#like i’ve said many times

[parttimesarah]

More Ben nerding out over the big tank 💜

[unluckedtj]

something bad’s about to happen to me

why i feel this way, i don’t know maybe

[queer-geordie-nerd]

This blog stands against and rejects antisemitism in all of its insidious forms, stands with the Jewish people, and with the Jewish right to self determination in their ancestral homeland of Israel 🇮🇱

[housederiva]

I just beat Veilguard for the first time after about 100 hours, I give it a 5.7/10. I would’ve enjoyed it more if I hadn’t loved Dragon Age since 2009 and had this story not been one of the cornerstones of my life since I was a child

[emsinof]

hello tumblr can you hear me…..

i’m emsinof on dnptwt but they get very angry over there if you talk about sex so i’m seeking refuge on dnp tumblr for the first time in 6 ish years???? (i used to be here many moons ago)

i’m rusty with how tumblr works and it’s been a hot minute since i’ve used this app consistently but i know you guys will match my freak 🙂‍↕️

a little about me: im 23, lesbian, from the uk, my pronouns are she/her <33 i write a little here and there and sometimes make art !! im freaky about sister daniel and i still haven’t recovered from dnpc slime……

excited to be here and make friends :’)))

[wickjump]

will never understand how people get genuinely angry over people’s views on fictional skeletons (primarily on aspects that don’t matter). cause like. that’s basically just someone’s oc. that oc’s creator has drawn that oc doing what you’re upset other people are drawing them doing. you are defending someone’s oc from something that does not matter. i can bet you a billion bucks if you went to the creator of your blorbo they would not get mad at whatever you’re upset about. they’d go “such is life” and go smoke a cigarette or something. depending on who you’re thinking about there’s a chance they’ve literally said before that they really don’t care. and neither should you

[batwingsandblackcats]

Absolutely fascinated by Laudna’s “she has a debt to pay. She owes me her life like she took mine.”

This isn’t just a “I’m worth nothing so might as well smoke em if I got em” mindset with Delilah. It’s some of that, but it’s not the whole picture.

This is “might as well smoke em if I got em, and if this is the end of me god damn it I am taking this bitch with me.”

[ducktracy]

are you anti "sour-puss" daffy? that characterization of him is the primary one in my head. like duck amuck is epitome of daffy in my mind.

CRACKS KNUCKLES SO LOUDLY THEY EXPLODE. i’m giving my “HEADS UP THIS WILL LIKELY BE EXHAUSTIVE” warning now because i love love love love love love love love any chance to talk and analyze and pontificate about the duck. TLDR: YES AND NO

SO. i don’t consider myself “anti sour-puss” so much as i would consider my stance “if Daffy has to be more egocentric and miserly than he usually is then i prefer a very specific set of circumstances for this to be the case”. i have warmed up to the Jones and Freleng duck of the ‘50s onward CONSIDERABLY in recent years—there was a point where i just refused to touch any Daffy short made after a certain point because i knew it would make me frustrated and sad and mad and that’s, respectfully, ridiculous!

it took me watching the Speedy and Daffy cartoons to realize that Daffy in THOSE shorts is what i thought Daffy was in the Jones and Freleng shorts. it dwindles a bit over time (compare how he behaves in The Hunting Trilogy to something like Ali-Baba Bunny, which is a short i still have yet to come around to for that reason—i don’t like the “MINE MINE MINE GO GO GO DOWN DOWN DOWN” duck very much and my issue was that i thought he behaved that way in every single cartoon after a certain point which is thankfully incorrect!), but there’s still some nuance. by the time we’re getting to shorts where Daffy is saying “HOW MANY TIMES DO I HAVE TO TELL YOU NOT TO STARVE ON MY PROPERTY” is when i fully throw in the towel lol

another thing that’s helped me warm up is the realization that Daffy’s personality change is not nearly as objective as it’s made out to be. he has always had an ego, he’s always been reckless, impulsive, and yes, this absolutely includes the ‘30s shorts! Chuck’s Duck is Chuck’s Duck from day one with the line “not bad for a guy that never took a lesson in his life!”.

Scalp Trouble has Daffy on an ego trip fancying himself as an army general (and there is a legitimate, honest to god small dick metaphor joke in that short because he has this huge giant sword sheath that is indiscreetly phallic in design, only to reveal a tiny little dagger), ordering people around and essentially LARPing in this role we immediately know is way too big for him. and when it comes time to battle, what does he do but spend the majority of his time cowering in a corner.

he’s always had these traits! maybe they’re a bit more primitive earlier on, some other traits are a greater priority. but Drip-Along Daffy is one of my favorite Chuck Jones shorts because it’s basically a sequel to The Great Piggy Bank Robbery. and you could argue the same with Duck Dodgers! all shorts have him fantasizing about a hero role that is clearly too big for him to fill, and he is absolutely getting the biggest kick out of assuming this role. Drip-Along is still early enough to also have this sort of innocence and unflappability (that may more accurately be described as delusion or ignorance): when Daffy gets no reception whatsoever in the bar, instead of screaming at everyone to look at him, he just marches to the next order of business and indulges in his next part of his fantasy. this NEVER would have happened had the short come out 5-10 years after when it did.

likewise, the Daffy of the ‘50s and ‘60s is still insane, it’s just a different manifestation of how that’s the case. earlier on, he’s a bit more visibly unhinged. his HOOHOOHOOing fits are a catharsis that you can just FEEL crawling up his throat and dying to get out, and in the really early shorts you can see this sort of half and half battle between cognizance and succumbing to insanity (The Daffy Doc and Porky’s Last Stand especially come to mind). it’s an insanity that relieves itself through sheer manic catharsis. as time goes on, he matures a bit, he knows how to keep better wraps on it; the manners in which he gratifies his impulses just shifts.

and also, Daffy can still very much be a sourpuss early on! Bob McKimson’s Daffy, whose interpretation is very integral in my sort of mental default of who Daffy is, can be very bitter and cynical in particular! or, again, early shorts like The Daffy Doc or Scalp Trouble where he’s more argumentative and his ego is clearly much more tender.

the seeds of what Daffy would become have all been planted, and so that’s allowed me to bristle a bit less and lower my haunches. and i am making more progress in coming around to the later shorts! i’ve been on a Chuck Jones kick recently and been watching lots of Chuck Jones Daffy shorts and enjoying them. i love Drip-Along, Duck Dodgers, Duck Amuck, Deduce You Say, Robin Hood Daffy—i’ve even come around to Rabbit Seasoning which is kind of NUTS to me because there was awhile where i was acting like Bugs and Daffy shorts killed my firstborn. “pronoun trouble” is an inside joke with my friend and dear lord i laugh every time at Daffy’s reactions to Elmer falling for Bugs’ drag act, and the ENDING!!!! omg. i love it. i’ve come around to Beanstalk Bunny as well! it’s a great short!! in getting to know the duck better and understanding how nuanced his development is, i’ve gone a bit softer which is good.

i was just chatting about this recently—i think most of the thorns in my side come from the Daffy and Bugs pair-ups. what i like best and get most out of each character, i get none of when they’re together. i’d rather see Bugs behaving and doing something else, and the same for Daffy. i’m not opposed to a sourpuss Daffy so much as i really don’t like seeing him suffer. i feel like the Bugs and Daffy shorts “punch down” a bit more on him, and i still haven’t found a way to really properly articulate this… i’ll just copy and paste what i was saying the other day here:

Daffy earlier on has all the traits above we talked about, but the difference is that he isn’t really shamed for them outright? of course we’re meant to laugh at his cowardice as he says “go… back… in again….” to the giant towering rat gangster he screamed at to confront him, we’re of course supposed to laugh at the asininity and selfishness of him dodging the draft and taking the Little Man From the Draft Board down with him by locking him in a safe and suffocating him. Daffy isn’t exactly meant to be a role model (but that still doesn’t stop me from finding his bombasm and exuberance and zest for life extremely empowering!), but there’s less narrative pushback against it. seeing Daffy be Daffy and have every action be interrupted by another character rolling their eyes going “oh brother” is where i have a problem, it just sucks the air out of the room for me. especially when Daffy is made to feel ashamed or beaten down for this as well. that’s why i enjoy shorts like Beanstalk Bunny or Drip-Along so much, ending with stuff like “it’s a living!” or being contented in his new position that is often very degrading and a direct consequence of his impulsiveness. a huge part of Daffy’s charm for me is his resilience (even if that equates to ignorance at times), if he wants something he will go to absolutely asinine lengths to get it! and i love that! his drive is so admirable! and i just feel like after awhile that resilience is lost. the issue isn’t that Daffy is a loser, as he’s lost quite a bit before that—moreso, he doesn’t have that good humor about being a loser anymore

I’M ALMOST DONE I PROMISE. but my tags in that video post, as i said in them, i watched The Million Hare the other day which is a short i very much dislike. and it’s not really out of anger or “UUUURGH NOT MY DAFFY”, but moreso it just makes me SO. DAMN. DEPRESSED.

this is the most soul sucking image i’ve ever seen. i get genuinely sad that the cartoons have devolved to starting with “characters watching TV because they’re too bored to do anything, and Bugs just joins him”. no part of this is the resilient, impulsive, manic, pleasure seeking duck that carried us through the past few decades. and this certainly doesn’t represent the wily, impish, inciting rabbit of the past few decades either! Bugs has a greater excuse since i know there’s the pattern of his domestication and Jones’ rule of Bugs minding his own business before being provoked, etc. but man. this image just represents all of my problems with the later shorts and dynamics. the characters are hollow and so are the stories and the directors are checked out or moving onto greater things, and i think all of that just coagulates and manifests in the characters.

I HAVE SO MUCH MORE I CAN SAY but i’m finally realizing i’ve gone on way way way too long and don’t even know if i answered the question all that well LOL. don’t even get me started on “modern”interpretations of Daffy… [starts ranting about how TLTS killed my family for the 80th time as i’m gently lured into the nursing home].

BUT! to answer your question! i’m not really opposed to a more cynical and conceited duck because those traits have always been there, just in varying degrees of intensity. my ideal duck is definitely one locked in the ‘40s—Frank Tashlin and Bob Clampett’s Daffy have always been my favorite, but i’ve sort of adopted a coagulation of Art Davis, Bob McKimson, Norm McCabe and Friz Freleng’s duck as my mental default. i am extremely protective and loving and fanatical of Daffy, i love him more than any cartoon character and i resonate with him more than any cartoon character! i bet he too would also spend an hour typing up a diatribe on his character evolution and how he’s been sorely misrepresented. maybe. Daffy is one of the most varied characters of all time, and it’s really hard to pin him down for this reason. i like a duck that best has a bit of a balance between his traits, and i get more chafed when he’s made more narrow and transparent and just “flanderized” (for lack of a better word) to one or two tropes that then speak louder than his character. i prefer shorts that are more sympathetic and celebratory of Daffy rather than admiring how funny he is as a loser. which, he is funny! but IUNNO. i like a more upbeat and resilient and charming duck, and he can be all of these things later on, but it unfortunately does get fleeting

[witchhazelevesque]

There's something about the change and progression from Leo's hesitancy to rescue Nico because it would definitely be a trap to his willingness to go back for Calypso and all the ways his death is involved in that journey.

And I don't even mean progression as in Leo's stance on Nico influenced his decision about Calypso- though that could have been a really satisfying way to take that. But they are at the core the same situation: a rescue mission, with vastly different circumstances.

(I don't like romantic ca/eo, but them as friends? Sign me up. That's the only way I can imagine them, and what I mean when I talk about them here.)

The situation sometimes gets boiled down to 'Leo and Jason wanted to leave Nico in the jar', but there's more to it . For one thing, Leo wasn't even able to voice all his thoughts on the matter, because he was interrupted by Hazel, Frank and Jason. That doesn't negate the overall suspicion/wariness Leo has; he brings up two major points: that the giants are using Nico to bait a trap for the rest of them and that Nico hid the camps from one another. But Leo was surprised by Frank and Hazel’s reaction and question about whether Leo meant they should leave Nico. So, it seems in part 'can we trust him?', but also in part something like, 'this is a trap, we should be aware of that and be on the defensive when doing it'.

Leo's actions later also factor into this, though they were mainly for Hazel's benefit. He wanted to use Nemesis's deal to save Nico. And in a way, this decision is more reckless and dangerous than any ways death was involved in going back for Calypso. And in a way, more romantic, which is kind of funny because it could be interpreted for either Hazel or Nico. That aside, this offer was voluntary and unconnected to Leo’s other duties.

But his decision to die was connected to those duties. It wasn’t dependent on Calypso. He didn’t do it for her. Yes, he does think about how he feels his place is with her and not the rest of the seven, but that’s not the only reason. Even without her in the picture, he was going to sacrifice himself. He died because the Fates put a choice in front of him. He died to defeat Gaea, to spare Jason, to save all his friends and the world.

And to avenge his mother.

Yes, his decision to go back to Ogygia without first letting his friends know he’d be okay is not fair to them, but RR was always gonna make it happen this way, which I'll get into in a second. But working with what is here, I do understand Leo's decision. Leo explains this best when he says, "Calypso is a priority”. It’s plausible that they'd want the other to be a little selfish about them / want to be a little selfish about each other. To prioritize them. This could have been something they connected over, and it would have been cathartic for this to have played a larger role. To choose one another.

And maybe that makes more sense if you look at it in a vacuum, without the context of how their interactions were executed and just the overall shape of their intended dynamic in the story: both isolated and alone, brought together by someone else's design, connecting regardless. Someone who never felt chosen wanting to make sure someone he cared for does feel chosen after waiting so long both to be the first choice and to have her freedom.

And that might not be compelling to everyone, but it is small in comparison to the actual major reason I understand Leo’s decision to prioritize Calypso: because it’s about fulfilling the plot, not about characterization.

Which may seem obvious because these books are about fast paced plot, but it matters so much here. I would say RR wrote himself into a corner, but I don't think he actually minded being there.

But it was still a corner.

It parallels Zeus saying that Hera bringing the seven together wove fate in a way that only left so many avenues open.

It was pretty clear by the end that RR did not care about the quality of finishing the quest, since another line of the prophecy, ‘the world must fall’ was built up so much and then the final battle between ‘fire’ and ‘the world’ took six pages.

Six pages.

RR just got it done. 

The choice to have Leo's trip back to Ogygia happen at this moment ultimately is about tying up loose ends of the prophecy. Prophecy has always been made clear by the end of each book in this verse, iirc. Leo's characterization basically turned into just him thinking about Calypso, which is disappointing. But it feels, at least to me, that Leo only left before talking to his friends because it was a lynchpin for those plot requirements of the prophecy, and because RR wanted the situation the other characters ended the series in to be ✨dramatic and mysterious✨

Sort of a benefit, we at least get to see Hazel and Frank deliver the news (one of the few things they got to do in BoO).

It's also strange that Leo set the timer for 24 hours the night before the battle, maybe it was because he couldn't have anticipated Zeus sending them back to New York so fast, maybe he thought the battle with Gaea might last longer. But it was set to resurrect him long after he died and Festus flew him from camp. Leo heard Asclepius say to administer the cure as soon after death as possible. Maybe Leo didn’t know what would happen, but RR did and he set it up this way. If this time detail had stayed the same but Leo didn’t leave for Ogygia right then, I wonder how that would play out. If he hadn't gone, would the others have taken his body off Festus? Would they have been able to find where he’d put the cure? (That’s a bit of a tangent though.)

The details of how it actually worked are never addressed to maintain the ✨mystique✨ around what Leo’s plan actually was. BUT it could have made a big difference in the reception of the end of the novel if something had been explicitly set up earlier, and that’s if Leo would have needed a massive power source to 'break out of reality' so to speak, to kick start his return to Ogygia, since it doesn't exist in the real world. When Percy ended up there, it was during Mt St Helens' erupting and Hera guided his way. Leo's first trip was powered by another goddess.

And what a convenient power source he had in himself, his body turning molten, releasing everything inside himself, this literal gift and burden from the god of fire, in a genuinely once in a lifetime event- because it was so powerful it literally killed him, created an explosion strong enough to vaporize a primordial deity. It would have been a now or never situation, when else was he going to have the power of a force of nature except the one he has inside of himself?

It's one possibility that wasn’t taken.

Maybe if this had been the case and had been explained beforehand, this plot point would have been more palatable.

But then it also could have supported the idea that Leo did die for Calypso. But it didn’t actually happen this way.

However, a driving force that is known for sure is the oath with a final breath line that RR needed to get done.

Having Leo fulfill the oath with his final breath, when he died, was necessary to deliver on everything the story had been promising. It checked off the last item in the central prophecy of the series. Prophecies have been a focal point of each book in all the PJOverse and having the meaning unfold and come to fruition plays a major role, think Rachel literally crash landing into the Battle of Manhattan to tell Percy he wasn’t the hero in the prophecy.

So, with the way HoO and BoO are written, the only piece of the prophecy missing after Leo defeats Gaea is the ‘oath to keep with a final breath’. It didn’t matter if it made sense or not, if it was a good idea or not, if it was in character or not, the oath being kept had to happen in this moment. Leo had to go back for Calypso right then. It was the plot bending the character, not the character driving the plot, which, I mean, isn't too surprising, these books aren't really deep dives into the characters.

Back to the original topic though, Leo was in very different head spaces with different circumstances in these two rescue missions. He had to take into account the safety of the entire crew and the quest when considering Nico, and when he did decide to take a risk, it was one that would only put himself on the line. With Calypso, he knew he was going to die one way or another, that in doing so he would complete the quest, and that he had to keep his oath 'with a final breath', which, again, is a narrative point that needed to be checked off. There were already multiple plot lines that didn't pay off (Frank bringing his family full circle happened off screen within six pages a g a i n Hazel's curse being washed away wasn’t explained satisfactorily, etc.) but this one had top billing, RR couldn't get away with not delivering.

Again, a plot choice, not a characterization one. RR had to write it that way because of the choices he'd already made.

This got very far away from my original thought of valdangelo pining with Nico cycling through some of these thoughts while waiting for Leo to get back to camp. Him thinking "you wouldn't do it for me, but you would for her.”

And if that was the case, then Leo dying- which would have been an extreme version of one of his worries about rescuing Nico- would make more sense as a point of contention between Nico and Leo in ToA. Maybe Nico would logically recognize all the reasons aside from Calypso that Leo sacrificed himself, but he couldn't get his feelings to understand the difference.

[valewritessss]

The amount of criticism and hate the wottg book is getting makes me scared to like it bc it feels like if I do then I’m doing something wrong😅

[margaetyrell]

Now I’m covered in you...

with all my love to @lorelaiileigh, for @swiftiepride’s event. happy pride month, Or!

[authenticcadence18]

I’ve said it once I’ll say it again

The Tortuted Poets Department was born of heartbreak and loss. The loss of a longtime partner, the loss of a longtime friend, the loss of a potential romance, the loss of ideals about love, the loss of places you used to love that you have to leave behind in order to grow, the loss of your past self.

it feels absolutely AWFUL to be in that sort of state, to lose things that were once so vital to who you are.

Common critiques of TTPD are that it is “too long” or “not cohesive” or “all the songs sound the same” or “the songs aren’t written as well”.

but guess what that’s what heartbreak feels like !!!!! it lasts too long!!!!! it doesn’t just GO AWAY it lingers like a 31-track album!!! thoughts after heartbreak aren’t cohesive! they are frantic, they aren’t put together, they’re all over the place they’re devastated. And “all the songs sound the same” so do your thoughts in the wake of major heartbreak. In my experience, the brain likes to shuffle through the same thoughts over and over and over again. And to people saying the songs aren’t as well written I mean. Thats what happens when you have to keep functioning and “do it with a broken heart.” TTPD is what it sounds like to have your heart broken. Each song is a different hour, day, week, month of dealing with it. Those songs ARE well written, and even if some of them don’t contain the most polished lyrics they are raw and real. That’s what makes them comforting.

I just think a lot of the critiques of TTPD are looking at it purely from a musical standpoint and not an emotional one. TTPD is about catharsis, capturing as many feelings as possible bc if you don’t write them down they’ll stay in your brain and haunt you. TTPD is about taking your demons and making something beautiful out of them so they hurt a little less

[astrobei]

every byler creator who has ever felt unappreciated or has never seen their work on a rec list or has stayed awake for hours working on something for it to get no interaction or has had their work passed up in favor of the big fandom favorites or has never been taken a chance on or has ever come last in a poll they didn’t ask to be on or has felt self conscious about posting or about calling themselves a creator if what they’re posting is not a magnum opus or has created something for themselves and still hoped deep down that people would love it: get behind me. i’ll protect u

[skinreflectsthesun]

.

[likely-dog]

I don’t get involved in Elden Ring discourse(not smart enough to know the nuances) but I do think an extremely funny bit is pretending to be a Mohg and/or Miquella stan and defending them with the same foaming at the mouth insane rage of swifties if someone even remotely speaks ill of her