#sad about that fact actually lmAO

[dooshek]

Ok I need to hear your opinion on the Squip form Be more chill, because I know you have done art for that in the past.

im sad there's no ''ill fight them'' option

nO BUT I LOVE the squip, evil little fucker. smug piece of shit with great songs

[southern--downpour]

gl!ranboo doodle sheet bc i am actually going insane

[kitamars]

enmi gintoki…………… orz

[vaguely-concerned]

Thinking about the symbolic weight of smoking in the TLT universe that comes to the fore in The Unwanted Guest -- the way it moves through from person to person: Pyrrha smoked, and Augustine wanted to impress her in all her stone cold fox MILF James Bond glory (and tbf who wouldn't) so he started too. and even though as far as he knows she's been gone for a myriad and is never coming back, he keeps the habit. Ianthe sees something in the hollowed-out Faberge eggshell of Augustine that resonates with her, all that gilded eloquent emptiness and disdain through the ages, so she picked it up from him to try to emulate it. She picked it up so hard that Palamedes -- the exact spiritual antithesis of the 'smoking! on a space station! what a powermove' ennui Ianthe so admired -- spontaneously unnerded enough to even known how to, simply from a sort of contact contamination of the soul.

G1deon and Augustine sharing a jittery smoke after their near-Harrow experience during soup night, and it's the closest thing to any real sense of brotherhood that remains between them. Pyrrha going ten thousand years dying both literally and for a smoke (and then Camilla sold her fucking cigarettes (for a third of what they were worth, probably Pyrrha's own good, and also more importantly grocery money). what an entirely haunted time to be alive etc.). Augustine and Mercy trading a cigarette back and forth in the middle of their collusion over the love and murder of god.

An act of small and measured self-destruction in the name of something a little bit like connection when you're stuck somewhere in yourself where love itself dares not or cannot tread (ritualized, transmissible)..........

[askblueandviolet]

Ejem, dear macaque...DID YOU REALLY THINK THAT WAS A GOOD IDEA?!!

Baihe, dear, what do You think of your first training session? And Your new mentor, they are not the best but they aren't the worst, right? :D

MASTER POST

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[camgoloud]

you ever just. become overwhelmed by a sudden out-of-nowhere wave of tenderness and affection and longing for reconnection directed towards someone to whom you no longer speak for Very Good Reasons

[selfinflictedgunshotwound]

i'm kind of amazed how most of the stardew marriage candidates just want you to be their manic pixie dream whatever by agreeing with everything they like and plying them with compliments or praise or whatever (which is fine but a bit. Much) but for shane his romance is just you being there for him while he figures his own shit out... dunno why i never wanted to romance him before he's so good

[kavehater]

Chappel Roan saying she’s sad she’s demisexual and then there’s me being aroace as a whole like don’t you think I’m even more sad 😭

[aroaceleovaldez]

Okay these tags on this post reminded me of a HoO/TOA thing that I complain about a lot but I don’t think i’ve ever elaborated on here:

[Image ID: Tags from @fr0zenpepsi​ reading - “#and jason fUCKING DIES before he even get fixed like #you dont know how excited i was when the diorama thing was mentioned like #make him artistic too!! make him be into architecture too! #and he plays lacrosse???? #like his character has sooo much potential yet hes just a boring white guy :< #thats prolly why his death is pretty lame #it meant a lot to the plot but like do we even know who we lost?? #more than half of the fandom doesnt even like him bc hes just so plain :/ #also hazel is a queen and i love her shes literally the best” /end ID.]

One of the big issues I take with both HoO and TOA is that literally every death in both series feels cheap because death has lost consequence. For the majority of HoO it’s at least somewhat still of a risk, but even things like Tartarus feel extremely lackluster when we actually encounter them - Tartarus especially after we saw how much it affected Nico, but then Percy and Annabeth’s plot armor kind of negates all of the threat and it feels like they don’t actually experience much more than their usual threats down there or that it has any lasting effect on them. And after Leo’s “death” we’re basically solidified into “Death has no consequence” because we just finished a series with at least SIX INSTANCES of major or minor protagonist-aligned characters notably directly cheating or miraculously avoiding death (Jason, Hazel, Gwen, Frank, Jason again, Leo), not including also miscellaneous minor antagonists. Which is aggravating because you can make a “Hey, these characters can’t die!” plot work, especially if that’s the root problem they’re trying to solve! It does work in TLH and SoN! And we’ve even seen it before in Battle of the Labyrinth when Percy fights his half-brother!

But HoO basically nullifies all consequence the characters face from MoA onwards and post-BoO “death” carries no weight, because by this point we have so many excuses to get around it or avoid it or come back from it that who cares! And this continues to be a thing post-TOA! Even just in the plot summary of Chalice Of The Gods we’re introduced to YET ANOTHER “Cheat death!” item! And I’d bet we’re gonna get one in TSATS too cause we’re almost guaranteed to see Damasen again, and the like one singular myth that exists referencing Damasen also specifically mentions an herb called “the flower of Zeus” that can revive things from the dead.

And it’s extra annoying because in TOA we keep getting character deaths shoved in our faces and told we should care about them, but either they’re characters we have little to no emotional connection to (such as, like, All Of Camp Jupiter in Tyrant’s Tomb when the camp is threatened and we’re told we should care, but we’ve barely seen the camp at all besides beginning of Son of Neptune and beginning of Mark of Athena, and the only living characters we get to actually see in Camp Jupiter from before TOA are Gwen, Dakota, Don the Faun, and our HoO protagonists.)

And Jason’s death is particularly annoying because a.) He’s essentially cheated death twice already [Piper bringing him back from either death or near-death when he accidentally witnessed Hera’s true form, and then his whole spear injury that was slowly killing him but was healed with [checks notes] the power of friendship], and b.) the scene DIRECTLY PARALLELS HIS FIGHT WITH MIDAS. Which, you know, he WON. VERY EASILY. And you can’t even argue “oh but this time Piper and Apollo were right there so he couldn’t have done the same thing!” because PIPER AND LEO WERE THERE WITH MIDAS. Heck, so was Lit! Who also survives and comes back in TOA! So not only is there no excuse for Jason to have not somehow miraculously avoided death (alongside every other TOA character, basically), but he SHOULDN’T HAVE DIED IN THE FIRST PLACE because THAT’S NOT A FIGHT HE SHOULD HAVE LOST! Him losing that fight is directly contrary to what we know about his character! And “he shouldn’t have lost that fight and died” doesn’t feel tragic here, it’s just aggravating! It’s just bad writing! And there’s no way around it because nobody cares about characters dying by that point in the series anyways because it doesn’t mean anything! We’ve had too much random death fodder in HoO (like the Hunters) directly alongside characters experiencing little to no consequence when they should from their experiences (Percy & Annabeth in Tartarus, literally every character nearly dying, etc.). The only characters we do see experience any kind of lasting consequences from near-death experiences are Hazel having blackouts in Son of Neptune (which are magically erased by Mark of Athena) and Nico being heavily implied to be permanently physically disabled after Tartarus (which is half-ignored when not plot relevant in TOA and completely ignored in the short story Un Natale Mezzosangue, which gives me reason to suspect it will also be ignored in TSATS). Not to mention Frank’s curse is also randomly erased in Tyrant’s Tomb, which is extra stupid because by following the logic of that scene his curse should have been lost back in Son of Neptune when he freed Thanatos, because he was using his curse for the same exact reasons with the same exact mindset. He literally did his character arc twice. Whatever.

HoO and TOA are just such a mess writing-wise of Rick trying to haphazardly incorporate as many myths as he can with zero attempts at cohesiveness that it doesn’t make any sense (I invite you all to read just the Team Statue chapters of BoO and take a moment to process how absolutely nonsensical it is) and he fails to consider the consequences of including certain myths, both in terms of how their aspects will impact the larger plot and also the historical context behind those myths and if how they’re being applied is offensive.

TL:DR: Jason’s death is stupid from literally every angle and HoO and TOA have a problem with literally any kind of narrative consequence.

[bunnihearted]

🌷🕸️

[handsomegentlebutch]

My 3 little cousins were baptized today. "Triggered" is kind of a strong word but being in a catholic church again... I'm a little fragile rn ngl.

[littledreamling]

∇ - old age/aging headcanon (for dream and hob if they were human rather than immortal, i suppose)

Oh my friend, you have just unlocked a side of my mind that's rarely seen but so so feral!

From this headcanon meme!

I absolutely adore aging Hob and Dream. Even outside of a human au, I love the thought of them growing old together. Age continues to exist, even if the physical evidence of it (and indeed, the end result of it) does not. Hob still ages; each year that passes is another year since he last saw his mother, another year since he last rode a horse (he really wants to get back into that and keeps telling himself that this year will be the year, but it never is), another year since he heard his oldest friends' laughter. He feels the weight of his immortality every single day, and it's not an unbearable weight, but it hangs off of his shoulders nonetheless. Dream, too, ages. Perhaps not in the same way; his life is not measured in the same way as human lives are, he does not count each passing second as an added second to his never-ending, eternal clock, nor does he measure the length of the road behind him (or the road ahead of him) in human years. Yet he ages. If learning and growing and changing are all marks of growing up and growing old, then he is doing both. He was not always; for a long time, he had been stuck in time, neither adapting nor maturing in any conceivable way, but recent events (and a certain immortal mortal) have dragged him firmly into the realm of the aging.

And it's a good thing! Hob had learned the old aphorism long ago: change or die, and he had chosen to live. Living means changing; changing with the times, changing outlooks, changing opinions, changing biases. He is a master of change, moving from one life to the next with all the fluidity of a rushing river. His ability to do so is his aging. Likewise, Dream's willingness to, if nothing else, at least see Hob's point of view about change, shows his own aging.

But you didn't send this ask to hear me wax poetic about the philosophy of aging or changing, so here are my thoughts on old, human Dreamling.

Dream is a grumpy old man. He's the old man who worked every day of his life, without break or vacation, and his body is punishing him for it. He was definitely an artist of some kind, maybe a sculptor, maybe something else. It doesn't matter; at the end of his day, his knees click and his knuckles are swollen with arthritis and all of the muscles that had built up in his shoulders have languished in his old age. He can't hold a paintbrush or spin a pottery wheel anymore and it eats him alive with every sunrise. Hob, on the other hand, is the singular spot of warmth and light in Dream's life. Hob, a retired soldier, or maybe a life-long construction worker, has kept his sunny disposition (and, infuriatingly, his fit frame) into his older years. They're the quintessential grumpy one/sunshine one, though anyone who knows them personally knows that Dream has a soft spot for children, and for birds, and for anyone who has a story to tell, while Hob has a mean streak a mile wide if you get on his bad side. They spend their days sitting at the kitchen table, cradling warm cups of coffee or tea, or sitting on their front porch, cradling warm cups of coffee or tea, or sitting on a bench in their local park, cradling warm cups of coffee or tea. They always have warm cups of coffee or tea. They're well-known at the coffee shop, and Hob will recount the story of how they met in that very same shop loudly and at length to anyone who asks (and sometimes to people who don't).

On days when Dream feels as though he can't get out of bed, like his body is too heavy for the world, like his mind has fallen into such disrepair as to be unusable, Hob is the one who sits next to him, a warm hand on his shoulder, and affectionately calls him a drama queen. He'll roll his eyes at his husband's antics, but he'll bring him breakfast in bed anyway. And when Hob is haunted by old nightmares of a long life, not always well-lived, Dream will hold one of their countless books in long, shaking fingers, and he will read to his husband, poems and epic tales, and Dream won't tell Hob that he's not reading, he's reciting, because his quiver and eyesight have gotten so bad that he can't see the words clearly, but he knows them in his heart. And Hob won't tell Dream that he doesn't need to go through the trouble, that it's his presence that's grounding, not the words he's speaking; he'll sit in his presence and let the wash of words roll over him like a comforting tide, drowning his bone-deep anxieties. He'd listen to his husband read the phone book and still find enjoyment in that deep voice and the cadence of his tone.

And when they die, because they do die, they die together. Not in time, mind you, but in company. Surrounded by friends and family, the younger siblings of the Endless family, the children they adopted and the grandchildren, both blood-related and not. Morpheus dies first, his body breaking at the seams. He dies in his sleep, napping on the couch while Hob cooks dinner, and his last words are breathed into the quiet room, asking Hob for a blanket. The funeral is a somber affair, a solemn celebration of everything Morpheus had been; an artist, a husband, a father, a flawed man. The entire town attends, even those who had gotten yelled at from across the lawn or across the park (Dream had taken grave offense to anyone disrupting the local bird population, a story that gets told at the reception with teary eyes and wobbly smiles). When Hob gets home, their entire family is there, warm and laughing and joyful and he can feel his husband in the room, in the people they both had dedicated their lives to.

When Hob dies a week later, no one is surprised. It's his daughter who finds him, curled up on the very same couch, wrapped in the very same blanket, tucked lovingly around him, as if someone else had draped the quilt over his shoulders. She cries, because he was her father, and she loved him, and a part of her had hoped that he would be around forever. But there is a larger part, a much larger part, that finds comfort in the sight. Hob and Dream were never meant to be separated. Wherever they are, she reasons (because they were never a religious family), they are together. For now and forever. As they always should be.

[todayisafridaynight]

At which point did you realise that the plot of IW is ass? I've seen people complain only about the ending or the halfway point where the teams separate, while I was already actively rolling my eyes like four-five chapters in

i think the moment i fully accepted that IW's story was. Definitely A Story was the moment ebina announced 'bleach japan'. like i think leading up to that point i was thinking to myself 'oh i hope i see X happen' or being like 'i wonder where this is going' and that sort but the proverbial bucket of ice was definitely that moment

[lauraisakilljoy]

obx spoilers ahead!!

I'm so conflicted about the season 4 ending because on one hand I get it. life is unfair, it's unrealistic to give all of your characters happy endings, especially if said characters are constantly putting themselves in danger. it makes sense that not everyone survives four seasons of near-death experiences like being held hostage, getting shot at, almost drowning etc. on the other hand I can't help but be bitter that the person who had been abused/mistreated their entire life and who was clearly suffering was the one who had to die. at the hands of his biological father, may I add. I’ve seen some people say JJ was annoying this season and I get where they’re coming from, but all of his impulsive decisions and everything that happened at/after the town meeting just made me sad. he was struggling so much that he didn’t care what happened to him or if he lived or died. all he wanted was a future where he could live with his friends in their own little paradise without a care in the world. with the money from the crown and shoupe’s promise, it seemed like he was so close to happiness and inner peace, but they didn’t let him have that. so yeah, I get why they did this, but that doesn’t make it less upsetting.

[quillkiller]

sorry to young royals but *haymitch voice* simon could live a hundred lifetimes and NEVER!!!!!! ever deserve wilhelm

[nenoname]

the way they're choosing to handle d/ipcifica is almost hilarious cos like. idk generally the main lead's love interest buildup isn't 99% from supplementary material and is actually built up in the show over time lmao