#man I hope I explained this right

[the-teddy-bear-butch]

Im sorry if this is dumb but can i ask what the deal with stranger things is? Feel like there’s something i missed (why you don’t want to be involved with it anymore etc)

There are people more educated and better with their words than me, so forgive me if this isn’t the most eloquent explanation.

It’s a lot of things leading up to just not really wanting to watch anymore. There’s minor things, the fandom as whole becoming less enjoyable, the person who drove everyone away from the Ronance tag with spam, and the people who did the same by filling the tag with Steddie and mistagged background Ronance.

I am enjoying the storyline less and less. The inconsistent characterization is annoying, for one.

I am irritated with Netflix and their cancellation of wlw media but continued renewals for mlm and straight media. I don’t want to give them the watch hours.

But that is all trivial. The biggest thing is just the EXTREMELY poor way that the show has handled some pretty major things. The Russia plotline in ST4 was filmed in a Nazi prison, which they then advertised as a hotel. I don’t think I have to explain why that’s bad and insensitive.

There is also the matter of one of the most major historical events I have yet lived to see. The atrocities that are being committed by Israel in their occupation and genocide in Palestine are just that—atrocities. I want to make it very clear where I stand on that: Palestine needs to be free. (Again, if I’m not wording this properly, forgive me, I just woke up and I’m not the best at explaining things). I support the boycotts. I’m surprised I haven’t seen a call for boycotting Stranger Things. I know for sure Noah Schnapp supports zionism, regardless of his half assed “apology.” We all know that was a publicity stunt. Murray’s actor downright refuses to apologize and is advertising his support to Israel. The whole thing is just disgusting and further driving me away from the show as a whole.

Maybe I’m taking it to the extreme with plans to orphan and discontinue my ST fics, but I just do not want to be associated with zionists, nor do I find any enjoyment from writing ST anymore.

So yeah. Lots of reasons. From the river to the sea, Palestine will be free.

[duckapus]

It honestly makes sense that Noir and Ham didn't end up in the Spider Society because a Nazi-punching Detective and a Cartoon Reporter would've almost immediately clocked everything wrong with Miguel's "stick to the script" "some losses are acceptable and necessary, actually" philosophy, and they would not have been able to be nearly as subtle as Hobie when going against him.

[defiledtomb]

merry xmas! im drinking rum with aleks and listening to some really old techno. i blurted everything about ouro and all the tough things surrounding, and its future, and i got so excited i yelled and yodeled into the dead and dark forest. it's been such. such a good christmas. 2025 got nothing on me. we live we die and we fucking live again. hold my hand. giggle with me. have some zacapa. i love you

[screwpinecaprice]

She woke up. 🐑🥀

I rewatched Bunnyfarm, and her screams is still so terrifying ajhsjskjabajwbdjjdb Ugh so good 😭🥰🥰

---

Brush used for the bloodstains!

I have made a couple of adjustments to this old work, it now looks a bit more readable? I realized I don't do well with dark backgrounds because I could not tell how dark it is, if it's to the point I could not see anything. 😅😅😅 Which sucks, there are so much ideas to work with dark scenes. 😓 I hope to improve on this faster, figuring out a technique so I don't have to make it a habit of going back on a supposed finished drawing just to make it clearer.

[pseudoincestuous]

people don’t see Kusuo and Kuusuke’s relationship for what it is because the format isn’t what they’re used to. They speak the love language of metered resistance, push and pull, harsh words and empty spaces where the emotions go. They can’t say what they are feeling. They can’t do it either. They do everything else instead. Brothers’ love languages are fights. Strangers’ love languages are kind favors and nothing asked in return. They occupy that liminal space between the two. They don’t realize how much they mean to the other. They don’t realize how much the other means to them.

Kuusuke pulls at Kusuo, trying to break his walls down and trying to break all of him down with it. Kusuo threatens to do the same to him, all the while trying to figure out how not to hurt him. Neither of them really mean it. Except when they do. Kusuke provokes kusuo, Kusuo hurts kuusuke, again and again and again. kuusuke comes to understand this is the only kind of contact he will ever have with his brother. He pulls away. Kusuo tries to forget; estranges him in his mind. Kusuo sees kuusuke as a stranger at their next meeting; Kuusuke has never known Kusuo so well as he knows him that day.

There are hard feelings that seem insurmountable. Kuusuke knows things that Kusuo doesn’t. Kusuo doesn’t know this, but he can sense it. He doesn’t understand, now. Kuusuke does. Kusuo had loved him all this time. And Kuusuke has loved him more than Kusuo could possibly understand.

You wouldn’t hurt someone you didn’t love. you wouldn’t hurt them because you wouldn’t see them as some part of yourself. they would be someone different to you. but hurting your brother is just self harm, contextualized. it gives meaning and structure to what doesn’t make sense in your life. He can suffer like I can. he feels what I do. and yet he isn’t you. he is the other person you could not become.

He is your equal; your mirror and he is who you are not. He is a perfect stranger. he exists on a different plane. He reminds you of yourself.

He is your brother.

[koqen]

KEI: a winning hand’s only good if you keep your cards hidden.

[astarlightmonbebe]

it's easy to read the situation between li tongguang, ruyi, and yuanzhou as a love triangle on a superficial level, but looking even one step further, it's clear that there's no triangle about it. li tongguang is obsessed with ren xin; ning yuanzhou is devoted to ren ruyi. ltg's obsession is fervent and all consuming, but it's not devotion. like ruyi herself notes, his feelings to her are on the basis of her as a mother figure in his life, as a replacement for what he never received from his mother. is there an element of romantic/sexual love/desire to it? maybe. more likely he's deluded himself into thinking that, because the truth is, it's doubtful that ltg even understands what love is (platonic, filial, familial, romantic, all of the above, etc), because he has no basis for understanding. ruyi's teachings and actions towards him are the closest thing he has to hold up as an example. what he wants is ren xin, is a replica of the master he had. he doesn't want ruyi, because he doesn't actually care about ruyi. therefore, he doesn't care if she's sad, angry, mad; he just can't bear her 'abandoning' him. we saw this way back when she first meet and left him, both at thirteen and seventeen. although he distrusts her first, she saves his life and cares for him in the way no one else has, hence her first being raised on a platform in his mind. when she leaves for good, ending their master-disciple relationship/training, even though it's for official business and she's not abandoning him, in his mind that's exactly what it is. so now that she's in his life again, he won't let her leave again. he was powerless before, a child with no proper name, but now he's a recognized member of the imperial family, a man who can meet her as 'equals' (even when that's far from the truth). as a child, he could only cling to her legs and beg her, but now he has the power to keep her by his side. it's telling that when he finally gets confirmation of her identity, it's not ning yuanzhou he seeks to harm (even though he detests him and their relationship), but yang ying. yang ying is ruyi's new disciple, and as ltg doesn't know she's a woman, he only sees her as his direct replacement.

ning yuanzhou, on the other hand, is devoted to ruyi. he wants to build a new life and future with her, instead of slotting her into a spot in the life he already has. he's someone who accompanies her on walks and makes her midnight snacks, who holds her when she needs to be held and lets her go when she needs to do things on her own. when she speaks her mind, he listens, even when it makes him discontent/it's not what he wanted/wants to hear. he sees her unabashedly as his equal, and though he acknowledges her skills and abilities, or points out her naivety, he never does it to belittle her; to him, she is his peer, deserving of the highest honor and respect. he trusts her to have his back, and she has come to trust him to have her. he did what she might have thought no man would ever do: he proved himself reliable, so she came to rely on him. yuanzhou gives her freedom and autonomy as both ren ruyi and ren xin. of course they run into problems, but they both learn and grow from them, as individuals and as a couple. yuanzhou's belief in her is unwavering, but adaptable, whereas ltg's is unwavering, but frozen in time, disallowing for any new information to be presented. yuanzhou works with ruyi to accept the changes thrown her way; he seeks the core behind her actions in order to better understand her. li tongguang cannot accept the changes in ruyi's character, because they run contrary to the master he has on a pedestal in his mind.

what li tongguang wants is to return to the past, but yuanzhou offers ruyi the promise of a future, even one that might never come to fruition. there's no triangle about it.

[naoreco]

Localizers' Dance in Purgatory

Happy anniversary. We're doing this again.

FE15's localization has been a hot button topic on twitter for the past couple of days, which made me want to examine some more localization changes - and what better for me to use for this experiment than my other favorite scenes in the game? Having noticed that the anniversary of when I posted about that scene with Alm and Mycen was coming up, I figured the timing was just too good to pass up.

We'll be going over Alm and Berkut's encounter up until the battle officially starts, Berkut's battle dialogue, and the scene after with Rinea's spirit. So rather than having one big moment that changes the tone of the scene like last time, this one has a few of these changes along with MANY smaller expansions on dialogue that just make it too much of a pain to go through one by one. Some of these are more contentious than others!

Luckily I have a solution for this: Pour everything into a spreadsheet and throw in commentary as I see fit.

I had to write out a lot of things by hand even if I was able to copy the scripts from elsewhere so I'm so sorry for any typos 🙏 Enjoy!

[incesthemes]

so the first seal shall be broken when a righteous man sheds blood in hell.

and i want to postulate on this concept of the righteous man. both john and dean are considered by this prophecy to be "righteous men," and of course they are both candidates for michael's vessel. it's in their blood.

but at the same time, this is a destiny that must still be fulfilled. action is required to create a righteous man—aka, they have to be sent to hell in the first place. they have to become worthy of being michael's vessel through their participation in starting the apocalypse.

john dies in 201. he's at peace; he's accepted the terms of his deal, and he's accepted his fate. his soul and the colt for dean's life.

there are two conflicts presented across season 1:

the first is on the topic of revenge. ultimately, the conclusion is that revenge is pointless, it will lead to no positive outcome—the past has already happened, and once blood is spilled there's no getting out of it, no stopping. knowing what happened to her brother didn't make kathleen feel better about his death. max killing his family didn't make his pain go away.

the second is on the topic of family. it's a more subtle theme, i guess, suggesting that family will invite destruction to everyone around them. the tagline "the good of the many outweighs the good of the one" is proven to be erroneous and ruinous: by choosing the family, by choosing to protect loved ones, great harm will inevitably come to the outsiders. we see this foreshadowed in 111; we see this exemplified when dean shoots and kills an innocent man in 121.

so choosing revenge and choosing family are both bad choices. but the conflict of season 1 is revenge vs family—sam as the protagonist has to choose one or the other. he's not given a third option.

john, however, finds that third option. he abandons his quest for revenge by relinquishing the colt to azazel, and he abandons his family by sacrificing himself. the act of sacrifice is seen as a selfish one (see: crossroad blues), one committed by a man who cares more about his own feelings than that of the person he saved. this is the recurring narrative throughout seasons 2 and 3—it's not something that john did for his son, it's something he did for himself. and in fact, his act of sacrifice puts sam and dean in more danger by leaving them without a weapon to combat azazel and without any of john's knowledge about the demon or sam's fate.

he doesn't choose revenge. he apparently doesn't choose family. he found the third option: he removed himself from the story.

so he managed to choose both "correct" options: he avoided ruin by abandoning his revenge, and he avoided ruin by abandoning his family. and he went to hell.

he became a righteous man, set to break the first seal to the apocalypse.

dean ends up following these exact steps at the end of season 2—the difference is that doing so is dean's fate and not necessarily john's. the other difference is dean is not at peace with his decision to die. john went to hell but he had accepted it. he was ready and willing to go, and he took what was given to him. even in all hell breaks loose, he's happy and serene in death, in hell. it's his commitment to his actions that separate dean and john.

but dean, through sam's influence, second-guesses himself, and his own shame and hypocrisy stir within him doubt and uncertainty. he doesn't want to die; he doesn't want to go to hell. when he gets there, he screams out for sam, wanting to be saved.

dean breaks. john doesn't.

obviously dean going to hell and breaking the seal was part of his destiny—that much is obvious. but i think it's important that it's dean's actions and decisions that lead him down that path, that he's not a passive receptor for his fate. it doesn't happen to him; he chooses it. sam has to act and decide in order to fulfill his destiny, so dean should be beholden to that same thing. which is why i like this interpretation that it's this selfish sacrifice that creates a righteous man—by dean's own hands he creates his destiny and starts the apocalypse.

john was able to escape this because he's not faced with the same conflict dean is. he's able to find peace and take himself out of the story, choosing both "correct" options and being okay with those decisions. dean makes those same "correct" decisions as john (in dean's case, the conflict he is given is not revenge vs family but duty vs family, and he abandons his duty and his family all the same), but he lacks the conviction that john has. he can't remove himself from the story, he's filled with doubt and unresolved tension, he can't let go fully. there is no peace in dean's story, and the righteous man broke.

and as he breaks, so shall it break.

[depressedtheatrekiddo]

(Spoilers? Issues 1-8 of Blue Beetle (2006), it's just a little screaming and analysis so yeah that <3)

Me when Jaime Reyes is expected to know everything and is tossed around to become something he never asked for, given no explanations and is only a teen *screams into the void*

It's worse that he hasn't really died. That he was just gone. That his family and friends mourned him. Because it's been a year.

Because he's the same. He's the same but his relationships with the people he loves, the people he believes he knows, those will forever be complicated.

His parents support him. But his mom doesn't believe it's his son at first and his dad tells him it's the grieve, he talks about the ideals you create when someone dies. But he didn't die. How do you overcome the expectation of who you were when you believe you're still you? And oh, aren't they different from how did you remember? Was there white hair there? Why do you wear a cane dad?Why's your smile so sad? I'm here, right?

Because Mili keeps feeling weird, because that's her big brother, right? He calls her Munchkin and she hugs him when he cries. Because that's her brother. But she also runs away when he appears or when he tries to hug her. He is, right? He has to be. And she keeps bothering him playfully, they both do. Because they're still siblings.

And the worst is when he looks at his friends. You believe they're the same. They believe you are too. But between laughs Paco will say that "they were there when you weren't". And looking at Brenda will remind you of who her aunt is, you haven't lied at her before, not about something like that.

And then you feel like Jaime Reyes is taken from you. That the home where you were still yourself is being taken from you too. You're shoved into being the Blue Beetle. You want to help the people, to do good. But you know nothing and you have homework to do. And you just want them to look at you like before.

[pink-pkmn-trainer]

transmasc and transfemme jax headcanons are both good, but consider-

[ayyponine]

not to be a milennial but harry potter and the prisoner of azkaban really is that bitch....

[netherdevil]

unnormal vivilly dweller thoughts in my head

[kavehayati]

“In general I find the idea of being with a man disgusting but I don’t find it disgusting with him”

- spoken by a lesbian

[mecha--maniac]

Y'ever think about the Metal Sonic dialogue in Sonic Heroes and how he says stuff like 'See me as I am, no longer afraid of anything!'

So like,,, Metal was afraid before?? Presumably of either a lot of stuff or of Sonic/his friends, which would be reasonable given how often he's been destroyed by them.

[arcadequeerz]

Sometimes I wonder if I'm allowed to be as scared as I am with everything that's going on.