#posts don’t show up in tags

[doodlydoodlies]

If Engineer doesn’t wear his helmet the other mercs will pet his head

[clownboybebop]

if you’re ever in the position to choose between giving up and accepting defeat, and actually trying to fight the ancient unkillable god that is about to peel apart reality like a string cheese, remember this: scientifically speaking, you might as well give it a shot!

1.there were trees at the beginning of the world! there were trees so long ago that they predate bacteria that causes wood to decay. when a tree fell, it would lie there in stasis and there wasn’t any way of breaking down wood xylem on a molecular level in that way.

2. it seems obvious to say, but wood eating bacteria are literally incapable of comprehending what they’re breaking down. It’s just not information conciously available to a microorganism. they don’t know what they’re deconstructing, where it came from, bacteria have no way to even fathom the existence of a tree as a concept.

3. Regardless of the facts above, the world we live in today is a world where wood inevitably decomposes

it is worth fighting the unkillable god no matter how pointless it seems. it is worth taking the risk even though youre trying to accomplish something impossible. the reality in which you live was also once reality in which trees didn’t rot. You live in a reality that allows for existence before the possibility of destruction. you live in a reality where uncomprehending microbes break down matter that is so far beyond the scope of their comprehension that it feels comical to specify something so obvious. you live in a reality that occasionally allows unshakeable physical truths to be altered with no warning.

It is worth fighting the unkillable god because trees are so old they predate the source of their destruction, and it still did not spare them. It is worth fighting the unkillable god because bacteria rots unthinkingly, because there is room in our cosmos for destruction without comprehension on the part of the destroyer. It is worth fighting the unkillable god because now and then reality retracts the promise of immortality without fanfare, and when that happens there is no mercy for the ancient. the unmaking is not softer for the desecrators ignorance. for all things, existence is endless until the exact point where it ends.

so you might as well try to kill the unkillable god. it doesn’t seem likely, but at the beginning of the world, trees didn’t rot. so you never know! you never know

[lemonynuggets]

Is it just me

[dollarstorefern]

*cough* if you hate amber volakis i hate you *cough* (just kidding!) (i’m not.)

[pearlbubbles]

Okay I have a lot of thoughts about this season, and maybe bc I never played lol that this season felt like a mess to me but I think a lot of it was due to poor writing choices,

Jayce calling Mel out for “manipulating” is insane to me. When he doesn’t hold the same sentiment for Cassandra or Victor (who was the one to allegedly give him that stone in the first place?). He acts like he had no control of his actions and I guess it’s easier for him to pin the blame on someone else than admit his faults.

Mel is a politician, he knew that when he met her. She did not make it a secret that she was basically sponsoring his research. But at the same time, she was one of the few people who advised him against making hextech weapons specifically, and went out of the way to make sure that that technology did not fall into the hands of bad actors.

however, it was Jayce and his poor decisions that kept making hextech weapons even though it went agonist his ethos, he even made weapons for Caitlyn’s special strike team, something Mel did not tell him to do lol,

like this entire time Jayce was able to use Mel’s statues and influence to get what he wants (social capital etc)

and when they get together romantically, Mel only treats him as an equal, supports his ideas (which basically let’s him do what he wants on the council bc of her influence), and is a source of emotional comfort.

so it’s really strange that he starts to view her as someone who used him, we never really see Mel confiding in Jayce besides that one time which served as a way to give the audience insight to her backstory. She’s always the comforting him, the one providing for him etc, she even serves as a buffer for Jayce against the manipulation from others, so to have him pin all the blame on her is so deranged to me lol

I also fill like the narrative of the story does nothing to counter his claims, they don’t address the other actors in the corruption of hextech for warfare (*cough cough* Caitlyn lol)

there were interesting places they could take this, there were interesting ways to explore this dynamic, but instead it got boiled down to Jayce pinning the blame on someone else because he refuses to live with the consequences of his own creations

[rooolt]

the thing to me about Demetri in season 6 is that it very much feels like he’s still clinging to the old version of Eli like just a little bit. Like he accepts that his hair is different and he dresses different and he likes karate now, but Demetri never calls him hawk and is still talking for him and still expects the two of them to go to MIT like nothing has changed. We as an audience can understand that Eli has hated every version of himself until around like season 4 or season 5, including who he was before karate and before the show, but to Demetri that version of Eli was his best friend, he loved that version of Eli and I think to him the rejection of MIT really solidifies that Eli will never be that person again. Like, I think Demetri was like “well he’s not hawk anymore so now my best friend Eli is back” but to Eli, I think he’s trying to be someone new, not the kid who was bullied and not the person who hurt his best friend. I think that season 6 is a little bit about the two of them reckoning with the people they are now and the people they want to be in college

[braisedhoney]

Gaster but he says “oya oya”. Trust me on this.

is this it. is this what you wanted from me.

[starsaparilla]

loved s1 of fallout (tv) but i genuinely start tweaking and pacing the room like a caged animal whenever i think about how they’re gonna tackle new vegas in s2 IT’S GONNA BE BAD

[myokk]

💘

[creative-robot]

I know The Founders Cut, generally, is the edited scrubbed over version of genloss from Showfall in-universe (as well as a not-8-hour-long-three-stream-binge-night whenever we want to watch it again) but something that struck me as odd and I haven’t seen anyone mention yet, is this warning

It shows up right at the junction where the third act starts, where it appears the Hero is breaking free of Showfall thanks to Hetch. But here’s the thing, while a LOT less than the previous acts the audience still played a significant role in this act, even when really only given two audience interaction choices. Which makes me wonder, how real is this warning, and who is it for? Obviously the audience involved knows what happens past this point, but the audience is also implied to be an integral part of the Social Experiments, which is part of why things start to tweak out when the Founder removes them in the Founder Cut as the Generation Loss generation loses.

My first thought, was that obviously this is another bait and switch, a way to draw the audiences attention, seeing something that’s secret, something that’s not “meant for them”, which is a tactic I could see Showfall using in universe to keep people’s attention and add an air of mystery to their shows.

But

Showfall is doing all their experiments and these shows with a LOT of help from their censors to show it off, displaying a fun silly show that is definitely not uber fucked up and that is 100% just slime don’t worry about it, it’s kid friendly if it’s green! And I don’t think they’d want to bet all their cards on this one experiment doing well enough to their audience to not question the sudden shift in tone that follows this warning. Which makes me wonder.

They did their test, they did their experiment, and the evidence of this last act? I think it was a one time run, they don’t want anyone seeing this, it isn’t for the audience. Act three is specifically to both test and play with their Hero, Hetch’s new lines add a level to this, never once does he call the Hero by their name, just refers to Ranboo as their Role, and he’s not exactly. Nice? About literally any of Ranboos concerns, which wouldn’t really seem conductive to making an audience trust him, especially with his monologue at the end. Ranboo has escaped before, possibly right before act 1 started, they tightened the security on his mask to be unremovably part of them, Hetch doesn’t like the Hero but they’re a fan favorite so he can’t just get rid of them.

Act three is the cumulation of Ranboo being punished for things they don’t remember, for daring to break free from Showfalls control, this is Hetch taking the Hero and essentially majorly fucking and manipulating them to take his frustration out on a fan favorite they can’t otherwise get rid of or give a smaller role like Slimecicle. which is exemplified by the fact that we now know Charlie most likely was never able to actually able to fully snap out of the control, that even in act three in panic and confusion there was at least still a part of him being influenced by Showfall.

So the first two acts are the usual show, they have their posters, they have Squiggles to introduce them, they have goofs and silliness and only a couple slip ups that’re quickly dealt with, the usual rose tinted curtains. Act three?

Do not watch the following material

[doodlydoodlies]

Image: Deathworm from Steam Community Workshop

[bagelsunshinecoffee]

Do you ever think about how much Chim relied on the 118. When he’s struggling with memories of his rebar accident in season 2 Bobby says “you’re right here, and so is everyone who loves you.” And like…I don’t think he realizes that but that’s almost true. There was nobody at the hospital for Chim who wasn’t from the 118. His mom is dead, he’s estranged from his father, he barely knows Albert at that point. He hasn’t talked to the Lees in a long time and Kevin is gone. Tatiana didn’t exactly love him and she left. Chim deflects through humor and avoids being vulnerable to the extent that he pretends he doesn’t remember what happened the night with the rebar so he doesn’t have to talk about it. He doesn’t ask for help. His relationship with Bobby is so important because Bobby sees through that bullshit just like Chim saw through Bobby’s bullshit in season one and helped him move away from his plans of suicide. (Their relationship is so underrated by the way). As the show goes on Chim gains more people but at the start? He ONLY has the 118. And he isn’t totally vulnerable even with them. He must be so lonely.

[opalescentidiot]

testing… to see if my usual tags still work for this blog since i’ve been pretty inactive but am planning to post bangers pretty soon

[cable-salamdr]

Actually one of my favorite things about fma/b will always be that you get all of these short jokes thrown at Edward and it could have just been that that’s it: he’s just short for some reason (because he doesn’t drink his milk)

But then Arakawa went “No no, Ed is short because actually he’s been feeding his own nutrients to his brother’s body (which has been in limbo & chilling with god this entire time btw), and as soon as that connection begins to waver he does actually end up growing quite a bit still, until he’s taller than Winry.” and she just expected me to feel normal about that

[survivalove]

blah blah something something about how fandom gravitate towards more individualistic characters because they’re easier to understand compared to community-oriented characters whose character development is very much tied to their culture/nation because understanding a single character is easier to understand than a character AND an entire culture, especially when said culture is based off a marginalized community that exists in real life 🫠 and said fandom is majority WHITE.

[bergoose]

*mariah carey voice* 🎵🎶it’sssss timeeee!🎶🎵

non-meme version under the cut