#respectful in the way you word things

[yandere-yearnings]

yello! I just wanted to ask if your ocs have set ethnicities? For quite a while now I've had this sneaking suspicion that Sun and Dice are greek since their last names are greek in origin and you also mentioned that Sun would make Dice and himself avgolemono soup (which is a greek dish) when they were kids. So since I don't think you've clearly stated any ethnicities (atleast not that I remember?) I just wanted to confirm my suspicions and ask if any other ocs have set ethnicities?

Okay bye bye I will pass out now snorkmimimimi🛌

-🦢

hope you had a good rest swan nonnie🥺🩷 you are right in that sun and dice are greek, and i'm glad that it was deducable enough through the stuff i have up for them!! i've yet to make a post abt it so ig this will be the one🤧 the intention is to explore their backgrounds more in their stories but,, i think it's obvious that will be a long time coming at the rate i write ahahaha😔💔

not all of them are decided yet but of the ones i can confirm:

sun, dice: greek

vio, bear, bea: romanian

laurent: french + hispanic

clover: korean

shura: russian

i probably won't set an ethnicity for ophelia or dia since they're technically dolphins (can dolphins have ethnicity??) you can hc them as you'd like😭 when i figure out the rest of them i will update this

[butchfalin]

the funniest meltdown ive ever had was in college when i got so overstimulated that i could Not speak, including over text. one of my friends was trying to talk me through it but i was solely using emojis because they were easier than trying to come up with words so he started using primarily emojis as well just to make things feel balanced. this was not the Most effective strategy... until. he tried to ask me "you okay?" but the way he chose to do that was by sending "👉🏼👌🏼❓" and i was so shocked by suddenly being asked if i was dtf that i was like WHAT???? WHAT DID YOU JUST SAY TO ME?????????? and thus was verbal again

[batcavescolony]

Katniss is such an unreliable narrator. She says "Then something unexpected happens. At least, I don't expect it because I don't think of District 12 as a place that cares about me" girl you deliver strawberries to the Mayor, you hunt and trade for the district, when you fell at Prim being chosen someone caught you, when you went to Prim people parted for you, when you volunteered EVERYONE stopped. Idk how to tell you but I think you're a pillar of the community.

[keferon]

May I ask what were the best transformers media you ever saw/read?

Well Transformers Prime, Transformers 1986 and IDW comics are having the first place that’s for sure

And then the second place is kind of shared by Fall of Cybertron, Exodus, Prime wars trilogy, Robots in disguise(2001) and Transformers One.

The third place goes to G1, Animated, Earthspark, Armada, War for Cybertron Netflix series, Aligned Robots in disguise, Bumblebee, Rise of the Beasts and Cyberverse because I only liked some little parts of them.

And then I also saw some of the Bay movies, Victory and Headmasters and didn’t like them at all.

Separate first place for J-Decker. It is not exactly Transformers but it is a show about giant robots and I loved it

[makotonaegiunderstander]

something I’ve been thinking abt is how many people think Makoto is immune to despair. I don’t think he is. I think becoming the ultimate Hope was BECAUSE he felt despair. He wouldn’t have fully reached that point without Junko. Makoto becoming such a beacon was his last attempt to avoid completely falling and it wasn’t because he didn’t feel despair, it was because he was too damn stubborn to allow everything to go to waste and he refused to sacrifice his beliefs for someone else’s. His inner monologue tells me he DID experience the same new low the other suvivors did in the final trial, but at the point where he had the choice to give up and die, he looked at the others and he looked at Junko and he couldn’t allow it to happen, not out of self preservation, but because the idea that Junko would have control over their lives made him FURIOUS. and that utter refusal to die kicked in, wether luck or otherwise, and he made the concious effort for one last push while something in him was breaking. He had to be broken in order for the Ultimate Hope to come through so aggressively, bc it could only exist in the face of the Ultimate Despair. He snapped the same way she did, but in the other direction. In what could have been his final moments he chose to embody everything Junko wasn’t, and every single optimistic and luck fueled ideal in him suddenly charged forward and pushed him. It was a combination of the final straw and a choice. Makoto isn’t immune to feeling despair, he’s just too stubborn to fall into it of his own volition. I think that’s why I like that scene in DR3 so much. People were SO SHOCKED Makoto actually fell for the tape, that he actually became despair for a moment. I saw people getting mad or disappointed, saying it was pathetic and Makoto seemed to fall from some sort of pedestal for them. Honestly part of me wonders if that sort of mentality, which clearly people had in universe, affected Makoto a bit. Like he started to see himself as less of a person, subconsciously. Prompting him to take more risks, less self preservation, act way more bold. It seems he has to be reminded a lot not to put himself in danger by his friends, to not do something too reckless. All over the place I would see in regards to that scene either this frivolous ‘oh this was just angst drama with no meaning behind it’ or ‘he can do better than that. he’s so weak’ or ‘come on, there’s no way he’d fall into despair, he’s the Ultimate Hope!’ This kind of mentality, which was kind of ironic considering Ryota was there the entire time saying the same thing and treating Makoto the same way. Like Makoto was superhuman. Like Makoto didn’t feel despair the same way ‘normal people’ did. In a way that was also how Munakata saw Makoto. Makoto stopped being a PERSON to the world when he became Ultimate Hope, he became a concept, a belief system, much the same way Junko ascended beyond herself. But the difference is that treating Makoto that way is the opposite of the reason Makoto became such a representative for hope. He wasn’t doing something no one else could. He was doing something everyone had the chance to, he just… was a little more optimistic, a little more stubborn, a little more ‘gung-ho’ about things. He just took the lead where no one else did, where no one else knew they even COULD in the face of Junko’s unstoppable force. She had overcome the biggest threats and obstacles in the world, what could one person do? And the answer Makoto found was, anything. Everything. It doesn’t all rest on Makoto, he’s just the one that was inspired to try to do what seemed like the impossible. But as evidenced by the change in his friends after that trial, it’s clearly not something only Makoto is capable of. The others pulled out of despair thanks to Makoto, but it was their choice to do so.

“But… this world is so huge, and we’re so small. What can we do…? No, we can probably do anything. Yeah! We can do anything!”

[justagaycryptid]

Doing bad things to worse people

I couldn't decide which song I wanted to pair with this one so I just put both

[poorly-drawn-mdzs]

Would you mind if I drew this art in my style? (This is so beautiful, btw, it broke my heart!)

Permission is *always* granted to people wanting to do redraws! I am so touched you liked it enough!

[revivisection]

cosmas is rather comfortable with himself at this point, he knows who he is and is satisfied in the way he portrays himself, with the kind of man he comes across as. at the same time, there's that idea of "do i want him, do i want to be him" that never went away, only hidden itself to the back of his mind. he's drawn to that sort of strong, square jawed, masculine ideal look. he doesn't even want to be that, but it's more that he'll never be that, even if he tried. that's not all that's there to it but it's an underpinning idea. envy and attraction are both types of desire and all that.

[beastsovrevelation]

A complete travesty in the Good Omens universe? Michael not being portrayed the leader of angels.

She's supposed to be the Supreme Commander, and she's supposed to be the boss. I sincerely suggest you don't fight me on this hill. For Hell's sake, the actress has the perfect vibe... A crime has been commited here.

Therefore, I swear to fix it in my fanfictions. General, I'll do right by you. ❤

If you can't tell, in spite of being on the opposite side, I'm attached to this figure. I'm protective of this figure. I'll defend this figure with claws and teeth.

[coquelicoq]

not being able to reply to posts is really cramping my style. can i just say to the mutual who recently signed up for a credit union: firstly congratulations and secondly, your tag about the panties hitting the floor made me snort or perhaps chortle

[hephaestuscrew]

Pan-Pan, Boléro, and Minkowski's different responses to loss

I want to compare two key lines of Minkowski's which indicate very different responses to grief:

In Ep29 Pan-Pan, Minkowski breaks down and says "Doug Eiffel is gone! There was nothing we could do to save him. It wasn't anyone's fault. It's horrible, and pointless, and it just happened."

In contrast, after arriving at the funeral in Ep46 Boléro, she says "[Lovelace, Hilbert and Maxwell are dead] to make the fact that we're not gone yet important. They're gone... so that we never forget how important it is that we're still here." 

TL;DR: In Pan-Pan, Minkowski expresses her unprocessed grief through despair and hopelessness. Whereas in Boléro, she is able to find hope in the loss and lead her crew in trying to move forward. I suggest a significant reason of the difference is the presence of Eiffel to force Minkowski to confront and process the sense of loss.

Pan-Pan: "It's horrible, and pointless, and it just happened"

In Pan-Pan, the whole episode is full of anger and despair, but Minkowski speaking about the horrible pointlessness of losing Eiffel is one of the most painful and hopeless moments. It doesn't feel like she's really speaking to the others. She's focused on her internal despair (as suggested by the fact that she goes on to talk about the cracks, which Lovelace and Hilbert aren't supposed to know about).

The only potentially positive thing Minkowski says here is her recognition that "it wasn't anyone's fault". When Hera and Hilbert have been blaming Lovelace, and Minkowski has been blaming herself, it's significant that she acknowledges that sometimes a horrible thing just happens without there being anyone to blame. 

But in this context, and in the tone of voice Minkowski uses, even the lack of blame doesn't really feel like a positive thing. If Eiffel becoming stranded was just pointless and random, if there was nothing any of them could have done to save him, then the next tragedy might be just as unpredictable and unpreventable. Minkowski strikes me as the kind of person who can sometimes fall into the trap of subconsciously wishing that the awful thing is her fault because then at least she'd have control over something. In her train of thought here, the lack of blame is followed by focusing on how horrible and pointless what happened to Eiffel was. The only conclusion she can draw is "it just happened". There's no sense of hope in those lines. Eiffel being stranded just happened, and so do the cracks, and the crew are at the whims of brutal fortune with no meaning to any of it.

Boléro: "They're gone... so that we never forget how important it is that we're still here"

In Boléro, Minkowski can't even say that the tragedy wasn't anyone's fault. For each of the deaths, someone pulled a trigger. There is blame, and some of it lies at her feet. She didn't want to come to the funeral because at first she didn't know what she could say about the deaths she feels responsible for.

Yet even so, this time she finds something reassuring she can say to her crew, a grain of hope she can provide without attempting to diminish the loss: "[they're gone] to make the fact that we're not gone yet important. They're gone... so that we never forget how important it is that we're still here."

In another show, or another context, this kind of line might have had an 'everything happens for a reason' tone, which is something I deeply dislike as a response to other people's loss. But it doesn't feel like that's what Minkowski is saying here at all. She isn't trying to make any grand philosophical statement about the ultimate beneficence of the universe, or about how mortality gives meaning to human life. What she says here is working on a much more personal level. It's more about finding something other than despair that the crew can take from what has happened. This tragedy may still be horrible, but it provides a reminder that they are still alive in a context where that's far from guaranteed. Minkowski emphasises that the fact the survivors are alive matters - her crew matters. I'd argue that this contrasts with the 'it just happened' outlook discussed above. 

I don't know how much Minkowski fully feels the importance of them still being there in the moment, but it's something that she can offer her crew, something that she can say in a situation that words can't grasp. I think the moment when she joins the funeral is such a key moment of her leadership. In the end, despite her doubts and struggles, she's there for her crew. Eiffel brought them together for a funeral, but he doesn't know what to say when Hera asks why they have to be gone. Minkowski enters just at the right moment to support her crew and she provides an answer to Hera's question. It's not a perfect answer, but it allows the funeral to move forward. It allows the crew to move forward (even if that emotional movement is somewhat thrown off by a dramatic change in the circumstances). Minkowski starts off the eulogies; she leads her crew in the acknowledgement of what's been lost.

Why such a difference in responses?

There's lots of ways you could interpret the difference between the outlook of these two moments, and there's probably more to say about it though the lens of Minkowski's character development than I'm going to say here. But for me, the main difference between these moments is that, in Pan-Pan, it feels like no processing or recognition of grief has really occurred. When Minkowski says "Doug Eiffel is gone!", it almost feels like the first time that Minkowski has fully confronted and acknowledged the loss. Eiffel has been lost in space for 116 days, but it's only at the end of this episode that Minkowski brings herself to say in her distress calls that he is "presumed dead". Whereas in Boléro, she's already eulogising the dead and thinking about what can be learned from the loss, not even a full day after the mutiny.

Obviously there is much less ambiguity to a body bag (or least there would be, if not for alien interference). But I can't help thinking that the difference between the attitudes towards loss which Minkowski displays in these two quotes is less about the difference in the kind of loss, and more about a situation that prompted and enabled the processing of emotions in Boléro: namely, the funeral. After Eiffel was stranded in space, I think Minkowski probably went months without looking her grief in the eye. But after the deaths of Lovelace, Hilbert, and Maxwell, Eiffel's suggestion of a funeral forces Minkowski to confront her complicated emotions and provides a space in which she can offer direction to her grieving crew.

This is a good illustration of how I think Minkowski and Eiffel complement and support each other in a really valuable way. On his own, Eiffel couldn't provide the leadership that the crew needed for the funeral to work. But without Eiffel, and his determination to recognise the emotional weight of the three deaths, the funeral would never have happened and Minkowski would never have been in a position to provide hope and direction to her crew. When Eiffel was the one the Hephaestus crew were grieving, Minkowski couldn't offer much emotional direction to her crew beyond despair. But when Eiffel is beside her in the grief, saying that the grief deserves to be felt, then Minkowski can find a way for them to move forward emotionally. It's not the deaths that remind them how important it is that they are still here. It's the grief. It's the ability to confront that grief together.

[zaunbinary]

“linke can’t be homophobic he made the main couple lesbians!” ah yes, men, historically known for respecting sapphic women and relationships and not just treating them like a fetish.

[mellomadness]

I just fell down a rabbit hole about (legal) body disposal and part of me is so anxious wishing I could tell the FBI agent monitoring my internet searches that I’m just morbidly curious and I’m not planning on dying anytime soon (or planning anything ELSE, for that matter)

[autisticlee]

sometimes people who struggle like to make jokes or find positives about their condition that causes them to struggle so they can escape the constant negative and struggle. sometimes autistic people will say things like "the 'tism" or use the "autism creature" or say their autism helped them have a *positive trait* to feel better about their struggles. because living your life only focusing on the struggles and negatives is depressing and makes it hard to want to live, even if those struggle take up 100% of your life and you can't actually escape them. sometimes any little seemingly positive thing can help a lot.

but there's so many other autistic people that hate when we do that and call it "reducing autism to a cute trendy thing" and say it takes away from *their* struggles and is bad and shouldn't be used. maybe *you* want to only focus on your struggles, but some people can't live in constant negative and need some positive or to find ways to make their condition more positive so they can feel better about living with their struggles. life is hard. I take anything I can get.

I cant get jobs. I can't make and keep friends. I can't get help and support for doing "normal" things so sometimes I go weeks without being able to shower and without eating more than a bowl of cereal a day. most times can't even do things I like. struggle to communicate. have meltdowns. i'll never be able to live independently. I struggle a lot. but instead of sitting here always depressed and having no motivation to live, i'd rather try to joke about "my 'tism is acting up again" when i'm struggling (just an example. don't think I ever actually used the 'tism thing but i saw others use it) or say "i'm just being a creature" when I need to stay in my dark room because everything is too much and I personally find it cute to be a little creature meant in a positive way. i'm not actually downplaying mine or anyone else's struggles. I still acknowledge them and that silly jokes dont make them go away. i'm not trying to be trendy. i'm not doing any of the things people say we do by making silly little jokes. i'm using the silly little jokes to convince myself life can be a little more than pointless, painful garbage all the time.

(continue in tags)

[silusvesuius]

i legit love when a character's gender is so integral to their personality (and perception obviously.) like so concrete that if genderbent their whole shtick would just be absolute dookie. anyways i'm just writing this text so i can talk in the tags (My beautiful safe haven)

this 14 minute song is soooooooooooo FYRE

[gay-artificer]

Sorry I intended to keep about 400 miles from this discourse but what do you fucking mean that people heard the guy who made fake screenshots against an artist justify it using "Oh its to show that callout culture is bad and that you people were too quick to believe them." and just went yeah that sounds right you have a good point callouts are bad but youre just showing that we support what youre doing actually Really just proves to me that at best the average person who never shuts the fuck up about "cancel culture" is either a remarkable idiot or a massive hypocrite provided you say the right cue words at them