#no I will not elaborate any further

[fanfoolishness]

Total shitpost prediction for the Bad Batch finale: Tech busts out of a tube in Hemlock’s basement and merges with the Zillo beast to become God-Emperor of Dune Tantiss

[rathenrys]

I personally believe that Henry was having a midlife crisis when he came up with the whole gas stamps thing.

[rottengurlz]

I finished my book the next book is about edin who is annoying and lavender colored with huge boobs

[rosmerie-sleeps]

finally finished quad drive and I gotta say that it was the most trans season ever.

[exhausted-undead]

ah, young love (they will hate eachother at some point, pinkie promise)

[abyssalzones]

to this day i think the best part of journal 3 was definitely just these two going hiking in the pacific northwest, both ill-equipped in different ways but clearly having a lot of fun.

[oposssumsaucee]

I don't know what fucks me up more, the fact that Constructs just have a Secret Ribcage Pocket for storage or the fact that it's so underutilized that MB forgets an entire FutureTech WiFi Extender in there for an absurd amount of time. You're telling me it's not jostling in there??? Is the construct equivalent of a Glove Compartment lined with velvet??? The company would never. Thunk thunk bitch your secret best friend ham radio is audible whenever you run but no one's brave enough to make smalltalk with you about it.

[sillystimmings]

jesus okay i’m trying not to make silco meta posts every hour but i feel like im being driven insane. when i and others say we want him to be acknowledged as jinx’s father it’s not because we think he’s the prime example for a dad and did everything right (the amount of silco fans that genuinely think he did no wrong are far and few they’re just really loud so you think everyone’s like that but that’s really not it) no we want an acknowledgment because, like it or not, he was a father to her and the writers have said as such

jinx saw him as a father, he saw her as a daughter. he had an impact on her development due to taking her in during such fundamental years and that cannot be erased. JINX doesn’t want it to be erased. she misses him she’s disassociated herself from the action of killing him (“someone put those holes in you”, “then he shouldn’t have died”) she talks about him like he’s still alive and talks TO HIM like he’s still alive. she wishes things came out differently (vanders letter)

i’m posting this before act 3 so if the writers pull some shit saying she doesn’t care keep that in mind but as of this moment she does care. you cannot denounce her as his daughter.

jinx is trying to figure out her identity. she’s not powder, hasn’t been for years, but also says that ‘jinx’ is gone. a big part in her crafting a new identity for herself will be acknowledging everything that’s happened to her, good and bad, and silco falls into both. he was a bad father figure, he took advantage of her in a vulnerable state, but he gave her a home he gave her purpose and was there. he cannot be written out of her narrative

[shangyang]

is this a safe space to talk about my biggest gripe with arcane viktor's character arc? fair warning, this might get long.

the biggest thing (to me) that stands out about machine herald (og league viktor) is that his change from viktor, jayce's partner, to viktor, the machine herald of zaun, stems from this loss of respect and recognition, coupled with the realization that the people who he has held in high esteem have never seen him as their equals. not even the man he once called his partner. we can chalk up this inequality to a lot of things, but for the machine herald, it's very VERY clearly tied to two things that are integral to who he is, and therefore things he cannot necessarily change without radical action: his disability, and his status as a zaunite.

therefore, it makes sense to me that in league, what viktor does is a response to the one thing he CAN change: himself, and by extension, his disability. this is what the glorious evolution is - viktor, in his mind, is attempting to level the playing field by any and all means necessary. if being disabled is a contributing factor - IN HIS MIND - to being denied what he is owed, then viktor must erase that "critical weakness" from himself to evolve into someone who will not only command said respect, but take it by any means necessary.

this is, to put it plainly, eugenics. it's eugenics. there's no other way to really frame it, because what viktor is doing, in attempting to "evolve" himself and the people he helps beyond what he and piltover's hypercapitalist oligarchy percieves as their "deficiencies", is technically culling what a ruling class would deem as "undesirably qualities" from the population. and that's the literal definition of eugenics.

but what does this have to do with arcane viktor? well, what i think is important to note about machine herald viktor, is that a great majority of his actions, after being exiled from piltover, can be read within the lens of him taking piltover's oppressive mindset regarding abled bodies, respect, and fear, and applying it to both himself and zaun.

from my understanding of league events, mh viktor goes to extremes in reaction to what he percieves as massive slights against himself, his personhood, and his status as someone worthy of respect (and therefore someone worthy as being seen as a person), in league. that's why when jayce refuses to defend him against stanwick, and when viktor is cast out from piltover after leaving to do what he viewed was not only his duty as someone from zaun - helping victims of the factorywood explosion - but also piltover's duty to zaun, as their overseers (and oppressors), it calls into question the idea that he was ever a "person" in piltover to begin with. the guiding principle here is this: if you cannot command respect, or are not given respect/regard amongst those you view as your peers, then you're not a person to them, or at least your personhood must therefore exist subservient to theirs, because we respect those who we view as being on, at minimum, equal standing with us.

so that's an integral part of viktor's character - including the fact that the reason his actions must be viewed as misguided and ultimately insanely unethical, is because he's taking his oppressors views and reflecting them onto himself and his fellow opressed populace - a sort of internalized opression - so naturally, his actions therefore cannot be to the overall benefit of himself nor zaun. viktor's glorious evolution is, in some part - no matter how large or small, done in an attempt to negociate a place for himself within piltover's elite. if he cannot have their respect through conventional, by-the-book means (going through the academy), then viktor will have their fear.

to me, this is backed up by the fact that in jayce's path of champions game, if you (as jayce) choose to accept the machine herald's proposal, viktor goes on to present blitzcrank to all of piltover during the innovator's competition, and he makes specific note that he was "not expecting the crowds to embrace [his] work so readily," something which seems to bring him a measure of comfort, if not joy.

so we can distill viktor's arc within league into a pretty simple equation: viktor attempts to make it within piltovan society through the conventional route -> is denigrated and denied via core traits deemed undesirable by piltovan society -> internalizes and overcorrects on a massive scale. (via robot eugenics.) a key throughline in all of this is that these actions are taken, not only in pursuit of viktor's own, ultimate desire to reclaim a sense of personhood and power, but also - in SOME WAY - in retaliation for the real oppression zaun has faced for the near entirety of its existence.

there's definitely a debate to be had regarding how actually altruistic the machine herald is. i would say the answer is, well, not very, but it IS important to note that the machine herald's actions and the way he operations within zaun can be viewed as having the intent to, in some way, provide (what viktor views) to be an essential service to his community. the fact that this percieved essential service occasionally involves overwriting people's free will is...well...not great. remember, guys, free will is good! and important! please do not attempt to cut a man's ability to respond to fear from his mind.

but, okay. i've done a whole lot of talking about the machine herald's arc. what does this have to do with viktor?

my biggest gripe with viktor's character arc in arcane is twofold:

one, it removes the impact and influence of community from his actions. we have to remember, that the big incident that forces viktor from piltover long enough for stanwick to steal his invention is a chemical spill in the factorywoods. viktor specifically chooses to leave piltover behind in order to provide essential aid to his community. he is helping in a rescue effort, and in the wake of a massive disaster within his community, providing both medical aid and what is likely essential assistance, considering viktor's own, highly specialized capabilities as a doctor and a scientist.

(i know the doctor thing is debatable - there's this awesome post here by @clevercorvidae about how viktor in arcane definitely does not fucking understand how evolution and biology works, and you should definitely read it, it lays everything out super clearly and intelligently!)

but secondly, in having the hexcore be the primary impetus for viktor's flight from piltover, and his turn toward the glorious evolution, what arcane does is create an imbalance in viktor's character arc. whose respect is viktor now chasing? whose personhood is he seeking to affirm? you can make the argument, certainly, that the arcane herald, and viktor's decision to become such is still, in some way, a version of league viktor's transformation into the machine herald, but i'm going to be very honest - it's a weak fascimile of that transformation at best.

viktor does not choose to become the arcane herald after he realizes that the people of piltover - including his own partner - do not actually respect him, his contributions to their way of life, or even his personhood. viktor doesn't even decide to undergo the transformation after jayce destroys the commune viktor has created in zaun. in arcane, viktor decides to take that leap after jayce rejects him in the council room.

VIKTOR: Let us do this again, as partners. JAYCE: My partner died in this room.

the scene where viktor fully submits to the transformation - bidding goodbye to the specter of sky in the astral realm - only happens AFTER jayce issues this rejection. you could argue that this is meant to argue the moment where giopara (og league jayce) destroys the crystal the machine herald has been using to keep several, presumed dead, people alive. but they're not necessarily analogous: by the point in time that conflict occurs between giopara and the machine herald, they're already solidly enemies. it's a two-way sort of animosity. neither harbor any hope of getting the other to "see their side," and there are certainly no olive branches extended and summarily rejected.

so what does this mean for viktor's character arc? in my opinion, what this does is upset viktor's original role within league. i'm sure someone else can explain this better than i will, but bear with me.

when league's story was first being drip-fed to us, at the very start of the game's service, early champions gave the player base a feel for the specific themes, aesthetics, and quirks that were going to form the characterizing basis for each region. for example, characters like warwick and singed were the earliest zaun champions to be released, and so set the tone for the kind of stories that would be told in that region. however, jayce and viktor are amongst the earliest champions from the regions of piltover and zaun, whose stories are, in a very integral way, linked to one another. sure, warwick and singed have ties to one another - lore relevant ones at that. but jayce and viktor's stories are some of the earliest to really start to go in depth regarding the deep animosity and inequality that exists between the sister cities.

as i see it, viktor's role, within the greater narrative league is trying to weave, is to make a bit of a point: here is a failed example of unity between piltover and zaun. viktor and jayce's failed relationship in league stands as this great testament to the reasons why a peaceful, equal coexistence has not, and perhaps cannot be brokered between piltover and zaun. equal is the key word here. and maybe peaceful, too. but my point still stands.

arcane, admittedly, has a terrible habit of defanging the very real conflicts it attempts to tackle. you'll notice that a terrible amount of time is spent trying to ensure piltover doesn't come out looking like the ultimate villains of the series. (spoiler alert: piltover is definitely the fucking villain of arcane. no matter how you slice or dice it, it is, and it will always be.) but in order to do this, what arcane must do is completely isolate the majority of its zaunite characters from community with other zaunites. there's a reason you never saw viktor or ekko interact, beyond the final fight. there's a reason why all the zaunite main cast: ekko, jinx, sevika, vi, and viktor - must all operate in these semi-loner positions, lest they come across as being too invested in the well being of their community, and therefore cast too much of a light on the truth of the plight zaun is facing.

sevika and ekko are, of course, extremely interested in building community. but ekko is never really seen with his firelights in a meaningful way: we do not really know any of them, nor ekko's attachments to them. sevika, similarly, spends much of the show working alongisde the quote-unquote villain of season one, silco, in what amounts to little more as a watchdog position. furthermore, her efforts to create community in season two must be mediated through jinx, who notably has no real interest in political revolution, aside from how it might suit her own means (whether those are getting back at vi, or honoring silco in her own way).

arcane's strange handling of viktor's transformation into the machine herald - the arcane herald, now - through the manipulations of the hexcore and the Arcane, exist primarily to draw your eye away from the fact that there was another - more compelling - reason for viktor to go down this path.

not corruption. community. a desire for respect. a desire to truly be respected in piltover, no matter the cost. what viktor's character, at it's best, does is hold a mirror up to piltover. through his actions and his motivations, we see the ways in which piltover's strictly upheld heirarchies have failed not only the people of zaun, but also the people of piltover.

certainly, we see this in a way in arcane. jayce's speech at the very end, where he tells viktor that he is beautiful, imperfections and all, is very literally pointing toward viktor's internalized ableism. but the source of that internalized ableism is never something the show seems particularly interested in explictly exploring. certainly, the animators have left us crumbs and clues: they're there in the way salo - a councilor of piltover - isn't even afforded the dignity of a ramp when he's confined to a wheelchair, and the way viktor's name is never even on the hexgate blueprints. (which the kiramman family are responsible for archiving and keeping, by the way! funny how that works...)

but the show is afraid to say the truth out loud. it's afraid to really confront the root cause of almost every single one of the characters' problems: that being the harshly stratified system of haves and have-nots that piltover continues to enforce with an iron fist. instead, arcane forgoes a serious conversation about that - which is, in my mind, to be had through the medium of viktor and his character arc - for something easier. "more metaphorical." the hexcore corrupts. the arcane corrupts. internalized self hatred corrupts, but perhaps you had better not look too deeply into who placed that seed of self-hatred within you to begin with, or else the questions bloom into uncomfortable answers.

i don't know. it's not to say that i disliked how arcane ended, or where viktor was for the majority of season two. he's my favorite character! i love him dearly. i love the show dearly, faults and all. but as someone who does really love the original machine herald lore, with all its conflicting implications about the nature of piltover and the truth of its ownership over zaun, to take this route with viktor's arc in arcane is upsetting. there had to have been a way to keep the magic angle, while staying true to that commentary on systems of oppression and the mirrors those systems create of themselves that is core (to me) to viktor's character in league.

but i guess we'll never know.

[gnomey22]

Party Crashers Text Posts: Volume 2

I’ll be real with you, the only reason I’m starting with two volumes is because I hit the image limit on the first one

Previous volume:

https://www.tumblr.com/gnomey22/764145284659937280/party-crashers-text-posts-volume-1?source=share

Next volume:

https://www.tumblr.com/gnomey22/771288789602729984/party-crashers-text-posts-volume-three?source=share

[aroaceleovaldez]

I HAVE BEEN REMINDED OF SOMETHING i think i've made a post about it before but maybe it's just sitting in my drafts. idk, whatever, I will ramble again. Said thing that reminded me was a tiktok by madison_murrah about how the PJO TV show doesn't get the balance between mundanity and magical correct for pjo and I want to expand on that cause while a.) it totally is a problem in the show and i take issue with it, b.) it is also a problem in later books and i ALSO take issue with that too and i would like to elaborate on it

this got long so ramble of the day below the cut:

so the thing is that PJO is actually pretty unique in it's approach to hidden world modern fantasy. like, hidden world modern fantasy is a decently established genre with a ton of examples, but there's a reason why PJO stands out so much, and that's because technically it's NOT "hidden world." There is very intentionally no distinction between the mundane world and the mythological, at least in first series. They 100% overlap. And you do not necessarily need to be "special" to see the "mythological world-" some mortals are totally naturally clear-sighted, a lot of kids are clear-sighted, and it's like 50/50 for if mortals can become clear-sighted. In fact, most demigods aren't immune to the effects of the Mist, all that really matters is if you're actually thinking about being able to see through it. And there's a reason for that!

In general, this format of the "hidden world" modern fantasy serves two purposes: One, as the series is meant to introduce people to Greek mythology and explain why it is relevant and how it can be relatable in modern contexts, it intentionally juxtaposes myths against modern concepts: Medusa runs an apparently average garden statue store. Procrustes runs a mattress store. The entrance to the Underworld is in LA at a record store. Circe lives on an island paradise that's secretly dangerous. Hydras are like chain donut stores that seem to pop up on every corner. Perseus and his mother struggle in Perseus' childhood but get a happy ending. Calypso has an island paradise where the challenge for the hero of our story is being tempted to leave behind his goals. The plot of Sea of Monsters is blatantly the Odyssey, and it's about Percy trying to get to his best friend (who he shares a literal psychic link to) who is in danger of getting married to someone awful (a literal monster) to help you understand Odysseus trying to get back to Penelope and how important to each other and in sync they are. Battle of the Labyrinth is Theseus and the Labyrinth and it's Percy/Theseus trying to protect his home and his people and fellow kids (like Nico) from the dangers in the maze. These are all supposed to help us understand what is actually going on in those stories.

We also still see how Greek mythology influence shapes and influences western culture in general in their world (which is supposed to be our own and so uses real-world examples) - in government, in architecture, in pop culture - Mythomagic is clearly supposed to be your standard TCG like Magic The Gathering. And in general there is no distinction between where the mythological ends and mundane begins - Camp Half-Blood is both a magical training space for demigods and your run of the mill underfunded summer camp, complete with cheesy camp songs and t-shirts and crafts. Olympus is located on top of the Empire State Building which is operating completely as normal except for when a demigod asks to go to a non-existent floor. Your best friend with a muscular disease in his legs is secretly a satyr. Your brother with down syndrome is a cyclops. Your teacher in a wheelchair is secretly an immortal centaur. Your crappy algebra substitute is a literal fury. But also they're still your teachers. The satyr is still your best friend, the cyclops is still your brother. And that brings me to the second aspect of all of this (which i have talked about before [here] and [here]) - the other purpose it serves is that it is an extension of the overarching disability themes that form the core of the series.

The entire reason that meshing of mundanity and magical is so intertwined is entirely because it's part of the disability metaphor, specifically inspired by early 2000s parenting/teaching concepts for children with disabilities, particularly learning disabilities, as trying to reframe disabilities as "superpowers" to empower kids (and still exists in some more modern forms - like referring to disabilities as "being differently-abled") (I talk about it in my previous post on the subject but this generally fell out of favor due to many kids/students finding it belittling of their struggles) - this is why we get the description of ADHD and Dyslexia being framed as "demigod superpowers." In the series this structure is intentionally made to encourage kids to reframe how they view disabilities in general as not something negative but something interesting and fantastical that they may be more open to engage with - and PJO does this in a really nice way where a lot of the disability struggles are still acknowledged and treated sympathetically. Kids still get bullied, Percy and Annabeth struggle in school or with reading/spelling, they grapple with both internal and external ableism. The entire reason for the titan war in the first series, at least from the demigod perspective, is criticizing flawed systems meant to support disabled people that don't do their job effectively or let too many people fall through the cracks. The Mist "hiding" the "mythological world" from mortals (and even some demigods) is about how most abled people (and some undiagnosed people) don't recognize disability struggles until it affects them personally. None of these things are glossed over! It's handled with nuance and care! The series says "you can be disabled and you can be like these fantastical heroes - not in spite of your disability, but alongside it. Neither negates the other." The series was explicitly made so Rick's disabled son could see himself in a hero and learn about mythology for school. Those are the two pillars of the entire franchise: Disability and learning about mythology.

So, when you mess with that "hidden world" structure, the entire thing falls apart and it immediately doesn't feel right, because it's no longer serving either of those two purposes when it needs to be fulfilling both. Late-series Riordanverse has a tendency to compartmentalize the mythological and keep it entirely sectioned off from the mundane. Think about first series and even TKC versus later series - how many mortal characters are there? what do they do? are they just in the background or do they interact with the main cast frequently? are they more than just family or an extension to the main cast? First series we see Percy's classmates frequently, Percy talks about his mundane experiences at school, multiple mortal parent characters (and other mortal characters like Rachel) are active participants in and vital to the plot. We even see a lot of background mortal characters. In TKC, not only are all the magicians technically mortal, but also Sadie's completely mundane best friends help her out. Now think about HoO, or ToA, or even MCGA. Think about the mortal characters in those series. How important are they? Out of the important ones, how much are they in mundane situations versus being almost entirely involved in something mythological? How many aren't related to any of the main cast? How many aren't actively working for a god? The answer is basically zero! Why is that? Because Rick stopped letting the mundane exist. The entire draw of the main series is that Percy does continue to live this mundane life and that adds to his mythological life and makes the balance and meshing between them interesting, but basically all mundanity ceases to exist by HoO. Camp Jupiter is an isolated entirely magic town. Percy and Jason's schools are full of mythological beings as basically the only people they interact with. The Tri's headquarters is an entire giant building in New York City that they completely control that just so happens to ALSO be directly across the street from the local Oracle's house, because even where Rachel lives isn't allowed to be mundane anymore. Why is Olympus just at the top of the Empire State Building versus the Tri having an ENTIRE building? That feels weird and unbalanced, particularly given the difference in importance between those two! Because one is playing into that balance of the meshing of mundane and magical and the other isn't! The show continues this trend. It doesn't allow any of the mythological to exist within mundanity like it functions in the books, which creates a completely different atmosphere and doesn't allow those spaces or scenes or characters to serve their actual narrative purposes, either making it easier to understand mythology contextually or what disability metaphor or representation is occurring there.

It's part of the problem with show!Percy being too mythologically-savvy - Percy is supposed to be the mundane lens unfamiliar with mythology that the audience is learning by proxy through. That's the entire point of the series! If you have Percy already know everything because he's already too ingrained into this mythological environment from the start, and he just exists in this entirely magical world where he understands everything immediately then the literal target audience of the entire franchise (students being introduced to mythology) is left behind! That's part of why the pacing of the show feels so bad! It's rushing through every scene that's more or less the same as the books, particularly anything mythological, because the show is assuming you've already read the books and already know enough mythology to know what it is and what happens and that you don't want to see it again, so it rushes through. The show doesn't explain things that it presumes you already know - worldbuilding, character decisions, basically any mythology, etc, so it doesn't even bother with it.

Later books in the franchise do this too - as long as it's tangentially Greco-Roman mythology, or if it's anything to do with the main series like a reference in TKC or MCGA or etc, it's not going to elaborate much if at all. HoO speeds through Jason's introduction to CHB, and the only reason we get much introduction to Camp Jupiter is because it's actually new. We're no longer trying to contextualize or learn about mythology, it just all becomes set-dressing and references thrown at you rapid-fire as filler. By late HoO and into TOA and TSATS and such, we're not longer even within the realm of pretending like we're adhering to mythology at all. Why is Iris a vegan? Why is Rhea a hippie? Dunno, don't care! Literally doesn't matter! Why are the pandai panda/elephant-monsters and the troglodytes frog-monsters when that's not part of their actual history at all? Well a.) literally just word associations and b.) possibly a little bit of racism (they're supposed to be humans from India and northern Africa, and you made them monsters. cool. okay. and their plotlines totally aren't horrible within those contexts. awesome. please try thinking literally at all next time, thanks). We're not even bothering to look at mythological instances anymore for a basis, a lot of it's written like we're just going based on the first results on google (hi Menoetes and the cacodaemons - the latter of which is not even spelt correctly once in the entire book - which is weird because they do say "daemon" so they know the word. Not that the cacodaemons are mythologically accurate at all because then they would be humanoid. Instead they seem to just be inspired by the things from Doom). None of it serves the purpose of the narrative at all; we're literally just making random choices, some of them quite distasteful! In large part due to refusing to acknowledge the actual contexts of the myths and how that might translate into something similar or equivalent a modern setting to help conceptualize it - something the first series did inherently by design. And we need this! A.) So that you're less likely to make bad decisions because you are inherently thinking about the historical and cultural contexts of these things and how to compare/explain it, and b.) because the audience for later books/the other series and the show is going to be the same as the first series! Those nonsensical references may be at best cameos to people who are already familiar with them, but if your intended audience is new to mythology then making references like that is just going to leave people out of the loop! You don't shift your target audience in the middle of a franchise!

Later books in the series and the show are failing to understand what the first series was actually doing narratively and how it was approaching these subjects and its audience. When you fail to do that, it completely messes up the general worldbuilding and the core themes and intentions of the franchise as a whole. Once you lose touch with that you might as well just be writing a completely different franchise. You need to approach it from the same lens or else it will feel completely off, because otherwise you've lost all base touchstones that make the series what it is.

[master-jarrus]

When we as a fandom accept that Wu is arguably more unhinged then Garmadon we open up a lot more opportunities for fanfic

He is just as much as chaotic dumbass as the rest of characters he just hides it behind an old man visage

[nnuttynoon]

idk anymore man

[chrollohearttags]

frens, how would we feel about makeup artist or hairstylist armin? 👀

[normalayadraw]

Forgot to upload this here. Outfit re-designs of UF pap and SF Sans from my old WIP fancomic (I never get to draw even now o(TヘTo))

Come, my UT mutuals. I got some food for y'all 👀💖

Boop @seirindono @petiterazu

[newts-gay]

aegon is a gemini, aemond is a scorpio, helaena clearly a pisces. daeron is a leo. alicent’s a libra and gwayne respectfully a virgo. otto is obviously a capricorn. cole is a taurus.