting side tracked into more Undertale in general territory….ill probably make a rant about that later-

I love it sm I love them, them is great, they are awesome, theys is perfect. theyre have no flaws.

GAAAAHHHH again this whole thing was just a treat to read, unlike the last update I have less THEORIES and ANALYSIS and more just “:3”

BUT IM STILL MAD ABOUT THAT GODAMN COLLARED SHIRT HES WEARING. THAT IS WINGDINGS’ SHIRT. THAT IS NOT A COINCIDENCE. I AM NOT GOING CRAZY AND LOOKING WAY TOO DEEP INTO THINGS!!!!!

Sans just stole his swag

…I just had a thought as I was writing the tags………. and now im crying just a little bit….

AGAIN. I MIGHT. JUST BE LOOKING. WAYYYY TOO DEEP INTO THINGS. BUT…..IDK….

IDC IF ITS NOT REAL. THESE TEARS ARE

this frame feels deliberate.

The sun. IS A STAR.

NEED. I. SAY. MORE.