#meta i suppose

[the-crooked-library]

so within the universe of Dune, gender roles abide by a rigid false dichotomy created by the bene gesserit - men lead the noble houses, while the women may join their order, and the powers of both are kept intentionally separate. at the same time, the plot demonstrates repeatedly that the role of paul atreides as a character is that of the border between the concepts juxtaposed within dichotomies: he is both an outerworlder and fremen, both harkonnen and atreides, both a duke and a disciple of the bene gesserit.

as such, it follows that within the in-universe gender structure, he occupies the roles of both male and female, thus being functionally and societally nonbinary. in this essay, i will -

[possamble]

Needlessly close reading and long commentary on chapter 57 and how the audience actually has an extremely limited view on what Marcille has been like over the course of her life.

I am once again thinking about how pre-dungeon Marcille is so quiet and stoic that she seems like a completely different person. How jarring chapter 57 is for the audience. Like you have Marcille, who has been just the most blindingly expressive person with resting baby face

And then the chapter drops a title page of Marcille hearing from Falin for the first time in four years and it's like.

Who is that. Genuinely. Would you even realize that's Marcille without the context clues?

And then the chapter just keeps coming in with the sucker punches.

We have SEEN Marcille meet strangers. It was never with this understated of a smile.

literally who the hell is this. the few times the audience gets to see some Signature Marcille Faces that they're used to is when she finally gets to see Falin again

when she's testing out her new spells

(and when Laios and Falin are fantasizing about her being their damsel in distress, funnily enough)

And then finally. Finally you get to a fully recognizable Marcille when she fucking DIES and comes back to life to geek out about necromancy.

We know she loves magic. We know she loves Falin. So it's not so surprising that she wouldn't be able to keep a mask up when thinking or talking about the things she loves. But why the mask in the first place? Where does it come from? It's tempting to think that, maybe, Falin's departure just hurt her so much that it turned her into a quiet person.

But that's only half true. If you go back, the first instance you see of this incredibly mild personality is actually introduced much earlier, in chapter 17.

What if she was always like that. What if her default after her father died was to hold people at arm's length, to never really emote past being polite and friendly. What if Falin was the first person who was able to bring her out of her shell, and when she left, Marcille just went back to how she was.

And when comparing her detached demeanour with someone else...

It's not exact, but wouldn't you say there's a resemblance? Wouldn't you think she might be trying her best to imitate what she saw of her own mother working as an accomplished mage?

It would certainly explain why she's hiding behind her portrait in her nightmare, at least.

We aren't told that Marcille has been distancing herself from everyone around her using a mature and dignified personality she modelled off her mother. But we sure as hell are shown it, I think.

[vaguely-concerned]

I understand and agree with a lot of the frustrations about the shortcomings of Inquisition as a story. but sometimes when I hear people complain about the chosen one narrative in it I do want to just be like... you know it's a deconstruction of the concept more than anything, right. the inquisitor isn't actually chosen by anything except stumbling into the wrong (right?) room at the right (wrong?) time because they like, heard a noise or whatever. or if you think they are chosen, as many do in-universe, that's something you have to take on faith, the maker-or-whoever moves in mysterious ways indeed-style. the Inquisitor isn't actually a Destined Chosen One, they're a Just Some Guy in a fancy hat, self-delusions of grandeur to taste as you'd prefer.

a running thread that goes through all of the personal quests of the companions is the concept of a comforting lie vs. an uncomfortable truth, upholding old corrupt structures vs. disrupting them, and the role of faith in navigating that. (blackwall the warden vs. thom rainier the liar and murderer. hissrad vs. the iron bull, or is that the other way around? cassandra and the seekers -- do we tell the truth about what we find, even if it means dismantling the old order of the world? and so on.) and your inquisitor IS at the same time a comforting lie (a necessary one, in dark times? the game seems to ask) and an uncomfortable truth (we are the result of random fickle chance, no protective hand is held over the universe, it's on us to make a better world because the maker sure as hell won't lift a divine finger to help anyone, should he against all odds exist). faith wielded for political power... where's the point that it crosses the line into ugliness? is it before it even begins? what's the alternative? will anyone listen to the truth, if you tell it?

interesting how you also get a mix of companion agency in this -- you have characters like dorian who ALWAYS choose one side of the comforting lie vs. uncomfortable truth dichotomy. he will always make up his own mind to go back to tevinter and try to dismantle the corruption of the old system no matter what you say, or how you try to influence him. meanwhile iron bull is on the complete opposite side of the spectrum -- so psychologically trapped and mangled, caught in an impossible spiritual catch-22, that his sense of identity is left entirely to you and your mercy. you cannot change dorian in any way that matters; you can be his friend or not, support him or not, but he is whole no matter what. you are given incredible and potentially destructive-to-him power over bull's soul. it's really cool (and heartbreaking) to think about.

this is a game about how history will eat you even while you're still alive, and shape you into whatever image it pleases to serve it, and for all your incredible power right now you are powerless in the face of the gravitational force of time -- of more than time, of History. you won't recognize yourself in what History will make of you, because you belong to it now. you don't belong to yourself anymore and you never will again. the further you were from what it needs from you to begin with, the more you will find yourself distorted in its funhouse mirror. (why hello there inquisitor ameridan, same hat!)

and to me this is so much the core of what Dragon Age is about right from the Origins days -- how and by whom history gets written, the inherent unreliable narration of it all. I hope you like stories, Inquisitor. You are one now.

I do think it's probably still the weakest of the games narratively, and it's hampered by its structure and bloated systems. but I also find it disingenous to say that there's nothing deeper or actually interesting going on with it, thematically. if you're willing to engage with it there is Some Real Shit going on under the high fantasy-tinted surface.

[egophiliac]

Hi it's just to let you know that the official romanization of Revaan's name is Raverne ! Also they have romanized Baul's name to Baur !

Twst coming back at us again with the least expected romanization! thank you everybody (oh god my inbox) (no it's great, I literally asked for this and the reactions have been INCREDIBLE, thank you all!)

I do like Raverne though, I think it's got a nice fancy sound to it! (I had kinda suspected it was going to be an R instead of an L, so the fact that it's SO close to Laverne except for that is hilarious to me personally.) and Dragoneye Duke is honestly probably the best translation for his title, I wasn't envying the localizers that one. :') Baur instead of Baul I was NOT expecting, but in retrospect I think his name's supposed to be a reference to the Bauru crocodile, so that actually makes way more sense!

someone else also said Meleanor has become Maleanor, which is the REALLY weird one to me, because I was so surprised it was written as Mel instead of Mal in the first place?! oh god no I can't decide which one I like better. 😭 (I wonder if they might change it to Mal...they have made romanization changes before) (like I remember House of Distraction being corrected to House of Destruction in Playful Land) (I did check and she's still Mel for now, but I dunno, they might Mal her up and some point and save me from having to make a decision about which one to use) (HECK I CAN'T DECIDE)

uhhhh thank you for letting me ramble about anime names, let's just say MONOGRAMMED SWEATERS FOR EVERYONE

[inconveniently-discorporated]

Oh no I've hurt myself again.

I just thought about this -- Crowley had planned out everything he was going to say, but it wasn't supposed to be sad. It was supposed to be this big revelation, this wonderful step together in a new direction.

He was nervous but this was supposed to be a good thing.

This was supposed to be boozy brunch at the Ritz.

And then Aziraphale said what he said, and Crowley knew. He could see it all slipping away from him. He knew, and he tried anyway, and he almost cried during it, but it wasn't supposed to be that way.

It wasn't supposed to be sad.

He wasn't supposed to cry. But he did, because he knew that it was already too late, and he had already lost.

[radio-sepia]

shizzle i’m having such a moment rn

ANALYSIS COMIN THROUGH

currently reading ‘the sacred and the profane’ (good omens fanfic by afrai) and listening to ‘looking back is blinding’ (chrome canyon)

and shiz okay apart from the fact that this music piece is literally perfect anytime i listen to it, now I keep thinking of it as the embodiment of Capriel’s arc, or rather, his relationship with Zirah; i get quite similar vibes from both those pieces.

because really ‘looking back...‘ for me, feels like there’s nothing left for you. you’re walking, and walking, and walking and there is no end in sight. every step you take is full of pain, but you keep going anyway. stuck in a loop of the same decision, over and over AND OVER AGAIN. you keep going, even though you KNOW you're actually going.. backwards. you're making no progress, and the only thing you're doing is hurting yourself, but you can't stop. doing what you're doing is the only comfort you have. and there is some small part of you that still holds on to hope, that maybe if you try hard enough, it will get better. as if that part had anything to hold on to. you tried to rip that hope out of yourself so many times, but apparently you can't. maybe it's the only thing keeping you alive.

and that's how i see Capriel. the only thing of value he has in his life is Zirah; and since the latter is deep into trauma induced psychopathic-like mindset characterised by zero empathy for anyone except Capriel and acts of bloodcurdling violence done without so much as a hint of remorse... yeah, you could totally equate the toxicity of that relationship with a 'bucket of carcinogen' as done so in the fic. and he keeps it up. he can't help falling back into Zirah's arms, can't help the comfort that it brings him, even though with that comes sorrow and grief and agony. he desperately wants Zirah to be different, to heal, but he knows it's practically impossible since Zirah doesn't express any interest in changing himself. but that little hope is still there, hovever small and awful. like a knife leaving him bleeding every single time the same thought enters his mind. 'he'll always be like this'.

but if he were to end it, nothing would remain. an angel, unable to die, among humans who come and go, among angels stuck in their superiority and petty rivarly with Hell, with God that doesn't seem to care about any of Her children...

[joycrispy]

I'm seeing some confusion out and about over the title A Companion to Owls (generally along the lines of 'what have owls got to do with it???'), so I'd like to offer my interpretation (with a general disclaimer that the Bible and particularly the Old Testament are damn complicated and I'm not able to address every nuance in a fandom tumblr post, okay? Okay):

It's a phrase taken from the Book of Job. Here's the quote in full (King James version):

When I looked for good, then evil came unto me: and when I waited for light, there came darkness. My bowels boiled, and rested not: the days of affliction prevented me. I went mourning without the sun: I stood up, and I cried in the congregation. I am a brother to dragons, and a companion to owls. --(Job 30:29)

Job is describing the depths of his grief, but also, with that last line, his position in the web of providence.

Throughout the Old Testament, owls are a recurring symbol of spiritual devastation. Deuteronomy 4:17 - Isaiah 34:11 - Psalm 102: 3 - Jeremiah 50: 39...just to name a few (there's more). The general shape of the metaphor is this: owls are solitary, night-stalking creatures, that let out either mournful cries or terrible shrieks, that inhabit the desolate places of the world...and (this is important) they are unclean.

They represent a despair that is to be shunned, not pitied, because their condition is self-inflicted. You defied God (so the owl signifies), and your punishment is...separation. From God, from others, from the world itself. To call and call and never, ever receive an answer.

Your punishment is terrible, tormenting loneliness.

(and that exact phrase, "tormenting loneliness," doesn't come from me...I'm pulling it from actual debate/academia on this exact topic. The owls, and what they are an omen for. Oof.)

To call yourself a 'companion to owls,' then, is to count yourself alongside perhaps the most tragic of the damned --not the ones who defy God out of wickedness or ignorance, and in exile take up diabolical ends readily enough...but the ones who know enough to mourn what they have lost.

So, that's how the title relates to Job: directly. Of course, all that is just context. The titular "companion to owls," in this case, isn't Job at all.

Because this story is about Aziraphale.

The thing is that Job never actually defied God at all, but Aziraphale does, and he does so fully believing that he will fall.

He does so fully believing that he's giving in to a temptation.

He's wrong about that, but still...he's realized something terrifying. Which is that doing God's will and doing what's right are sometimes mutually exclusive. Even more terrifying: it turns out that, given the choice between the two...he chooses what's right.

And he's seemingly the only angel who does. He's seemingly the only angel who can even see what's wrong.

Fallen or not, that's the kind of knowledge that...separates you.

(Whoooo-eeeeee, tormenting loneliness!!!)

Aziraphale is the companion.

...I don't think I need to wax poetic about Aziraphale's loneliness and grappling with devotion --I think we all, like, get it, and other people have likely said it better anyway. So, one last thing before I stop rambling:

Check out Crowley's glasses.

(screenshots from @seedsofwinter)

Crowley is the owl.

Crowley is the goddamn owl.

[rainbowsuitcase]

Thinking about Steve Rogers who gets out of the machine, healthy and cured, and terrified that the next time he sees Bucky, he will realize he doesn't love him anymore.

He knows - he thought he knew, that it's not a sickness, that at least that one part of him is not something to be fixed, but the fear is still there, because what if. What if they were right?

But when he sees Bucky in the factory - I love you, he wants to scream. I love you, I love you, I love you. The world is wrong and they always have been.

He regrets not saying it on the train and he sinks the Valkyrie with it on his lips.

It echoes in his mind on the bridge and it sits at the tip of his tongue on the helicarrier.

He wants to scream it again in Bucharest, beg Bucky with it to remember, to come home.

He gets to say it eventually. Not loud, like he'd always imagined, but quiet. He gets to wake up next to Bucky, already watching him, bathed in the morning light, cradle his face gently in his palms and whisper it to him between kisses.

And Bucky doesn't say anything, but with the way he kisses Steve, he doesn't need to.

[pocketgalaxies]

C1E60 || C3E88

[justwannabecat]

The one where having a secret lab in the basement is not as much of a red flag as it should be.

Because somehow, EVERY. SINGLE. ADULT. IN ALL OF AMITY. Have “secret” basements.

Sure, MOST of them have refitted them to act as emergency bunkers in case there’s another large-scale ghost attack, with rations and shields and blankets and all that, BUT. Even BEFORE the portal opened up, they were there.

Some of them were laboratories dedicated to one of many sciences. Some of them were just storage for the more concerning family heirlooms. At least one person kept the taxidermied bodies of each and every pet they had over their lifetime. Really, it was more odd for someone to not have some weird secret in their basement.

So when Danny ran from Amity and learned just how many people didn’t have strange, niche basements for their hobbies, he was a little put off. When he was eventually asked to stay with the Wayne family in Gotham, well, maybe he could have phrased it better.

How was he supposed to know that asking if they had a “super-secret basement either for your job, your personal life, or disaster prevention” would lead to them thinking he knew about their nightlife?

[yellowocaballero]

Miguel is Fine, Actually (Being Spider-Man's Just Toxic As Hell)

Before I watched ATSV I said that I would defend my man Miguel O'Hara's actions no matter what, because he's always valid and I support women's wrongs. I was joking, and I did not actually expect to start defending him on Tumblr.edu. But I'm seeing a lot of commentary that's super reductive, so I do want to bring up another perspective on his character.

Miguel wasn't acting against the spirit of Spider-Man, or what being Spider-Man means. Miguel isn't meant to represent the antithesis of Spider-Man. Miles is the antithesis of Spider-Man. Miguel represents Spider-Man taken to its extreme.

Think about Miguel's actions from his perspective. If you were a hero who genuinely, legitimately, 100%, no doubt about it, believed that somebody is going to make a selfish decision that will destroy an entire universe and put the entire multiverse at severe risk - if you had an over-burdened sense of responsibility and believed in doing the right thing no matter what - you would also chase down the kid and put him in baby jail to try and prevent it. He believed that he was saving the multiverse, and that Miles was putting it in danger for selfish reasons. Which is completely unforgivable to him, because selfishness is what he hates the most. And then he goes completely out of pocket and starts beefing with a 15yo lmfaooo he's such a dick.

But why did Miguel believe that? Why did he believe that Miles choosing himself and his own happiness over the well-being of others was the worst possible thing? Why did he believe that tragedy was inevitable in their lives, and that without tragedy Spider-Man can't exist?

Because he's Spider-Man.

Peter Parker was once a fifteen year old who chose his own happiness over protecting others. It was the greatest regret of his life and he never forgave himself. Peter's ethos means that he will put himself last every time, and that he will sacrifice anything and everything in his life - his relationships, his health, his future - to protecting and helping others. Peter dropped out of college because it interfered with Spider-Man. He destroyed his own future for Spider-Man. He ruins friendships and romantic relationships because Spider-Man was more important. If Peter ever tries to protect himself and his own happiness, then he's a bad person.

That is intrinsic to Peter. Peter would not be Peter without it. A story that is not defined by Peter's unhappiness is not a Spider-Man story. If Peter doesn't make himself miserable, then he's just not Peter.

That is a Spider-Man story: that not only is tragedy inevitable, that if you don't allow yourself to be defined by your tragedy then you're a bad person. If you don't suffer, then you're a bad person. If you ever put anything above Spider-Man, then you're killing Uncle Ben all over again. Miguel isn't the only one that believes this - as we saw, every Spider-Man buys into what he's saying. There's no Spider-Man without these beliefs.

Miguel attempted to find his own happiness, and he was punished in the most extreme way. He got Uncle Ben'd x10000. He tried to be happy, and it literally destroyed his entire universe. It's the Spider-narrative taken to the extreme. Of course Miguel believes all of this. Of course he believes this so firmly. He's Spider-Man. That's his story. And the one time Miguel tried to fight against that story, he was punished. And like any Spider-Man, he'll slavishly obey that narrative no matter the evil it creates and perpetuates. Because if he doesn't, the narrative will punish him. The narrative will always punish him. It's a Spider-Man story.

I don't think the universal constant between Spider-Mans, the thing that makes them Spider-Man, is tragedy. I think it's the fact that they never forgive themselves. And Miguel is what that viewpoint creates. He doesn't believe this things because he's an awful, mean person. He believes them because he's a hero. He's a good person who hates himself.

Across the Spider-verse isn't really a Spider-Man story. It's a story about Spider-Man stories. Miguel's right: if this was a Spider-Man story, then Miles acting selfishly really would destroy the universe. But Miles' story isn't interested in punishing him. It pushes back against Peter's narrative that unhappiness is inevitable and that you have to suffer to be a good person. It says that sometimes we do the right thing from love and not fear, and that Peter's way of thinking is ultimately super toxic and unhappy. ITSV was about Miles deciding that he didn't need to be Peter Parker, that all he needed to be was Miles, and ATSV is about how being Peter Parker isn't such a good thing. Miguel shows that. Whatever toxic and unhealthy beliefs he holds - they're the exact same beliefs that any Spider-Man holds. He's a dick, but I don't think he's any more awful a person than Peter is.

TL;DR: Miguel isn't a bad person, he just has Spider-Man brainrot.

[afterthelambs]

I'm not sure if I believe the "Wakaba Isshiki did unethical experiments" theory in the fandom, but I do think this is the biggest proof of it in-game:

Because how the hell would she know that?

The first explanation is that she did experiments by sending people into palaces and then testing what happens to them if the palace collapses. Which is messed up for obvious reasons.

The second explanation is that she did NOT test it, meaning she was just making shit up. Which is funny but also would make her a terrible scientist. This explanation is less believable because everything else about her research is too accurate.

There's also a theory that Wakaba did unethical experiments on Akechi specifically. I'm not sure I believe that, since the evidence for it is pretty shallow (like the featherman game scientist experimenting on grey pigeon). But this scene is once again the biggest argument you could make for that theory. The researcher in the image above refers to palaces by their correct term 'palaces', which they say was based on Wakaba's research. But that's only something you would know with firsthand experience of the metaverse. And the only person they know who could access the metaverse was Akechi (that we know of, but i dont think Shido would rely only on Akechi if there were other options).

So yeah this scene is very sus. It's most likely the writers didn't think too deep about the implications. There's no way they wanted Futaba's mom to be sketchy, right? But even if it's not intentional, the scenes and their implications still exist. So in conclusion those theories make sense, I get it, and I don't blame anyone for headcanoning them and having fun. And tbh anyone involved with cognitive psience was portrayed as some degree of unethical (maruki for example), maybe this is just on-brand

[veinsfullofstars]

👑 Sworn Partners ⚔️ 

(ID: Kirby series fanart of King Dedede and Meta Knight being cute and in love. Top panel - bust shot of DDD scooping MK up into his arms, smooshing the flustered knight against him in a great big hug as a little flurry of hearts bursts from them. Middle panel - bust shot of DDD holding MK in his arms, gazing down at him with an easy grin as the knight pushes his mask to the top of his head, a fond smile on his face as he gazes back. Bottom panel - bust shot of DDD and MK leaning in together to meet in a kiss, eyes closed and faces flushed, the king holding his knight tighter, the knight gently cupping his king’s cheek. More little hearts hover around them, the biggest just above their heads. In all panels, DDD's crown and MK's armor are - as usual - touched with white highlights and dusted with sparkles. END ID.)

Sketch started some time early 2024, render started 03/18/24, finished 04/15/24.

[westwing19]

✨The Squad✨

Bonus:

(What they're actually looking at: )

[yea-baiyi]

say what you want about svsss but hands down the most distraught i have ever been while reading a mxtx novel is after the bing-ge extra. what do you mean he asked shen qingqiu to come with him. what do you mean “it’s not fair”. what do you mean he looked back.

[actual-changeling]

sooo uh let's say nebulas and stars were literally forming right in front of you. let there be light and all.

theoretically, asking for a friend, what would you be looking at: the creation of the universe or your crush colleague?

i mean sure, hey, you just met them so a nice hello is- hey aziraphale, what's with the glowing?

sure, you just arrived, maybe that's just left-over celestial travel glow.

we got something important to do so let's focus on the universe - or, of course, crowley's face.

alright, still looking at crowley, aaaand he's glowing again. wonder what that's about.

definitely most important to watch him move his hands while creating stars, 100% the right choice in this moment. maybe now the stars deserve some attention, too, right?

crowley's smile, of course, shines even brighter, and aziraphale is still looking to absolutely no ones surprise at this point. but surely once the fireworks go off you will- ah.

yeah, alright.

better enjoy it while it lasts, i suppose.

aziraphale loves crowley's happiness just as much as crowley loves his stars, and if you think about it, that makes it even more painful that in the end it's him who makes crowley hide his eyes and smile and walk away.