#she didnt say that out loud.

[drasticdoodling]

irving: duncan, you’re scaring the girl with talk of blights and darkspawn this is a happy day for her.

nimona: nooo i wanted to listen to drakspawn facts :(

[introspectivememories]

can i be honest? i dont think tim and bear have a really grand proposal. i think it happens at their apartment that they got bc bear finally put his foot down and went "baby you're immunocompromised. you cannot live on a murderboat on the gotham river" and tim reluctantly gives in but not without finding some random apartment complex that's still near the marina so he can go down and get his ass beat at poker by pie. and so it happens late at night, when tim is in nightwing sleep shorts and bear's old band tee on and bear is in some horrendous anime sweats and no shirt because their home is the only place he's ever felt comfortable leaving his scars out. and the lamplight gives a soft hazy glow to bear's tattoos and tim reaches under the shirt to scratch and in the movement bear can see the bear tim got tattooed onto his hip and he can't help grin softly. and they're both sitting on the couch as some lame ass procedural drama goes on in the background and they're eating batburger. tim's got the nightwing special and bear has the sword robin combo. and the ringbox is burning a hole through bear's thigh and tim makes some stupid comment about how lame meredith sounds begging some guy to love her and all bear can think is how much he loves this boy. so he gets up to get some water and he positions his phone so that he can get the best video bc tim is a sucker for home video and he plops down on the sofa hard enough that tim turns around to complain except bear is holding the ringbox open with a soft "marry me?" and tim goes "what?" and bear says "baby i have loved you since you walked through the gates of our high school and i loved you when you left and i loved you when you came back. i love the way you talk to yourself and i love the way dance when i put music on. and i even love the fact that you shove your ice cold feet in my shins every night. and i don't know exactly what to say except that i want to do this everyday until you get dentures and i get a hip replacement. and i want to be horny in the old age home and-" and tim cuts him off sob-laughing and says "can i say yes now?" and bear who is also crying says "wait, let me finish love. -and i want to do this in as many lives as we get together. so all this to says, timothy jackson drake, will you marry me?" and tim launches himself bear and shouts "yes, yes, yes! a thousand times over, yes" and they're sobbing as they slip the rings on each other.

[jajanvm-imbi]

Hey remember when I said that this was the most frustrating thing about being a Helluva Boss enjoyer?

Yeah I was wrong.

The most frustrating thing about being a Helluva Boss enjoyer is explicitly stating multiple times that I like show and then get called an anti and homophobic and media illiterate when I complain about the direction it has taken.

I LIKE the comedy

I LIKE the animation and artstyle

I LIKE the more serious plotlines like the government agents plot and the Cherubs plot

I LIKE the themes of friendship and found family

I even like most of the songs!

And ofc the voice cast slays every time

But just because your show has angst and tears and drama and sad music doesn't automatically make it "good".

Just because your characters are queer doesn't automatically make them good or well written characters

This fandom is so frustrating to deal with when you want to express your more nuanced takes of it

This is probably gonna be the last post I make about this subject and about Helluva Boss in general, this shit is too stupid to deal with

[dukeofthomas]

"Angry robin" "violent robin" "misbehaving robin" shut up and accept my alternative; spunky Robin. Determined and head strong, can out-stubborn the Batman, has a strong moral-backbone and does what he thinks is right regardless of what anybody else says, Robin. Jason who was sassy and quippy and made crude jokes with a smile on his face. Jason who hid in Bruce's cape and whispered gossip to him. Jason who, if Bruce refused him something, could keep bothering endlessly until Bruce caved. And also dramatic Jason. If Bruce tells him no, it becomes a whole theatrical show; a monologue, a narration, embellishments, and falling onto the floor in his grief upon the fact his cruel father has denied him once again.

(Jason who has suffered through abuse and homelessness and poverty and starvation, who is the Fight out of Fight or Flight, who's built up defenses and walls and when pushed and triggered responds with the thing that's always protected him; anger. He's sweet and kind and funny, and when he sees a pimp hitting a prostitute he gets furious and responds with violence.)

[brittie-frog]

Right today made my brain start thinking about demon lore so I did some research:

- BBH has hinted at being a fallen angel and is now a demon/grim reaper and while not ashamed, is secretive about it

- Tina basically confirmed she's a fallen angel or at least wasn't always a demon today and she is heavily ashamed of it and her "past of sin"

- Mouse is very comfortable and considers herself a natural demon with the Nether as her home (specifically Puerto Rico, canonically in hell)

And Mouse today said that natural demons aren't evil because that's just who they are while those turned demon are evil. And Tina basically implied that that was why she wasn't open about her identity because even other demons have those beliefs so how can she trust humans to not think of her like that.

However, cc!Mouse as a vtuber has demon lore that states she has an angelic form and the qsmp wiki states that shes a fallen angel of sorts (had a disagreement with god and was cast out) so if they are intertwined in some way:

1. We know more about Mouse Demon lore

And 2. All three of them are fallen angels (fell at different times: Bad the eldest, Mouse middle and Tina youngest)

So I think what Mouse means is that 'natural' demons also include fallen angels, since demons and angels are two sides of the same coin, and are just who they are, not inherently evil, but those that turn demon, like what happens when you get infected by black concrete, are evil. But because she has never explained about her potentially being a fallen angel and (while Tina does refer to the Nether as 'home') Tina doesn't think of herself as a natural demon like Mouse, there is a miscommunication and it's putting her into an even deeper well of internalised hate because even other demons would think of her as evil if they knew the truth of her past.

Also after today definitely it means that Tina is either lying about how much she knows of her past (which wouldn't be too much of a reach because she's hiding a major part of her identity that would be kind of hard to ignore) or they couldn't wipe the memories of the distant past so she remembers falling.

Today was a lot and I feel like I'm missing stuff but also it's 6am so I should sleep before this consumes my every waking thought.

[kacievvbbbb]

Look Challengers is very mishanks coded I don't know what to tell you, but it is. And you might say Kacie; Which homoerotic boy is Shanks? Who is the third person in the relationship (buggy maybe)? Would Mihawk need to have an injury? Isn't it a little more nuanced than that? All very important questions, all very valid points but all totally irrelevant.

Because Mihawk is very Tashi Duncan coded and this scene

is very young MiShanks coded.

While this scene is very after breakup but before make up coded.

And that my friends, that's what really matters

[blueskittlesart]

any thoughts on how once again zelda was robbed of her agency because her "father figure" didn't listen to her? even if rauru was kinder to her than her father. and that she had sonia who was patient and loving for a little while before she died (just like her mother). i know rauru apologizes for his hubris but still, i wish we saw zelda be upset about it. and even if zelda was such a big part of the quest she still literally sacrificed her humanity once again because of someone else's mistake- because rauru literally didn't listen to the girl from the future that warned you that shit was going to go down. o know nintendo just loves putting zelda inside crystals and stones but i wish we got something better. even if it was her decision to become a dragon... did she have any other choice? it really just feels like they robbed her of agency again just like botw and the games before

i've been trying to figure out how to answer this one. because there are two ways i could analyze this plot point, either from a writer's perspective or an in-story perspective, but neither of those lead to me fully agreeing with your interpretation? I think there's definitely something to be said about zelda consistently being pushed aside in these games, but. well. ok let's get into it ig

from a writer's perspective, I do honestly have quite a bit of sympathy for the zelda devs as they attempt to navigate the modern political landscape with these games. The cyclical lore, though canonized relatively recently, holds them to a standard of consistency in their games in terms of certain key elements. one of those key elements is that there has to be a princess, and that princess must somehow be the main macguffin of the game. The player must chase her, and the end goal of the game must be to reunite the player and the princess. In 1986 this was an incredibly easy sell. women didn't need to be characters. players were content with saving a 2-dimensional princess whose only purpose was to tell them "good job!" at the end. but as society advances, that princess becomes a much more difficult character to write while adhering to the established overarching canon. (as a side note: i don't necessarily believe that the writers SHOULD be held to the standards of that canon. I think deviating from it in certain areas would be a good change of pace. but i also recognize that deviations from the formula are widely hated by the loz playerbase and that they're trying to make money off these games, so we're working under the established rule that the formula must be at least loosely adhered to.) Modern fans want a princess who is a person, who has agency and makes decisions and struggles in the same way the hero does. but modern fans ALSO want a game that follows the established rules of the canon. so we need a princess who is a real character but who can ALSO serve as a macguffin within the narrative, something that is inherently somewhat objectifying.

the two games that i think do the best job writing a princess with agency are skyward sword and botw (based on your ask, our opinions differ there lol. hear me out) in both games, we have a framing event which seperates zelda and link, but in both games, that separation was ZELDA'S CHOICE. skyward sword zelda runs away from link out of fear of hurting him. botw zelda chooses to return to the castle alone to allow link the time he needs to heal. sksw kinda fumbled later on by having ghirahim kidnap her anyway, but. i said BEST not PERFECT. botw zelda I think is the better example because, with the context of the memories, she's arguably MORE of a character than link is. we see her struggles, her breakdowns, her imperfection, specifically we see her struggle with her lack of agency within the context of the game itself. when she steps in front of link in the final memory, and when she chooses to return to the castle, those are some of the first choices we see her make almost completely free of outside influence; a RECLAMATION of her agency (within the narrative) after years of having it stripped from her. from an objective viewer's standpoint, this writing decision still means she is absent from 90% of the game and that she has little control over her actions for the duration of the player's journey. however I think this is just about the best they could have done to create a princess with agency and a real character arc while still keeping the macguffin formula intact--you're not really SAVING zelda in botw. SHE is the one that is saving YOU; when you wake up on the plateau with no memories, too weak to fight bokoblins, let alone calamity ganon. the reason you are allowed to train and heal in early-game botw is because SHE is in the castle holding ganon back, protecting YOU. When you enter the final fight, you're not rescuing zelda, you're relieving her of her duty. taking over the work she's been doing for the past hundred years. in the final hour, you both work in tandem to defeat ganon. while this isn't a PERFECT example of a female character with agency and narrative weight, i think it's a pretty good one, especially in the context of save-the-princess games like loz.

as for totk, you put a lot of emphasis on rauru not believing zelda and taking action immediately, which, again, from an objective standpoint, i understand. but even when we're writing characters with social implications in mind, those character's actions still need to... make sense. Rauru was a king ruling over what he believed to be a perfectly peaceful kingdom. zelda literally fell out of the sky, landed in front of him, claimed to be his long-lost granddaughter, and then told him that some random ruler of a fringe faction in the desert was going to murder him and he had to get the jump on it by killing him first. the ruler which this girl is trying to convince rauru to wage an unprompted war on has the power to disguise himself as other people. no one in their right mind would immediately take the girl at her word. war is not something any leader should jump into without proper research and consideration, and to rauru's credit, he DIDN'T ever outright dismiss zelda. he believed her when she said she was from the future, he allowed her to work with him and he took her warnings as seriously as he could without any further proof. but he could not wage an unprompted war on ganondorf. that's just genuinely not practical, especially for a king who values peace among his people as much as rauru seems to. as soon as ganondorf DID attack, giving rauru confirmation that zelda's accounts of the future were real, he began making preparations to confront him. remember that zelda didn't KNOW that rauru and sonia were going to be casualties of the war--she didn't make the connection between rauru's arm in the future and rauru the king until AFTER sonia's death, when rauru made the decision to attack ganondorf directly. I think the imprisoning war and the casualties of it were less an issue of zelda being denied agency and more an issue of no one, including zelda, having full context for the events as they were unfolding. if zelda had KNOWN that sonia and rauru were going to die from the beginning and was still unable to prevent it that would be a different issue, but she didn't. none of them did.

I think another thing worth pointing out with rauru and his death irt zelda is that rauru is clearly written specifically as a foil to rhoam. this is evident in how he treats both zelda and link, with a constant kindness and understanding which is clearly opposite to rhoam's dismissiveness and disappointment. consider rhoam's death and the circumstances surrounding it. He died because, in zelda's eyes, she was unable to do her duty; the one thing he constantly berated her for. Rhoam's death solidified zelda's belief that she was a failure, a belief which she KNEW rhoam held as well. his death was doubly traumatic to her because she knew he died believing it was her fault. Now contrast that to the circumstances surrounding rauru's death. Rauru CHOSE to die despite zelda's warnings, because he wanted zelda and his kingdom to live. rauru's death was not agency-stripping for zelda; in fact, it functioned almost as an admission that he believed her capable of continuing to live in his place. With him gone, the fate of the kingdom fell to her and the sages. he KNEW that he would die and still went into that battle confidently, trusting zelda to make the right decisions once he was gone. where rhoam believed zelda incapable of doing ANYTHING without link, rauru trusted zelda COMPLETELY with the fate of his kingdom. several details in totk confirm that when rauru died there was no plan for zelda to draconify, that all happened after rauru was gone. it was HER plan, the plan which rauru trusted her to come up with once he was gone. and I think it's also worth noting that zelda's sacrifice with the draconification parallels rauru's!! Rauru gives up his life trusting the sages and his people to be able to continue his work in his place. Zelda gives up her physical form trusting link and the sages in the future to be able to figure out what to do and find her. these games in general have this recurring theme but totk specifically is all about love and trust and reliance on others. zelda relies on link, link relies on zelda, they both rely on the champions and the sages and rauru and sonia and they all rely each other. reliance on others isn't lack of agency, it's a constant choice they make, and that choice is the thing which allows them to triumph.

The draconification itself is something i view similarly to zelda's sacrifice in botw--a choice she makes which, symbolically & within the confines of the narrative, is a demonstration of her reclaimed agency and places her at the center of the narrative, but which ALSO removes her from much of the player's experience and robs her of any overt presence or decisionmaking within the gameplay. again, I think this is a solution to the macguffin-with-agency dilemma, and it's probably one of the better solutions they could have come up with. Would I have liked to see a game where zelda is more present within the actual gameplay? yes, but I also understand that at this point the writers aren't quite willing to deviate that much from their formula. the alternative within the confines of this story would be to let zelda DIE in the past, removing her from gameplay ENTIRELY, which is an infinitely worse option in my opinion. draconification allowed her to be present, centered the narrative around her, and allowed the writers to reiterate the game's theme of trust and teamwork when she assists the player in the final battle, which i think was a REALLY great choice, narratively speaking.

In any case, I don't think it's right to say that zelda was completely robbed of her agency in botw and totk. Agency doesn't always mean that she's unburdened and constantly present, it means she's given the freedom to make her own choices and that her choices are realistically written with HER in mind, not just the male characters around her, and I think botw/totk do a pretty good job of writing her and her choices realistically and with nuance.

[faaun]

pls i need to provide updates

[harbingersglory]

do you have any beidou and miko sub headcanons? 👀 i like to think they're both brats, but i think that's just my own biases speaking haha

YES!!! heavy on the brat miko she's a brat even when domming she makes it work dont ask how. i can see snarky sub beidou too ough..

miko is peak brat. she's literally made for it. she will bully you about wanting her to sub but if you pull her hair she's melting like putty. she definitely likes it rough if she's subbing and that goes for you too. expect plenty of bites and scratches.

generally a menace in bed lbr. will absolutely test your patience trying to turn the tables on you just so you can put her in her place. she's a lot quicker and more squirmy then you'd maybe expect her to be, she can and absolutely will try to flip you over. tie her up though and she'll behave..physically, at least. she's still going to be a snarky little shit trying to rile you up until you rail her into the mattress so hard she feels it the next morning. so you better shut her up, huh?

shove your fingers in her mouth, gag her, etc. shes not complaining which. keep her on her toes and switch it up even.

she has excellent control over her tail and ears to not give away her emotions but she kinda loses it if she gets really into it. rile her up enough and maybe she'll let you pull on her tail (please do)

but she also reads as someone who would want a night where you two just go at it trying to dom the other. it really gets her worked up and you might end up bleeding a bit because she gets a little too excited. might get a scar or two in the process. her teeth hurt and she knows how to use them (all the better if you are into it)

beidou, on the other hand..where miko is a little mean (affectionately) beidou feels more snarky then outright. yknow. mean. she feels more like she leans toward being a dom to me but shes absolutely down to sub!! shes just a little surprised at first

especially if your smaller then her though shes LOVES it. shes built like a damn tank she thinks its a little funny (and really hot) and she makes sure you know it. shes crude and snarky but she actually enjoys subbing from time to time that she doesnt really mind it all that much. its nice to let you take the reins sometimes

especially anything involving eating you out/sucking you off this woman is RELENTLESS. acting like she's starved. theres something thrilling about having the tables turned from how she usually does it though. grab her hair and use her and shes putty. especially if you tie her hands up so she cant grab your thighs. she'll whine and pout about it but you both know if she really wanted to she'd snap the bonds like tissue paper.

she definitely feels like someone who prefers subbing by still pleasuring you though, yknow? rather then the other way around. she prioritizes your pleasure even when she subs and it shows!!

feel like her snarkiness really shows if you start ordering her around though. she'll pull out the captain card lightheartedly and purposely be obtuse if she thinks itll rile you up without killing the mood. she'll say no with a cocky smile and then do it anyway, etc. less of a menace then miko but definitely still up to a bit of mischief.

[autisticlee]

sometimes I think about how when I went to college for a year before I dropped out (basically failed out,) the counselors/dean told me they can't help me at all or give any accommodations unless I have an official autism/adhd diagnosis. that might sound logical at first, but when you think about it more, it's actually quite fucked up. if someone is struggling really bad, what's the harm in helping them? why do they require a paper to get even the smallest amount of help? people who don't need help aren't going to be failing miserably without help! even NTs could benefit from some adjustments to the horrible school system! (but changing the entire system is a whole other conversation that the school system isnt ready for)

but even if you do agree to jump through their hoops, you realize it's even more fucked up that the diagnosis process requires YEARS in most cases (in my case it took 4 or 5 years, can't recall exactly now, for autism/adhd diagnosis, which would have meant i finished school before getting it if i managed to mot fail out, or i wait that long before going back, which is a whole struggle itself) and they also tried billing me for THOUSANDS of dollars because of insurance issues!!

so you put a ton of time and money into this, and then get told the only accommodation they are willing to give you for autism and adhd is "a little extra time on tests"

....

my test scores were the best part of my whole class experience. that was NOT what I struggled with!!!!! those tests were all online and could be done in the comfort of your home where you can accommodate yourself and have plenty of time left over when you finish them because you are comfy in your own space, (and also, no one was stopping you from having your notes/books/google open to find the answers,) and you don't even need a time consuming, expensive diagnosis for that!

SO WHAT'S THE POINT!!!!!!!

[nerdie-faerie]

Just when I think the day's going well, I crash a golf cart

[mbat]

i really wanted to try and write like, a thing explaining how i think steven universe future is one of the best portrayals (and my personal favorite) of mental illness in media, and how i think people misinterpreted it (me included at first, cause my experience over time has given me new perspectives) but i. AAA i literally dont even know if its necessary cause i dont know if people still think it was bad or a bad way to write steven (it wasnt!!) or like any of that, mostly cause. holy shit its just so obvious to me?

like i watch that show and i relate to him so much that i just understand it all and its so obvious to me and i dont know if other people find it. not obvious. like everything is right there in the text laid out i think

the main thing that i saw get misinterpreted when it aired was the second to last episode where steven turns into a fucking kaiju and everyone, again me included, thought that it felt rushed, but everytime i rewatch it i think... no it wasnt, actually. because we see it expecting a big fight or thinking it needs a whole lot to fix, but it doesnt. its not a fight, its someone having a mental breakdown and thinking theyre purely unlovable and evil, but being made to see that they are still lovable and arent evil even after all the bad theyve done, theyre loved unconditionally, and that other stuff mostly really doesnt matter (and hey, it can be fixed/dealt with later, its fine!)

its just my favorite show ever, specifically future! and i really wish other people would see what i see, but do i even need to try..? i didnt really write it very well anyway, but drafts exist for a reason. idk ive just been thinking about it a lot

TL;DR: i adore steven universe future and im wondering if anyone thinks its even necessary for it to be analyzed for people to maybe better understand it/do you think that there are enough people misunderstanding it that it needs a perspective to maybe help be more understood

[infiniteseriesofhalfways]

photos taken moments before disaster

[anotherpapercut]

working with children really will make you examine your thought processes and emotional reactions like nothing else. I've found myself being so much more thoughtful in my daily life about how I respond to my emotions and environment, as well as the reasoning behind why others behave the way they do

[sanguinewolves]

god i really wish i could just. control my voice. could control my volume and how much i speak.

[fizzingwizard]

"Elinor agreed to it all, for she did not think he deserved the compliment of rational opposition." - Jane Austen, Sense and Sensibility