#my head hurts just thinking about it

[yonkou]

im kinda scared to find out what luffys real dream actually is like the reveal will make or break his character for me

[roadimusprime]

So if all the previous Doctors have also now bi-regenerated, my question is: how has the universe not imploded on itself?

[gingerjolover]

your kidney sTILL has a rock in it??

APPARENTLY!!!! I got put on more meds but last night was…. not good so I’m hoping he exits soon!

(yes he is a man, yes my friends and i named him, and yes we hate him)

[binch-i-might-be]

hm. I need to rewrite Two Sides

[wobinbug]

Ever read official media where your fave is so ooc and poorly treated you feel nauseous?

[druid-for-hire]

[images ID: three images of a comic titled "one must imagine sisyphus happy" by druid-for-hire. it is a visual narrative beginning with someone with wrist pain (depicted by bright orange nerves) working at a drafting table. the reader is shown the same wrist as the person uses it for many everyday tasks such as carrying a grocery basket, pushing elevator buttons, typing, and doing dishes, until the pain dissolves all the panels into chaos. the person then performs several physical therapy exercises until the pain subsides. they sit back down at a desk with their laptop, sigh, and begin typing. a small spark of pain reappears. end id]

a fun little piece i made during the semester and submitted into our school comic anthology! (which you can buy at the Static Fish table at MoCCAFest in NYC ;] ). it's about artists and injury

[doctorsiren]

give this angle another tri

[wasyago]

so, would you?

nothing important under the cut, you don't need to look haha

[turtleblogatlast]

[ cw: death mention / strangulation mention / stabbing mention / blood mention / self-sacrifice / codependency mention in tags / ]

I think a lot about how common it is for Raph to be the one to have direct focus put on him when Leo gets into all his near death experiences.

Like, when Leo is thrown off a building, it’s Raph who’s right there jumping after him, not even thinking about the consequences to himself when he does. When Leo almost gets skewered by the Krang, Raph’s right there to take the blow and send Leo to safety without a second thought. When Leo’s being strangled to near death, it’s a Krangified Raph doing the job, doing exactly what Raph would never, ever want to do. When Leo is telling Casey Jr to close the portal, it’s Raph who tries desperately to convince Leo otherwise.

Likewise, Leo is consistently very single minded when Raph gets forcibly separated from them. Both when in the sewers and by the Krang, Leo is dead set on finding Raph first and foremost.

I also think it’s interesting that during each of Leo’s near death experiences, the lightheartedness of his words during them goes directly hand in hand with both how close Raph is to him physically and how much danger Raph is also in in that moment. From a literal “I told you so” as Leo’s falling away from Raph to a soft joke about how “hero moves” are Raph’s style - both of these are on the more morbidly carefree side and both of these notably take Leo farther away from Raph and, in turn, have Raph not in immediate danger.

On the other side of things is the apology from Leo, heedless of the danger he himself is in as he seriously and genuinely speaks to a Krangified Raph face to face. Then there’s Leo’s freezing and desperation as Raph takes a hit meant for him and sends just Leo to safety, leaving Raph himself behind. Both of these involve much closer proximity and Raph being directly harmed - these together make Leo much more vulnerable in his words and actions, something not even the threat of death can make him.

These two care about each other so much, and they’re way too much alike for their own good.

[simcardiac-arrested]

like tree, like apple

[essektheylyss]

One thing that I feel is really interesting and often forgotten about Essek is that fundamentally, his characterization has been from the start based upon his desperation for external perspectives and connection, which, along with much of his narrative and mechanical positioning, means that he actually has an extraordinary and almost (but not actually, as I'll show) counterintuitive capacity for both growth and trust.

(Buckle in. This is a long one.)

In particular, I would argue, knowing now that many places where the plot touches Ludinus have long been marked for connecting back into the current plot, that he was quite possibly built as a prime candidate for radicalization by the Ruby Vanguard. He felt isolated from his culture, he was desperate for other connection, and he was certainly of the type to believe he was too smart to be drawn into such a thing, given his initial belief that he could control the situation and the fallout. If things had gone any other way, he easily could've been on the other side by now.

As such, he has been hallmarked by being fairly open to suggestion, perhaps for this reason, but the thing about that kind of trait is that it is both how people are radicalized and deradicalized. This is certainly true of Essek, who experienced genuine kindness and quite frankly strangeness from the Nein and was able to move from the isolation the Assembly had engendered to meaningful and genuine connection, largely propelled by his own internal reflection. By the time Nein are aware of his crimes, he's already begun to express regret to an extent and, furthermore, doubt in the Assembly, including explicitly drawing a line against Ludinus, even in a position where he was on his own and probably quite vulnerable.

Similarly, when the Nein reach the Vurmas Outpost some weeks later, he has moved from regret for the position he's ended up carrying a heavy remorse. This makes sense! He's fairly introspective, seems used to spending a lot of time in his own head, and was left with plenty to mull over. It's not some kind of retcon for him to have progressed well past where the Nein left him; it just means he's an active participant in the world who has done his own work in the meantime.

This is another interesting aspect to him. I've talked about this a bit before but I cannot find the post so I'll recap here: antagonists in D&D have significantly more agency than allied NPCs. Antagonists are active forces, against which the party is meant to struggle; allies are meant to support the PCs, which means they tend to be more passive in both their actions and their character growth. Essek was both built as an antagonist, in a position that gives him significant agency, and also was then given significant opportunity to grow specifically to act as a narrative mirror for Caleb's arc. Even when he becomes a more traditional D&D ally, he still retains much of that, though he occupies a supporting role.

I believe that this is especially true because of the nature of Caleb's arc, which I've already written on; the tl;dr of this post is that Caleb is both convinced that he is permanently ruined and also desperate to prove that change is possible. Essek is that proof, because he is simply the character in a position to do so. But this also means that his propensity for introspection and openness is accentuated! He has to do the legwork on his own, for the most part, because that's where he is in the meantime.

But he still ends the campaign necessarily constricted; he is under significant scrutiny, he's at risk from the Assembly, and he goes on the run fairly soon after the story ends. He spends most of the final arc anxious and paranoid, which is valid given the crushing reality of his situation. It would be very easy to extrapolate that seven years into this reality, he would be insular, closed off, and suspicious of strangers, even in spite of the lessons he's learned from the Nein and their long term exposure.

So seeing his openness and lightness now is surprising, but at the same time, given this combination of factors in his position in the narrative over time and his defining traits, it's not by any means unreasonable.

But one thing that I found so delightful is how much trust he exhibits, which is obviously a wild thing to say about Essek in particular, given much of what he learns is both earning and offering trust, which was something he says explicitly in 2x124 that he's never really experienced: "I've never really been trusted and so I did not trust." It makes up much of the progression of his relationship with Caleb, and the trust that he is offered by the Nein in walking off the ship is the impetus he needs to grow.

But I think it's easy to talk about trust when it comes to people who have proven themselves to you or to whom you've ingratiated yourself, and that's really the most we can say about Essek by the time he leaves the Blooming Grove. There is this sense in a lot of discussion of trust (not solely in this fandom) that it is only related to either naivete or love, but there's far more to it. Trust at its best is deliberate—cultivating an openness to the world at large is a great way to combat cynicism and beget connection instead. It allows a person to maintain curiosity and be open to experience, but it can be incredibly difficult to hold onto.

It is clear that the Essek we meet now is a very pointedly and intentionally trusting individual. He trusts Caleb and by extension Caleb's trust in Keyleth, as he shows up and picks up a group of strangers from a foreign military encampment and walks in without issue. He trusts the Hells to follow his lead moving through Zadash and to exhibit enough discretion so as to avoid bringing suspicion upon all of them. He trusts that Astrid will respond well to his entrance, but he also trusts himself and the Hells enough to execute a back-up plan in the case that she doesn't. In the end, he even trusts them enough to give them his name and identity.

He doesn't scan as someone who has spent half a dozen years living like a prey animal, afraid of any shadow he runs across in an alley, withdrawn into himself and an insular family, which would've been an easy route for him to take. He scans as someone who has learned the kind of trust borne of learned confidence and a trained eye for good will and kindness, which are crucial weapons one would need for staving off cynicism in his circumstances—as if he has survived thanks more to connection and kindness than paranoia and isolation. (If we want to be saccharine about it, he scans quite poignantly as a member of the Mighty Nein.)

So it is easy to imagine this trust and openness as a natural progression of his initial search for perspectives external to his own cultural knowledge. Though he makes those first connections with the Assembly to try to vindicate his personal hypotheses, he finds in them exposure to the deepest corruption among Exandrian mortals, which could've—and did, for a time—turned him further down that same dark path.

But it's also this same openness to exposure from the wider world that allows the Nein to influence him for the better, and in spite of the challenges he's certainly faced simply surviving over the past seven years, he seems to have held onto this openness enough to move through the world with self-assurance and a willingness to extend the kinds of trust and good will that he has been shown.

(I would be remiss not to mention that I was reminded about my thoughts on this by this lovely post from sky-scribbles and their use in the tags of 'light' to describe Essek's demeanor this episode, which is really such an apt word for it.)

[sky-scribbles]

There's some kind of connecting thread - and I can't quite articulate what it is - between Laudna's reaction to Bor'dor's betrayal, her reaction to Ashton taking the fire shard, and Orym carrying Otohan's sword.

In all three situations, someone deeply, deeply hurt did something that was grounded in their personal grief. And in all three cases, Laudna's reaction was of extreme, personal betrayal. (This isn't critical of Laudna, btw; she's a fascinating character and I think Marisha is doing an incredible job of leaning into the reality of how trauma can make you act in heightened, messy ways that are very difficult for everyone around you.)

Everyone was hurt and shaken by what happened with Bor'dor and Ashton, and understandably so, but I think it's telling that Laudna phrased both events as, specifically, a betrayal. 'I can't be betrayed again,' as she drains the life from Bor'dor (as opposed to, say, Orym's attitude toward killing Bor'dor, which was less 'we need to kill him because he betrayed us' and more 'this is a grim necessity, because we are at war.') Ashton does something incredibly ill-judged, and Laudna's interepretation of it is 'they betrayed us.'

Orym takes Otohan's sword, and Laudna sees it, again, as a personal affront. She challenges him for having the audacity to carry it. The sword killed her. (It also killed half the people in the room, including Orym.)

Something... something about how Laudna saw Ashton trying to absorb a powerful magical artefact because he'd convinced himself it was the right thing to do, and felt so injured that she ran into the forest for a night. Something about how Laudna tried to absorb a magical artefact because she'd convinced herself that it was the right thing to do, and felt injured by Orym's defiance.

I don't have a clear point here; Laudna isn't a character I've studied as closely as some others (and I would very much appreciate anyone who has been analysing her more deeply offering any input!) But one thought I had is this: Laudna once said that the worst thing that could have happened to her has already happened. And I think maybe Laudna sees what happened to her as the worst thing that could happen to anyone. It seems hard for her to understand how much the actions of those around her - be it Bor'dor being radicalised, Ashton going about their attempt to understand themself in entirely the wrong way, Orym trying to reclaim a painful piece of his past and turn it into a promise - can be rooted in a pain that might be equal to her own.

Of course, it's hard to tell how much of it is Laudna at this point and how much is Delilah, but... honestly, it is such a bold choice for Marisha to do this. Because this is what trauma does. It makes things feel personal that might not be directed at you at all. It makes your grief into an enormous monolith that towers over your life, and can overshadow, in your head, anyone else's. It makes you want to protect yourself in every way possible when a flicker of it occurs again.

And... I think it's another sign of how much Delilah is taking from Laudna. Because who in this story has been fixated on their own grief and loss, to the point of ignoring the pain they cause in their attempt to fix that loss at any cost, than Delilah Briarwood?

[iwasbored777]

The fact that all Gwen knows about her variants in other universes is that they're dead is so sad. Like imagine you want to know what happens to you in other dimensions and it turns out that wherever you look you mean nothing, you're so unimportant that there's no bigger role for you other than dying.

And I've seen you guys pointing this out, where she's looking at what looks like her own death and even if it's not this is not just a "love interest" Gwen, this is a superhero who is supposed to mean something, but she doesn't. She's only here to die. And so far this (our) Gwen doesn't have any reason to believe that she won't die very soon just like other Gwens.

I think that one of the main reasons why she's rejecting Miles is not just her trauma and all shit she's been through and the fear of dying like other Gwens when they're involved with Spider-Man, but also because if they start something and she dies this will hurt him too.

It's easy to say "canon events aren't true she shouldn't believe in that" but this isn't just a regular risk, this is her life we're talking about.

[the-littlest-laney]

“what i wouldn’t give to be in church this sunday

listening to the choir so heartfelt, all singing,

‘god loves you but not enough to save you’

so baby girl, good luck taking care of yourself.”

im goin thru it rn, i promise this is my last kristen and cassandra piece for a while. i can’t handle the angst anymore.

[lunarharp]

What led to this (orufrey comic, cw an uncomfortable/creepy scene)

[fluentisonus]

chiens-loups