#or at least three more parts :)

[dansemacabre]

i’ve been thinking about “sixer, it would eat you alive” since i read it and. man. every layer you peel back makes it worse. im not a bill apologist but. shit

if you (1) take it at face value, it paints bill as an apologetic murderer in his single (and maybe sole) open moment of regret. he doesn’t let his walls down often- only with ford do we even get to see the remnant of his galaxy, see the “actual remorse” ford describes, get just a hint of his origins. but he does it, because he thinks ford should know.

if you (2) take it from ford’s point of view, as something he committed to journal three, like. wow. imagine being so committed to a being that you’d hunt down and kill the monster that destroyed his home, only to (assumably) figure out later that that being was the monster. the small moments of trust, the “good times”, are so key to manipulation. how long did ford hold onto that one shred of vulnerability? no wonder ford stayed for as long as he did. in his eyes, bill was a survivor. ford wanted to survive too.

(slight tw below for unreality- any time i mention our reality, i mean “our reality” as a narrative device used in the book of bill as a proxy for the idea of bill being in our reality, since he can’t actually be in our reality. all of this is a fictional theory about a show/book with fictional contents!)

but if you (3) remember that “even his lies are lies” and absolutely Nothing bill says should be trusted. Whoo boy. if i read tbob right the book itself is being created in the theraprism (even tho it shows up with the ciphertologists at some point? idk that’s a whole other post). it’s meant to show what the reader wants to see; it manifests in our reality as what the collective fandom wants to see. so if we want to see truth, if we want to see where bill ended up and who he actually is, there’s a non-zero chance that the whole interaction was a complete fabrication.

imagine bill, stuck in the actively harmful, probably earth-illegal theraprism, once again being forced to be “fixed” and molded into something more palatable, being forced to conform no matter how much it hurts. (i know natural uncontrollable mutation ≠ just so much murder and destruction and chaos, but. you can’t ignore the similarities. bill has obviously been thinking about those silly straws.)

he looks back on everything that went wrong, back on his relationship with ford, back through every dimension where he wins. would that one moment, that one truth amid centuries of lies, have saved him from purgatory? if he had just been open? shown his damage? maybe he did think of his parents, or his henchmaniacs (especially the oracle). people who he might have once opened up to. maybe he just wanted to open up to someone again.

so in his own weird way, stuck in a cell, he reshaped reality again. in this reality, for this fleeting moment, he had been someone worth believing. and ford had listened, hell, ford had wanted to help. looking back, knowing how he treated ford, knowing how ford ended up because of it, maybe bill would have said the most honest thing he’d ever told ford: i am the monster, i am not worth your time or belief, and i will eat you alive.

[galedekarios]

i don't know how to put this into words yet so it makes complete sense so bear with me while i gather my thoughts, but...

i think a lot of the criticism i have re: decisions bioware made with veilguard are (at least in part) the company's direct responses to the (in my eyes) often unfounded and disproportionate hate that inquisition received from the fanbase.

[mickmundane]

Introducing a Class for the Multi-Classer - The Jack of All Trades

You know him, you love him--it's everybody's favorite everyman, the one-of-a-kind Wolfgang Stahl! This Jack of All Trades hails from the great state of Arizona, but don't get it twisted--he's no Phonecian. A veteran of war and a helping hand, this middle-aged man has climbed mountains great and small for work, and it seemed to him like TFI would be the next best place to be! At least, that's one half of the story.

Was his life stolen from him, or did a twisted reflection follow him down from that lonely mountain peak? What happens to the parts of yourself that you ignore, run from, and leave behind? The anger and grief that you sowed--not for the world, but for yourself--will come back to haunt you, face-to-face. It's only a matter of time. Keep your chin up, Stahl. We'll look out for each other.

[serpentface]

Don't get too attached

[cable-salamdr]

“I want a kids cartoon with more diverse main character body types than just skinny teen” you guys couldn’t even handle Steven Universe

(Or Dead End Paranormal Park, or She-Ra)

[aroaceleovaldez]

the PJO -> Voltron -> My Hero Academia pipeline is so funny to me. like yeah we all know - you were into PJO, got into VLD in ~2016 when the entire pjo fandom moved over there, and in the last two seasons you jumped to BNHA, right? right. bonus points if you were in Homestuck too. we all know how it goes.

[ingravinoveritas]

martinsharmony replied to your post “Another tidbit from Rob Wilkins at Ineffable Con…”

!!! I did not know that David would not let go! WHY DID I NOT KNOW THIS

@martinsharmony I don't think any of us knew! At least not besides the folks who attended Ineffable Con last year. I don't remember this ever being mentioned after the event, and I'm floored at how it somehow didn't come out until now.

And now I can't help thinking of what else we don't know about the kiss, even though so much of what we do know and have heard has already painted an incredible picture. This new information also has me thinking of Michael's comments on The Assembly with a fresh perspective...

That maybe the reason Michael and David didn't talk about it beforehand was because there was so much emotion involved. Because they both knew exactly what to do to bring what was needed to that kiss, without saying a word. And that the reason they don't talk about it now is because they both already know exactly what it meant, to the characters and to themselves.

For my part, I would've thought for certain that it would be Michael who couldn't let go. But David. David is like the dark horse that no one ever saw coming...and yet somehow this feels so much like him, like what we have seen before with David more often expressing himself through actions than words. David, who very possibly knows too well what it's like to have such powerful feelings pent up for so long, feelings that he could only pour out into one beautiful, sorrowful, perfectly imperfect kiss.

And that also makes me think of something else David said about the kiss, about the most difficult part being other people's awkwardness. The kiss kept going and going, and David wouldn't let go, and maybe that's what others were seeing. The reason why he wouldn't let go. That there was something so deeply intimate happening between him and Michael--beyond the physical--and in that moment, there was no hiding it or disguising it or playing it off as a joke. Maybe David wouldn't let go because somewhere along the way, he stopped acting and started being, just the same way that Michael did five years ago with Aziraphale.

So yes, I am very much blown away by what we've learned today, almost exactly a year after seeing the kiss in GO 2. I can only imagine what we'll continue to find out in the weeks, months, and years ahead...

[ask-the-pioneer]

// i hope you guys like reading essays because the next answered ask is going to be +1000 words long lmao

-- admin

[deaderthandoubledead]

What if Vander reacted to Felicia's death like that and was much closer to her kids than Silco was because he and Felicia were actual siblings?

[cluescorner]

I cannot imagine being a Damian stan right now. You've got both Zdarsky's bullshit (where he clearly doesn't give a shit about your boy) and The Boy Wonder (where Juni Ba clearly gives so many shits about your boy) coming out on the same day. The whiplash must be insane. I hope y'all get some nice warm soup for your efforts jfc

[harmoniouseclipse]

Mlp jeanlisa redraw they're so cringe *grabs throat and starts retching*

[smimon]

Giant K series #14: you can always count on Jesse 🧡

Okay this episode is a bit different so the text part goes in the beginning! Fair warning that this story is not comedic but very emotional, however with a hopeful conclusion 😊

Change of tone! Today we cry 🤧

[agalychnisspranneusroseus]

Someone should make an analysis of Amphibia's geography for fanfic writing purposes and by someone I mean Oh god please let there be something out there so I won't be tempted to procastinate on studying for my finals working on a detailed world map for a fantasy Disney show about talking frogs and polyamorous lesbian divorce when the writers themselves probably didn't think much about it beyond what would be funny in each individual episode

[dykedvonte]

I think the most baffling thing about the Tulpar as a vessel to me is the fact that the ship really did only have a one way communication system.

I know it was cheap but even the most basic of vessels regarding major transport would have some way, shape or form for outside communication. Not only that but there was absolutely no form of innate emergency signal to show they may have been offline or in trouble despite clearly having a system to dock credits if they went off course. It's another factor that really shows that bad situations are made to get worse by design. One person who is required to relay all information to the crew and make all the choices without feedback. No way to update or call for help in case of a dire situation. No way to inform of inner personal conflicts and acquire procedures accordingly.

It really is like they are all in some sort of fucked up solitary confinement. They have their own world with strict roles that are meaningless in the end, as long as the cargo makes it, it doesn't matter what happens on that ship to the company. They don't want to hear anything and will come to conclusions on what happened based on how much pay they can withhold from the workers. Even what they do send is short, sterile and corporate to the extent it was likely written and sent out with a command by some random unmanned computer in an office.

There's something to be said about how unfair it is to force absolute power and control onto one person when you as an entity could do so much more to offload it but I've said it many times before so I won't again.

[keepswingin]

"How many fingers am I holding up? ... I don't have six fingers." —skz

"Fuck," Seungmin spits, fear nearly choking him as he pulls the prince closer to him. This wasn't supposed to happen, not like this, not because of him. "Jeongin-yah, look at me."

The prince's eyes had closed after his mumble of an answer, and he's not responding to anything else. Seungmin has never felt so terrified in his life.

He's ruined everything, let every single lie he's told been seen, and now the one person who was meant to pay the price from the very beginning has left a mark on Seungmin's life that he won't be able to replace.

What has he done?

"Jeongin," he calls again, louder this time, one palm pushing hard against his cheek in an attempt to wake him back up.

Rain drips from his hair, mixing with the blood that sits at the top of the prince's clothes, watercolor against his pale skin. Seungmin's chest hitches, and the sob that tears from his throat is nearly inhuman.

"Jeongin, please," he begs, thunder swallowing his words and spitting them back out until it's the only thing he can feel. He thinks he's crying. He thinks he would rip his heart out and offer it to the sky on a silver platter if it would reverse time. He thinks he would give his life to go back and stand in Jeongin's place before the younger could beat him to it.

The blade was meant for him, after all.

The shouting from the castle has grown quieter as soldiers march into the distance after a culprit that's long made his leave, unaware that the threat to the crown sits within their own ranks, an imposter from the very start. Seungmin has never thought himself dangerous, but for some reason he feels deadly, sitting here with someone's life hovering in his hands.

He looks to the wound again.

He's tried to clot it the best he could, but between the rain and what's already been stained, it's hard for him to tell if it looks any better. Jeongin needs to wake back up for him to have any type of hope in this situation.

He hates this. Hates himself for not seeing what his people were planning, the way they were so eager to use him as a red herring because that's all he's ever been good for. Was it ever a home, if he was simply used because he was smarter than the rest?

You know, you could stay. If you wanted.

Seungmin leans forward, and presses his forehead to Jeongin's. His heart is beating fast, and the rain doesn't slow. One hand clutches at the torn sleeve of Jeongin's shirt like it can anchor him as he closes his eyes and tries to breathe.

It can't end like this. Anything but this.

I don't belong here.

"Innie," he whispers, desperate. "Wake up. Please wake up. Come back." He hesitates, his next words on the tip of his tongue. Is he allowed to say such a thing, when all he's done is lie? Jeongin doesn't know who he really is.

If he looks close enough at himself, Seungmin doesn't think he knows who he really is either.

"Come back to me."

The next bout of thunder feels like it shakes him down to his very core. The sky is alight with a branching bolt of lightning. There's shouts closer to where they rest, just outside the prince's window. If he lifted his head, he'd be able to see the royal lien blowing in the storm's breeze, curtains curled around the windowsill. Maybe they've finally realized who the real threat is, and how he's holding the prince like he's something that's about to break.

I think that you do.

"I'm sorry for everything, Innie. I'm sorry for lying. I'm sorry for not being who you think I am. I'm sorry for - for getting you hurt."

He can see the blade clear in his mind's eye, the moment replaying over and over. Jeongin's hard glare at the stranger suddenly before them, inching closer to Seungmin and spitting nonsense.

Jeongin stepping in front of Seungmin without hesitation.

Jeongin's quiet gasp, the stutter of his breath. His hands clutching at the wound as if that alone would be enough to stop the blood flow. Seungmin moving to catch him before he hits the ground, arms wrapping desperately around his waist, shock propelling him forward.

"Your people need you, Innie," he whispers, the words poison against his throat. The same people who had run him from his home, the same kingdom that had looked at him like was no better than the very dirt on the ground - but no, not Jeongin.

Jeongin was different than his people, and he was different than the king. He was kind, and curious, and greeted strangers with an open palm. He was the change everyone was afraid of, the change Seungmin's people didn't understand and feared.

The change he was supposed to kill.

"I need you, Innie," he murmurs, heart pounding. He lifts his head and stares down at him like the words themselves will reanimate him, and waits. One heartbeat. Two. Three.

You don't know anything about me, your highness.

"Get away from him!"

Arms callously wrap around him from behind and violently yank him back, Jeongin's sister shrieking his name as she falls to the her knees beside his limp body, her nightgown smearing with dirt and gravel.

She's shaking her brother's shoulder far too roughly, Seungmin thinks, before he's thrown backwards, face hitting the ground. The storm grows worse as he's held there, arms wretched painfully in a way they shouldn't twist, rope tied tightly around his wrists. Maybe they'll hogtie him and leave him out here to drown in the storm.

He'd deserve it, wouldn't he?

His sister turns to Seungmin, tears streaking down her cheeks. "What did you do?" she cries, holding her brother close to her chest. His blood stains the front of her gown. Seungmin's stomach churns. "Tell me what you did to him," she all but begs, hiccuping, far from the prim and posed princess she is supposed to be. "Please!"

Mud and tears clog his throat. His chest heaves with a breath he cannot push out. The guards don't bother to pull him up, instead sending for the doctor who lives on the cusp of the village, far out of reach.

"Seungmin-ah!" his sister shouts amongst a clash of thunder. "They'll hang you for this! Don't you care?"

She stares at him, lips trembling. The cold has chilled Seungmin by now too, his own limbs borderline numb. Or maybe he's just shutting down now that he's failed the one person who meant something to him.

Seungmin's eyes slip back to Jeongin's face. His sister isn't covering him well enough, rain trickling across his lax features, the sharp curve of his jaw.

Seungmin would cover him.

"Not about myself," he whispers as the prince's sister turns back to him, shaking him once more.

He closes his eyes, and wonders what Jeongin would think, when all was said and done. Would he be kind still? Or nurture a hatred even Seungmin couldn't touch?

"Take him away," the princess sobs, curling closer to her brother. "Please."

Jeongin's soft laughter rings in his ears, a memory he can't forget. The knowing curve of his smile, the brush of his warm fingers against Seungmin's skin. The words he whispered after leaning in close to his ear, almost as if they were meant for just the two of them.

I think I know just enough.

[nanomooselet]

My Brother's Keeper (I)

So, uh, I have seen the complaints that Stampede is "poorly-written". Often enough, really, to get... somewhat overly bent out of shape about it. Stampede was my entry into the story and I may have mentioned once or twice that I like it. You know. Just a little. This is not to say it's without its flaws, but it's technically very skilful, at least to my eyes. It's just… skilful in roughly twenty-two minute chunks, so it crams a whole lot into those chunks.

Vash tells Wolfwood he can "see [kindness] in his eyes" half an hour tops after hitting him with a truck. It's assumed that they're relying on previous characterisation of the two to carry this beat.

They're not.

See, animated shows or films (and definitely in the case of Stampede) aren't only written. They're story-boarded, rendered, scored etc. and all the parts interlock with the other parts. It has to be taken as a whole: spoken, written, visual, musical, situational, compositional. These are twelve instalments of a single story where everything in it develops, comments on, or reflects what lies at the work's thematic heart, but you have to figure out how. It's not going to explain it to you. If the relationship between two characters appears strange, that's because there's more to it. And whenever you see something in it that visually echoes something else in it, get out your pasteboard and stick in two thumbtacks connected with string because the show's letting you know it's important.

Now, because I viewed Stampede first, my reaction to this part was very much like Wolfwood's ("???") but the more of the show I watched, the more sense it started to make, and the more I appreciated what it did for Vash's characterisation. Having since read the manga, in my opinion the boys aren't at all interacting like they're accessing past-life memories. Vash is too busy silently reeling over Jeneora Rock and dreading his confrontation with Knives to keep up the whacky act that the older WW pierced. Wolfwood is too young and trapped by his own hurt to empathise by seeing through Vash's false smiles.

There's something else going on with these two, and if you think carefully, it's clear what it is. There were two loved ones that Vash lost tragically early in life, and we can assume it's not Rem he's thinking of.* The heart of this series is "the song of the brothers."

Whose side are you on?

I have to choose.

Lo and behold, through that lens the character interaction made a whole lot more sense. And I want to talk about how.

So, according to the show's language, right from his very first appearance Wolfwood has a connection with Knives.

In the ensuing scenes/episodes, it was then clear to me that Wolfwood isn't just connected to Vash's brother. He's a representative, serving as a sort of understudy while Vash journeys to confront the real thing. Anything and everything Wolfwood does or says is with that role in mind, because he's either playing along or fighting against it. It dictates his development as the show unfolds. He's got a job and he'll do it, but which of the twins' agendas is he ultimately serving as he does? Even he can't yet be sure.

This is a significant change. It has a huge effect on Wolfwood's characterisation; it's why he comes across as less confident, more surly - he's rebellious, but conflicted and immature. In the manga, the first time we meet Nick he's (mostly) his own man and he (mostly) makes his own decisions. While he isn't honest about his agenda, he is trying to temper Vash's idealism for honest and well-meaning reasons, albeit in a bitchy way. When he reveals himself, throwing down the coin halves, you feel the man is protesting too much so it'll make what's coming easier on Vash. Despite how deeply the two came to love each other they couldn't communicate their forgiveness, but Wolfwood is at his core a good man first who lost his way, then finds it again in Vash. **

Again by contrast in Stampede, Nick's identity isn't his own to shape (yet). He standing in for Knives, and he doesn't much like it. He does know more about the actual shape of things than the reporters - for instance, he doesn't bat an eyelash when Brad mentioned how long they've known Vash. So he can readily talk with Vash and test his convictions. They basically both know each other's biggest secrets already, so they don't have to make a whole production of getting to know each other.

But standing in for Knives is also why the introductory aw-look-he's-nice-really scene is so quickly revealed to be staged. Knives is the primary antagonist, not a neutral agent - he's the most dangerous and personal opponent the protagonists face. He's also cruel, controlling and manipulative. His "help" is anything but. Any gift he seems to freely give, like a protector, will either extract an awful cost down the line or have some hidden purpose (if he isn't "solving" a problem he himself created). Approach with caution.

(You know how Nick did something no one asked him to do then hit Vash, Meryl and Roberto with a massive bill for it like a dick? You know how he then violently rescued them from a situation he himself engineered so they'd have gratitude? Those are Knives's most basic manipulation tactics, when he isn't just hurling verbal abuse: I help you/I love you so I'm entitled to take this from/do this to you. Wolfwood is causing problems on purpose by acting out because it's funny, and knows he won't get whatever he's demanding. Knives thinks he's helping, and rarely hears when he's told "no".

Also, both the English and the Japanese have Roberto calling Wolfwood someone who kills with a smile on his face. He doesn't, really, but we have met someone else who does.)

That means like every other character, Wolfwood isn't quite himself. Not yet.

And that's actually awesome. Because it speaks to who the other characters are - specifically, about Vash.

(Part II)

(Part III)

(Part IV)

(Part V)

(Part VI)

(Part VII)

* OR COULD IT BE, as inevitably assumed on tumblr when two men are in proximity, unspoken romantic desire????

I'm not saying it can't be a factor, but it doesn't explain why they start having discussions over their principles like they've known each other for years. Or at least, to me it doesn't. As I've said I don't ship them. If you disagree, it's totally fine! Hear me out and decide for yourself. There's no reason to believe both can't be true.

** By what's coming, I mean the same development that eventually comes to every iteration of Wolfwood. You know the one. And by "they loved each other" I don't mean necessarily mean romantically. My personal belief is that there were mutual feelings along those lines, but they're both too emotionally reticent to acknowledge them and might not have regardless. But that's just me!