#so like i don't really have much to say

[lgbtlunaverse]

The world exists in such a baffling state of simultaneous sex-aversion and sex-hegemony. Every social platform on the internet is trying to banish sex workers to the shadow realm but I can't post a tweet without at least two bots replying P U S S Y I N B I O. People are self-censoring sex to seggs and $3× but every other ad you see is still filled with half-naked women. Rightwingers want queer people arrested for so much as existing in the same postal code as a child and are also drumming up a moral panic about how teenage boys aren't getting laid enough. I feel like I'm losing my mind.

[illusioncanthurtme--art]

Physically? I am sitting in my bedroom. Mentally? Spiritually? I AM DEAD ON THE FLOOR!!!!! THESE TWO HAVE KILLED ME!!!!

(Another drawing! This was originally attempt #1 at drawing stan, and then fiddleford just showed up. Kinda feels like them five minutes after the above acting like nothing happened though, so it works sdjkgkjfshj)

[vaguely-concerned]

the strength it must have taken for illario to not immediately go full 'lmao since when have you even had a kiss hello lucanis' sibling violence mode during the café talk. inspirational. rook and lucanis really were doing all that right in front of his salad huh

[egophiliac]

I have SO many thoughts about everything and they are in no kind of order yet, so here's just some quick little bits in the meantime!

I am not normal about any of these characters!

[poorly-drawn-mdzs]

Council of lovefools.

[First] Prev <–-> Next

[biomechabird]

Despite everything, it's still you.

[welcometogrouchland]

(ID in alt) you guys even fuck w/ the flash on here???

[secriden]

There's something so wondrously momentous about Style only saying his "I love you" now, when he realises that all the secrets he was keeping from Fadel are already laid bare.

He says this a significant time after Fadel has said his (and, in the context of the wider narrative, after Kant and Bison) and for the character we have seen as prone to glibness, exaggeration and flippancy with his words, that feels incredibly intentional.

Because this confession was the only truth Style had left to give.

Fadel is finally done playing his (poorly thought out) game, done with his (already cracking at the seams) charade, done with giving Style more opportunities to pull at his heartstrings with his earnestness lies.

Fadel is demanding the truth, and tells Style exactly what truth he wants to hear.

And the thing is, there is truth in this: Style's motivations at the start were wrapped up in a deception specifically targeting Fadel.

I know we, as a fandom, harp on about Style "doing all that for a car", but something I would like us all to revisit is what Kant actually says to Style when he first asks Style to "hit on" Fadel:

Kant: You need to help me. You know I don't usually feel this way about someone. And then shortly later, after Style refuses: Kant: Hey, hold on. (Kant grabs Style's hand.) What do I have to do to for you to help me out? Should I pay you?

(Please forgive my inability to gif and watch Style's reaction to this.) Style is visibly surprised and intrigued. Kant seems to be serious about this request, and I think Style decides to test just how important it is to Kant by asking for the one thing he knows Kant will not give up.

Just look the expressions on Style's face. We didn't have the context of knowing Style back then as well as we do now, but this is the look Style gets when he's throwing out a challenge (to Fadel), when he's trying to ferret out some new insight (from Fadel), when he wants to see how someone (Fadel) will react to whatever outlandish (provocative) thing he's said or done.

And when Kant agrees, Style even checks again if Kant is serious about going through with it -- and it's this that convinces Style of the sincerity of Kant's request.

Yes, the car was a factor, and yes Style also wanted revenge and to humble Fadel, but at the centre of Style's motivation has always been a plea for help from a friend.

In episode 1: Kant: Under one condition. You have to make him head over heels in love with you. Style: I'll do it. Not just for the car, but someone like him needs to be humbled by someone like me.

But in agreeing to help Kant, Style really was damning Fadel to play the fool because Fadel's feelings (his heart) was a commodity that Style was fully willing to play with back then.

And there are aspects of truth here too. When Kant tells Style about Fadel (and Bison) being hitmen, Style decides he's done and wants out. Kant reasons that it's more dangerous for Style to break up with Fadel now, because it would look suspicious, but crucially this isn't enough to convince Style.

So Kant, once again, makes the plea to friendship and to his need for Style specifically, and it is this that causes Style to finally cave.

But in doing so, the things that Style agrees to are:

Kant: Work with me. Help me get more information about them. Once we get that, it's done. Captain puts them in jail, and we walk free.

So while Style may not be directly working with the police, he is working with Kant who he knows is working with the police. By proxy, Style is involved with the police, but in front of the empty pool, he makes it clear to Fadel just what that involvement actually entailed:

Style: Kant asked me to take you out so you could leave him alone and he could freely investigate. Fadel: What did he get out of it? Style: I don't know! That ain't my business! All I was asked of is to take you out.

And this, too, actually is true! Since finding out, Style has literally not discovered a single thing that could be remotely useful to the police investigation:

He's found out that Fadel likes to gym at night. He's found out that Fadel uses tenderloin in his burgers. That he runs in the morning before going to the market. That he attends a grief support group.

But these were all things Kant also already knew and could have given the police if it were in any way useful for the investigation.

Even his attempts to get Fadel to confess to his "other job" (something the police also already know) were clearly in service of wanting to save Fadel and/or convince him to give up the life of crime in the hopes that Fadel wouldn't have to be sent away from Style to prison.

But the truths are tangled up in misunderstandings and Fadel's own assumptions now; and also further tainted again by Bison's own hurt over Kant's betrayal. And Fadel literally cannot see -- because his eyes are filled with tears [see: @thisautistic's gifset + my tags] (good grief, Joong, the actor you are) -- the honesty Style is bleeding from the marrow of his bones.

Because the truth is that along the way Style has also found out that Fadel is a good older brother. That Fadel is still hurting and bleeding inside because his parents were murdered. That Fadel wears his favourite bands' make up in secret because he cannot bear the thought of other's judgement. He's found out that Fadel misses Style, wants Style, and hates himself for it. That Fadel is afraid to love. That Fadel is acutely aware of his own darkness and cannot comprehend an existence that would not involve someone (Style) rejecting it. That Fadel does not believe that 100% trust is possible, but that he will get himself drunk so that he can offer Style as much vulnerability as he can physically make himself give.

Because the things that Style did find out were all the ways Fadel's heart is soft and tender and precious and worthy worthy worthy of all the love Style has to give.

And Style will stand firm on this truth because this is the only thing he has left to give Fadel.

Because Fadel knows, now, all the ways Style was unworthy of his trust, but crucially has not figured out the most important truth:

Because in all the ways that Fadel has ever known he should want, Style actually IS worthy of his trust. Style knows the truth Fadel is hiding, knows what this man is capable of, knows the danger of being in his arms, knows the likely nonexistent future Fadel has to offer him -- and wants him anyway. -- Quoted from my meta post on the "One day, I'll be your 100%" line.

And as I alluded to in the tags on @yinwaring's insightful post: Style fully embodies the belief he espouses; because even in the face of a gun to his head and Fadel threatening to kill him if he will not admit that this, too, is a lie, Style refuses to give Fadel anymore dishonesty.

And this is because Style knows that the truth matters; now more than ever.

Because Style has had days to grapple with his worry after Fadel's disappearance. Style has had a week's worth of checking the diner only to face the regret he feels about not handling things differently. Style has had to recognise the terror of thinking he had lost something he never even knew he wanted in the first place.

And while Fadel had his realisation back in episode 4, Style never had to face this until Fadel vanished from his life and left a gaping hole in the shape of the absence of Fadel's smile.

So if this is what it takes, if this is the penance that Fadel demands of him, then it is a price Style is most happy to pay.

Because Fadel does not realise is that Style, too, now knows what it means to lose a love worth fighting for.

And in the war Fadel now feels compelled to wage against Style (because, yes, that's definitely still going on), the one damning thing Fadel has failed to recognised is that his only true weapon was leaving Style behind.

Which is why Style has already won. Not because Fadel's walls have crumpled again or because they don't still have a ton of things to talk through and work out (they really, really do), but because Style has already been stripped bare (and I mean this literally, like we all recognise THAT was the reason why Dunk is only in boxer shorts in that scene, right?? Like, I know we were joking about it, but seriously, that was so very intentional and a visual representation of Style being both stripped and, most importantly, freed from the lies he felt compelled to tell Fadel) and this means he has nothing holding him back.

And Fadel can wield his gun and his words and his anger and his hurt, but Style will die on the hill of the truth that he knew and understood and chose to love Fadel anyway, and saved this last confession for when he knew he could tell Fadel the truth without any lingering deception; and when the time is right, when Fadel is finally ready, Style will be there to welcome him back with open arms and, without any hesitation, an open heart.

[inkskinned]

i keep thinking about hobbies and how i often spill over myself to pick up new ones. i have adhd, i end up trying something for like a month and then just getting far enough in it that i move on, satisfied.

and that should be fine; but it's never fine.

i am a pretty decent artist; but i can't just make art for my dnd campaign, i should be selling dnd maps and character designs and scene setting pieces. i can't just make my friends matching earrings, i need to get an etsy and ship them internationally and take bulk orders. i make pretty good props and decorations and use them to throw my friends parties - but i should be running a party planning business and start taking paying clients and networking and putting my skills to actual use.

for some reason, i never figured out the specifics of pottery. it was a fun class and i enjoyed myself - and still, i'm embarrassed, years later, that i put in all that useless effort. everything i make has to be stunning. stellar. i should have applied myself more. maybe i'm too lazy. maybe i'm broken and selfish and needy. actually creative people would have kept going; they would be bettering themselves at every possible opportunity.

we find ourselves in this trap, even accidentally: we need to commodify our time, because it is a commodity. if we spend our efforts and our time not earning, isn't that the same thing as burning free money? and god forbid you ever take up a hobby that ends up being more expensive than you thought. you sit in your car and you look at the receipt and in your head you hear a conversation that isn't even happening - your mom or your friend or your partner all saying oh great. not this shit again. it's always something with you, and it never actually means anything.

i have realized this horrible thing, recently - i'll get excited to start a project, pick up a new hobby. and then i just... stop myself. i start thinking about the amount of time it will take, and how it'll look in my monthly budget. what if i can't even produce a good enough final product. sure, it's exciting to think about how i could make my friend her own custom dice. but i'm just polluting the earth if i don't get it right. better not bother. better not try.

restless, i get caught in the negative space. the feeling that oh god, i want to create. and that horrible sense - yeah, but i don't have the time to just put to waste.

[tritoch]

one thing I find neat about Emet-Selch is that his chauvinism is so intense that it actually prevents him from making the strongest possible case for the unique moral goodness of the ancients, and that this same mental distortion ties into his classic final fantasy need to turn into a Horrible Final Form Monstrosity for your final fight

(for my part I think any minor unique moral goodness the ancients possess they have due to their status as demigods living in eden before the fall. even if they really are morally/intellectually/spiritually/magically/etc. superior to every modern eorzean on a 1:1 level it still doesn't change anything because 1) they are mythical and impossible, that's the whole point and 2) even if they weren't, they still have no particular claim to existence that is superior to anyone else's, no matter how good they are. but the point here is the case Emet-Selch is trying to make, which is that they are more "worthy" of life.)

when he's setting you up for the final amaurot sequence, Emet-Selch hits you with this one:

it's a solid line! stops the party cold for a second.

it's also...not that impressive. do I think if we called a big world meeting that half of everyone would just jump up to be chosen? maybe, maybe not. but, sorry: we're having a big world meeting? are we also demigods with their every material need fulfilled in this version? do we have a one world government that almost everyone seems to fully trust telling us that it knows for real a way to stop the meteor heading towards earth? because honestly i think as soon as we start creating structural similarities like that, it becomes a lot more likely. and every step you take towards making the comparison happen on level ground makes the idea that the ancients were possessed of some unique moral fiber that made them capable of this sacrifice (as opposed to the undeniable abilities in magic and global governance that actually enabled it) seem less and less likely.

and especially if you consider it in the context of what actual people are like. human (and presumably eorzean) history is replete with examples of people sacrificing themselves to save others, even though none of us are immortal wizard philosophers. i don't know how the white-room thought-experiment "will half of you die to save the others???" turns out. but do i think, across a grand rolling catastrophe, that half our population would sacrifice itself to save the other half in a million individual acts of sacrifice to save a parent, a child, a lover, a friend, a stranger? that seems significantly more plausible. altruism and sacrifice for others is even pretty frequent in animals! it's not a very unique moral behavior!

(stanford encyclopedia of philosophy on biological altruism)

but that's not the only sacrifice the ancients made. roll the tape, hythlodaeus!

...Yet oh how the star had suffered. So many species lost. The land was blighted, the waters poisoned, and even the wind had ceased to blow. Once more did our people give of themselves to Zodiark. Another half of our race sacrificed to cleanse the world; to ensure that trees and grasses and myriad tiny lives would sprout and grow and flourish.

(every time I read this speech and hit the ff1/3/5 ref about the land and waters and wind i become mylongestyeahboyever.avi)

this is the step beyond, and it's what separates the ancients from modern humans. they viewed themselves as stewards of the star and really meant it; whatever other criticisms you might level, you can't doubt the depths of their commitment. and this i think really does make them morally distinct from modern people, or at least raises that possibility in a much more compelling way than the first sacrifice. half of the living population sacrificing itself not in a moment of duress and apocalypse but in a moment of calm? when the sacrifice isn't for anything but plants and animals and some tiny proto-eorzeans? that kind of cold, calculated, long-term altruism, aimed at people and living beings that are nothing like you...that does feel like something a little more unique, more worth preserving. even in just the text of the game, we can say with real certainty that the ancients were at least more capable of facing their problems and had greater moral integrity and care for the world than, say, the people who made ra-la.

but emet-selch can't ever say that because rejecting and dishonoring the decision the ancients made as stewards of the star is his primary goal.

like, "my people were uniquely morally good. half the living population sacrificed themselves not for their loved ones or for the survival of their people but simply for the world. for the trees and grasses and the wind and the water. for the humblest insects and for the summer breeze and the tides." that fucks! damn, you got me there! i watch enough people throw aluminum cans in the trash on a weekly basis that i find this sincerely moving and beyond the seeming abilities of my own brethren! oh no, i'm being persuaded by the fascist immortal space wizard!

"and therefore, because they are uniquely morally good, we are going to sacrifice and kill the very things they gave their lives to save, so we can have them back :)" well, shit. i'm experiencing some dissonance here.

but you can't actually lie to yourself as long as emet-selch without distorting your understanding of the truth. you cannot choose to see the world falsely half the time and clearly the other half. in committing to self-deceit and willful ignorance regarding the value of the modern world, emet-selch blinds himself not just to the world as it is but to the ancients as they were. if he could describe accurately the ways in which the ancients were genuinely noble and benevolent, he would also have to able to see clearly how he has entirely deviated from that ideal. and he cannot do that and stay on the path he has chosen, so he simply chooses not to see things accurately.

i cannot help but link this blindness of his to his trial. here, at what seems to emet-selch to be the last stand of the ancients, he says to you "to be clear this fight IS a metaphor, and in that metaphor i stand in for the Entire Unsundered World."

and yet, in standing against you, he betrays both the customs of the ancients and his very title, itself a direct signifier of the mission he was charged with as one of the convocation of fourteen: "to ensure that all is right in creation, that our star may know a brighter future." contra elidibus, for whom remembering his duty to the ancients is one and the same act as remembering his name, emet-selch declares his own to be mere pretense. and that's before we even reach the matter of his transformation.

emet-selch believes the only way he can save the ancients is to betray their principles, forget their greatest triumphs, and abandon their trappings. he renounces almost everything of the ancients, save for his pale and sad and faceless amaurot, in the hopes of bringing them back.

i am reminded a little of borges's three versions of judas, a short story which uses the lens of fictional literary criticism (appropriate for a story as interested in competing narrative interpretations as shadowbringers is) to recast the betrayal of christ by judas not as the greatest of sins but as the greatest of sacrifices.

The ascetic, for the greater glory of God, vilifies and mortifies his flesh; Judas did the same with his spirit. He renounced honor, morality, peace and the kingdom of heaven, just as others, less heroically, renounce pleasure. With terrible lucidity he premeditated his sins.

and, in turn, the sardonic footnote to that very same line, which unsettles that sentiment as soon as it has been presented:

Borelius inquires mockingly: “Why didn’t he renounce his renunciation? Or renounce the idea of renouncing his renunciation?”

[bumblingbabooshka]

Thinking about marriage/women's rights on Vulcan Some may think that T'Pring not being allowed to divorce Spock was because he was going through the pon farr but if she were allowed to divorce him at all she probably would have done that a long time ago, confirmed by T'Pol when she's speaking with Koss, who isn't suffering from the pon farr. She says that he can choose another mate (without invoking a fight it seems: note the difference between a 'mate' and a 'challenger') and after he makes it clear that nothing she says will change his mind about marrying her, she finally threatens to declare a kal-if-fee. It's clear that Vulcan women cannot divorce/refuse to marry a man they've been betrothed to under any circumstances if A) He himself doesn't consent to ending their marriage or B) She doesn't have someone else waiting in the wings to be given to in his stead. Though, if the challenger she selects fails to win the fight, she'll have to marry her betrothed anyway unless (again) he decides he doesn't want her after the challenge. That seems like an incredibly unfair system, heavily biased towards men. SNW is an alternate universe in many obvious respects but most egregiously in that T'Pring has a lot of non-canonical agency over her relationship with Spock. It's interesting to me that Vulcan society has women in many positions of power and treats women as equal to men from what I've seen despite these laws. We don't really see Vulcans exhibiting a misogynistic attitude towards women in general but in TOS (perhaps because of its general writing style but it's still interesting to note) both Sarek and Spock take on patriarchal attitudes specifically regarding wives. Amanda says that 'of course' Sarek commands her because "he is a Vulcan and I am his wife." It's worthwhile in my eyes to note that she specifies 'wife' instead of attributing this attitude to women as a whole. Again, with TOS' writing style it wouldn't be out of place for her to say "he is a man and I am a woman." Spock, while in a pon farr induced irritation, states that it's "undignified for a woman to play servant to a man that isn't hers" - again implying that there's something specific about being a Wife in Vulcan society which is different from being a woman in general and demands subservience to a husband. This could perhaps stem from the extreme sense of ownership that Vulcan law has permitted men to have over women. A woman legally cannot point blank refuse marriage. There is no option which guarantees she won't have to marry her betrothed other than death. When T'Pau speaks of T'Pring she refers to her as being 'property' and Stonn, before being interrupted, states he's made 'the ancient claim' - we don't know what this is because he gets cut off but it's obvious they're both using the language of Vulcan law. Men are permitted true freedom to choose. If a woman wants to choose someone else to be with there is no option available to her other than the kal-if-fee which might result in the death of the one she wants to be with. And, if her lover fails, her husband can still just decide he wants to marry her and she'll be forced to. T'Pring gives two scenarios: One where Spock 'frees' her and one where he doesn't - it's still ultimately his decision which is clear when he ends the conversation with "Stonn, she is yours." This again isn't just because of the pon farr as T'Pol also goes through this. Koss can choose another mate and when the option is talked about there's no implication that this would result in any sort of fight (both by the casualness of its mention and by the fact that there's no formal word for it unlike the kal-if-fee.) Also, the fact that Koss does eventually grant T'Pol a divorce and it's all fine means that T'Pol isn't lawfully required to have another man waiting if her HUSBAND doesn't want her. It's ONLY required if SHE doesn't want her husband. Tradition must take precedence over individual desire UNLESS!!! You're a man. Then it's fine. Like, your parents might not be happy but legally you're golden.

[starry-bi-sky]

mmmmm danny with sensory issues both in and out of his ghost forms, but on the opposite ends of the spectrum. Ghosts can't experience sensations the same way humans can when they're in the mortal realm. They're naturally intangible, and it takes energy to be physical. When they're physical, all touch feels the same barring the texture. They feel no heat, no chill. Sunlight passes through them, and so does wind and rain.

You know when your foot falls asleep/goes completely numb, and you go to touch it with your hand and it causes a strange jumble of sensations? You can feel the skin there, your palm is pressing against an object and there's resistance, pressure, but you can't feel the heat? It's kinda something like that. Like he's feeling everything through a set of gloves.

As a ghost, when it rains, he can feel the raindrops hitting him, and he can feel his hair getting wet, but he can't feel the chill of the water and he can't feel the wetness. His suit is soaked but there's no weight like there should be. During the winter snowflakes don't melt when they land on him, and he can't feel the chill of the snow when he gets buried under it.

Sunlight passes through him, a nice breeze ruffles his hair but there's no relief in the sensation. All pressure, no sensation. It's like a strange form of sensory deprivation. And of course, the internal things. It's even worse when he's intangible, when he's not putting energy into being physical. He doesn't feel real.

As human, things become too much. Especially when he's been a ghost for hours. He can feel the weight of his ribs pressing against his ribs, he becomes hyperaware of the expanding of his lungs when he breathes, the feeling of his heart pulsing in his chest.

He curls his fingers in and out slowly and becomes fascinated by the feeling of the joints moving. He turns and grabs Tucker's hand, and soaks in the warmth of his body heat -- he can't feel it as a ghost. He runs his fingers through his hair, and he can feel the individual strands.

There's a weight when he walks. A small drag when he bends his knee and lifts his leg and takes a step, and when he's been a ghost for too long he stumbles over himself, drags his feet along the floor and stomps when he doesn't mean to because he forgot to weigh his steps. Sometimes when it rains he goes out and sits on the front steps of the house just so he can come back in shivering and soaked through to the bone. Runs his fingers obsessively over the goosebumps up along his arms and legs because he can't get them as a ghost even if he's cold.

Because there are certain things, even when he's in the ghost zone, that are exclusive to the living. The little internal things you don't notice and take for granted. Things like breathing and goosebumps and exhaustion exclusive to running that makes your heart pound against your ribcage and your chest hurt with the need for air. Sore muscles from working out and sweating. Thirst and dry mouths, chapped lips and hands, blinking and dry eye, the feeling of the sun soaking into your skin on a nice summer's day.

As a ghost, Danny faces sensory issues in the form of not enough. When he can't feel the hair behind his ears or the weight in his limbs where there should be muscle, tissue, and bone. He can't feel the sun or the wind, everything is in a permeable state of 'just fine', and its maddening. He can breathe if he wants, but there's no point to it. He has no lungs, he can't feel them expand, and there's no relief behind it. He's going through the motions without any of the reward.

On those days, the idea of going ghost again makes him feel ill. Paranoid. He can't stand the thought. He needs to feel. He needs to feel the soft texture of the rug beneath his feet and the grooves in his knuckles, he needs to feel dirt crumble beneath his fingers and get stuck under his nails, he needs to feel the heat of his sister's hand and the feeling of body warmth passing from her to him. He lays on the carpet room and stretches out, and focuses on the feeling of his heart beating and the weight of his bones and muscles and tissue pinning him to the floor.

As a human, Danny faces sensory issues of too much. When all the things he's starving for suddenly make him sick. He feels trapped in his own skin. His ribs become a cage and breathing becomes a dumbbell that he can't put down. He can feel the hair along his arms and it rashes him. He's too cold, he's too hot. He feels like a ghost puppeteering its own corpse and he needs out.

On those days, Danny dips away when he can and goes ghost, and Sam and Tucker don't see him for the rest of the day. He's gone invisible, intangible, and he does nothing but exist.

Just, him experiencing sensory issues as both ghost and human, but in opposite directions from each other. And the idea that ghosts experience the mortal realm differently, and that there are certain things that are just exclusive sensations for the living that Danny doesn't realize until he's a halfa.

[vexedmilky]

"We need more male SA rep!!!"

Y'all couldn't fucking handle them

[14dayswithyou]

Hi, Howdy! Hey! I really love your novel!! I got a little confused by the 4 day, may maybe you help me please? who is it? why we got the bad end staying the night in Ren’s apartment and he disappear of the home screen? I can’t understand “unset memory” game, sorry if I wrote smth wrong or smth sounds rude, I swear that I didn’t mean it if happened, I’m really a fan of the novel, I’ve been playing the game since day 1 or 2 I guess, probably day 1, english isn’t my first language, but I tried lol

⌞♥⌝ I hope you don't mind me answering these as bullet points!! ^^

"It" will be revealed later in the game! So I won't reveal too much right now.

You can only get the Dead End in Day 4 by staying at Ren's apartment — the rest of your choices before that don't matter. I'd also pay closer attention to the black smoke and Ren's reaction towards it!

Ren disappears from the home screen because he promised to help the player out (and stop them from getting the Dead End again). Try replaying the game again from the beginning for a surprise!

"Unsent Memories" was another visual novel (initially being written by @10chimes / @unsentmemory, though the project has since been dropped and handed back to me /pos) and is set in the same universe as 14 Days With You. Its storyline and characters are completely separate from 14DWY, so you don't have to worry about them while playing 14DWY.

[thekittyokat]

you ever just have a lot, a LOT of feelings all at once about a character and not even remotely enough words or brainpower to FORM the words to describe everything you're feeling. so it feels like you may explode. yeah

[ladyloveandjustice]

I was stubbornly not wanting to cry at dandadan I was like "single mom doing sex work supporting her child backstory! obviously some guys are gonna come attack her and her kid will die or be taken I've seen this I refuse to cry for this basic ass woman suffers story wanting to tug my heartstrings I REFUSE"

but then it was so well directed and Momo's reaction and the hug and "to a kinder world" and I cried anyway. you win this one dandadan.