#so they just went back to ignoring it

[owlphaace]

"Where does this game go in the timeline" is the "which pokemon is the most edible" of Zelda games

[fridgrave2-0]

hehe ghost-turbo haunting felix au

turbo is connected to the last piece of his code in the whole arcade - a trophy he gifted to felix in mid 80s as a symbol of him genuinely caring about their relationships on par with being the best racer. felix also gave him one of his medals and both kept their gifts next to other rewards, but when roadblasters and turbotime were unplugged, the medal was gone with everything else

now, after burning in cola-lava turbo is basically dead, but scraps of his code still were intertwined with the trophy (after all, it was his first winner's cup, but felix never knew about it), giving turbo an opportunity to exist as a shadow incapable of interacting with anything and anyone besides felix, who kept the trophy even after the roadblasters incident

also I went crazy in tags, feel free to check them out

[biggest-gaudiest-patronuses]

putting my prediction on record now that the coming decade is going to see the rise of viral-marketed fancy at-home water filtration systems, driving and driven by a drastic reduction in the quality of U.S. tap water (given that we are in a 'replacement era' where our current infrastructure is reaching the end of its lifespan--but isn't being replaced). also guessing that by the 2030s access to drinkable tap water will be a mainstream class issue, with low-income & unstably housed people increasingly forced to rely on expensive bottled water when they can't afford the up-front cost of at-home filtration--and with this being portrayed in media as a "moral failing" and short-sighted "choice," rather than a basic failure of our political & economic systems. really hope i'm just being alarmist, but plenty of this already happens in other countries, and the U.S. is in a state of decline, so. here's praying this post ages into irrelevance. timestamped April 2023

[latenightsundayblues]

And in the final stretch of time just when nobody thought they'd do it BLUES COMES IN LIKE LIGHTNING TO DELIVER THEIR YEARLY LEGALLY MANDATED HALLOWEEN DRAWING AND TAKE THEIR 3 FOLLOWERS BY STOOORMMMMM

Theyre all having a little costume party at a hideout and nobody's dead and strahm's there too and everything's fine and ok and dandy and peaceful and lively on planet earth

Also strahm being a fucking buzzkill lmfao

[infiniteorangethethird]

maybe unpopular opinion but probably one of the least useful pieces of advice I've ever got as an auDHD person to the question of "how tf does one make friends" was to go and join clubs/groups that do hobbies I enjoy. Not only does this not actually answer the question of how to make friends (yknow, how to approach people, how to start a conversation, how to appear friendly enough that they don't immediately reject you for existing, how to actually keep them as friends later on, etc), but also the chance of me choosing to force myself into the discomfort of "making smalltalk with random strangers" is absolutely nonexistent when the alternative of engaging with a hyperfixation is not only socially acceptable but even encouraged

[ceruleanblueshells]

physically im here but mentally im in declan's kitchen looking into his vacant eyes as he drinks coffee just because matthew said the kitchen smells like coffee in the morning

[claitea]

playing p3r on discord vc with my gf bc its one of her favorite games and she wants to see it again, had this exchange today

[prismaticsaltedink]

Scoria and Sakura are best friends! It's so cute when I see the things they do together, and it makes me so beyond happy that they both came to live with me so that they could share their lives with each other. They absolutely insist on it, and does so much good for the other.

I can't imagine how else they could have found happiness if things hadn't worked out exactly as they did. Scoria has basically been Sakura's "emotional support snake" while she worked through things from her past I'll never fully know that caused her a lot of issues with panic and fear. Sakura knows this too, and looks out for her sister, the only one she truly trusts and feels completely safe with.

The moment they wake up they both want each other to snuggle and play with. Scoria loves to be affectionate with both me and her sister who seems to have not had this earlier in her life- but Scoria is showing her how nice it is not only directly but demonstrating with me and Sakura also trying, copying what she has seen her sister do.

Sometimes when one goes to check on the other they'll join in on... I'm not even sure what they were doing. But they had a good time while taking a mandated union break from digging tunnels for the isopods.

So happy I get to share in the adventures of these two best friends! It makes me so happy to see them living their best lives together, and being beyond content snuggled together with their found family.

[crystallizsch]

yuusha didn’t have anything else to wear so💥

[triglycercule]

instead of nightmare approaching horror to recruit him for the gang i think it would be cooler if he talked to undyne about it. because she would not hesitate TWICE to ship horror off to fuck knows where in the multiverse

like booo booo boring horror would never cooperate and agree to join nightmare without him doing some extra work that he cant be bothered 2 do bc its doesn't benefit him enough 4 the effort put in. AND THAT METHOD DOESN'T EVEN GIVE HIM MORE NEGATIVITY!!!!! nonono the king deserves a show :3 so he goes to undyne who's the craziest of everyone in horrortale and yk yk does some stupid mind manipulation. maybe in exchange for horror he makes up some bullshit lie about how he could save alphys (is she even alive atp) or the rest of the underground and provide them food (like the same deal that nightmare WOULD offer horror) and undynes like 70x more fucked up than horror so of course she's accept in a heartbeat. shes the queen!!!! shes supposed to provide for her subjects (even tho shes kinda. erm. making them all suffer)!!!! and all it would take was a sacrifice of the guy she lowkey doesn't like??? undyne has more reason to accept a deal like that from nm than horror ever would. and it wouldnt be the first time she sacrificed horror anyways lol

idk she sends royal guards out to snatch up horror in the middle of the day (nightmare told her to make it dramatic and tense :3) (all of snowdin would probably follow in concern because OMG WHERE IS SANS GOING????) and then yeah. just like that horrors gone! nightmare probably didn't even give him a chance to say bye to paps. undyne never ends up getting the food nightmare promised because hes a bitchass like that (and papyrus probably ends up taking up the full leader role of food provider for snowdin (if undyne even lets snowdin stay out of her control) good luck for him!)

if horror had a nickel for everytime he got forced to be a sacrifice he'd have 2 nickels. which is actually 2 too much in his eye HES PISSED!!!!!! rightfully so become man ☹️ taken away from his world without even a choice or a reason (to his knowledge) or anything to benefit him??? and now hes STUCK in this disney movie castle with two freaks who look like him (what the FUCK) and then the most annoying THING he's ever had the misfortune of getting kidnapped by. he is in misery. it sucks. he IS infact bitter. if he ever came back to horrortale (which he literally would never get to without dying or losing his stolen eye) he would 500% commit anarchy and finally get rid of undynes annoying ass ‼️‼️

[jinikaris]

Hyunjin and Felix’s interactive dance moves in Chk Chk Boom ✩ 5 // ∞ [ music bank 2024 ✮✮ ]

[littlefankingdom]

Does anyone have ever written a fic about Jason realizing that Bruce made the Red Robin's suit for him??? The fact that Jason canonically knows that, but it's making me crazy how it's never addressed.

For the people who don't know, in Countdown to Final Crisis (2007), Jason goes to an alternative Earth where Bruce killed the Joker after Jason died. Once he believes Jason to really be Jason, he presents to him the Red Robin's suit, explaining it's a suit he made for when Jason would be older and have grown out of Robin. And they go fight crime together, as Batman and Red Robin, father and son, until Bruce is killed in front of Jason. There's more to it (Bruce has given up on his morals, but also the whole batfam and JL has given up on him), however none of this is ever used again (a shame, really).

It's not explicitly told if Tim first Red Robin's suit was also made by Bruce for Jason, and the third Robin found it. And there are no other explanation given.

So, is there any fic out there about this??? Either Jason who did go to the alternative universe and thought "it was another Bruce, mine didn't do it" until he saw Tim as Red Robin ("time to beat my lil brother for stealing my shit" the second act), either Jason who never went to this alternative universe but learns that the suit was originally for him?

Because, Jason's whole thing is that he wants signs that Bruce cared about him, and a suit, for his son when he gets older? The man spent his free time making a suit for his 15 years old son for when he would fight crime in college! It was so early for him to already be working on that, it shows the love Bruce had for his boy.

[franky-y]

Kiss Kiss 😘

[chirpsythismorning]

“Mike said his life started the day he found El in the woods, which was technically the following night. What he said had nothing to do with offending Will because he went missing the day before.”

[good-to-drive]

Abuse, Silence, And Why Kevin Can Fuck Himself

I recently finished watching Kevin Can Fuck Himself on Netflix, and, aside from being the most brutally honest portrayal of domestic abuse I have ever seen, I discovered a beautifully written examination of narrative as power and silence as abuse and how this manifests in our larger culture. 

Without going into too much detail, the show is filmed in two distinct styles that are interleaved throughout each episode to tell a cohesive story. Allison and Kevin’s relationship as seen by the rest of the world is told through a multi-cam, laugh-track sitcom that depicts a very typical “goofy husband, shrewish wife” mainstream comedy. Allison’s life through her own eyes is told through a single-cam drama/thriller about Allison planning to murder Kevin to escape his abuse. 

It’s an absolute masterclass in screenwriting, but more than that, every episode explores the difference between truth, fact, and reality, and how none of these things are quite as much or as little as story. But while the process of transforming the chaotic and plotless reality of life into a story is as involuntary and essential as breathing, misogyny and the degradation of women is just as ubiquitous in our society, and a story that exists at the expense of another person’s lived reality is a refutation of their humanity. 

It's also just a great show for anyone who likes to engage with history (or reality TV or true crime or “real life stories” in general), because while we have to tell ourselves stories about her own lives, we have to tell ourselves stories about other people as well. Eternal silence is narrative death, and the perpetual silence of an unspoken narrative is often the last death we can visit on someone whose story we’d rather ignore. 

I also pulled up some books – Lolita and Disgrace – that dealt with similar themes, but from the perspective of the abuser. And what strikes me the most is that, across three beautifully written stories about narrative and silence within a culture that normalizes abuse, Allison, who began her story within a state of narrative death, was the only point-of-view character who had any chance of surviving. 

One of the main themes of Kevin is that a compelling story is often a story that reinforces what we already believe or like to believe, and while the story may be factual and true it often also exists at the expense of someone's lived reality. The exact same series of events can be a silly joke or a harrowing tale of abuse depending on the lens through which we view it, but historically we've only been willing to see the multicam, laugh track, sitcom perspective on unbalanced relationships.

The alchemical process of turning a series of disjoint facts and experiences into a narrative creates something new and compelling, and erases much of what previously existed. In this way, it’s entirely irreversible. We spin our experiences into a very thin thread, a story we can tell ourselves that elicits something within us, something we need in order to live with the complex, uncertain, and unsatisfying reality of life. In think in many ways the thing we elicit in ourselves is truth. But truth is both more and less than fact, often more a reflection of our own beliefs and desires than the events of our lives. And in telling that truth we may never stray from the facts, but we almost by definition cannot give voice to another person’s reality.

There's a scene in season 2 of Kevin when Allison is hit by a door – a la the classic excuse – because of Kevin’s carelessness. And while he absolutely did not hit her, the way it's written is such an incredible allegory for how Kevin has curated their story and curated their friends' and family’s perceptions of their story such that even if she tells everyone the exact, unvarnished truth of what's happening to her and begs for help, they will only be capable of seeing the laugh-track, sitcom, “Kevin is a harmless goofball and his wife is a total shrew” perspective on the events of their lives. 

As so often happens with abuse, their friends and family saw Allison being hurt because of Kevin. But the alchemy of creating a narrative around Kevin and Allison is irreversible, and the series of events they witness can only be spun together to a joke, an accident, a silly, childish mistake. Allison’s reality, Allison’s pain and fear, is completely elided. Like a lost sound in the middle of a sentence, her experience goes silent, and their larger understanding of her relationship never has to change. And you feel so acutely how Allison lives her entire life in that silence. 

Storytelling is human, it’s essential, there’s no other way to engage with our own lives. And it’s not lying. It’s never lying to tell the truth. But it doesn’t reflect every reality, either, because another person’s reality can’t be reflected within our own narrative, because that’s what it means to be another person. To spin two different threads.

And because narrative is the essential process by which we understand our reality, denying someone their own narrative, or denying that this narrative be heard, is inherently abusive. To allow someone a voice is to give them humanity, and to suppress it is to strip that humanity away. 

Disgrace, by J.M. Coetzee, follows the story of a professor, David, who rapes a student and then fails to protect his daughter, Lucy, from being raped by intruders in their home. He destroys his daughter’s life  – not through failing to protect her, but through twisting her rape into a story about why the rape of his student wasn’t wrong. The main theme of the book is generally considered to be exploitation, but Coetzee doesn’t deal with the exploitation of the rape. That’s too direct, too immediate, too easy for the reader to understand as misogynistic and wrong. Rather, Coetzee delves into “the innocuous-seeming use of another person to fill one's gentler emotional needs” (Ruden).

The rape is how we understand David as a fundamentally exploitative person, a person who denies others their humanity by converting them into a vessel for his own desires, who erases their voice in order to speak through them and give himself the things he needs. And that’s how we recognize that the way he absorbs and claims the stories of his daughter and his student is another kind of violation of their humanity. Another way of turning women into vessels for men’s pain and fear and need. 

What’s fascinating is that David's student finds her voice – files a complaint against him – and is eventually able to continue with her life. The woman he raped is less damaged by him than his own daughter, because she was the woman he couldn’t permanently silence. 

In Lolita, another brilliant novel about abuse, dehumanization, and storytelling, Humbert turns to the reader at the end and says, “Imagine us, reader, for we don’t really exist if you don’t.” 

It’s not that Humbert knew he was fictional, but that he knew everyone was fictional. Believed the entire world only truly existed in his own mind, because anything beyond that was irrelevant to his needs. He coped with the collapse of his ability to dehumanize Dolores (who he called Lolita) by demanding that his voice be resurrected. Demanding immortality. Demanding his narrative exist in another person’s world, and thereby be given the existence and humanity that Allison and Dolores and Lucy and David’s student were denied. 

Pushing his needs, finally, onto the reader, because we are the only person he has left, and a person like him can only exist through the use of another. In that way, Humbert was powerless. In that way, Kevin and David were powerless, too.

In Disgrace, David’s dream is to write an opera, and at the end of the book he realizes he’ll never finish his magnum opus. He’ll never be able to terminate the process of converting himself, his world, into a story. But he does learn to decenter himself in that narrative. And it’s when he loses all fear of death, and any conception of the self, that he gains the ability to give dogs – who he generally equates to women – a voice within his opera, his life’s work. 

It’s in death that we discover our true unimportance as human beings, that we learn to let go of vanity and our conception of the self entirely. And David had degraded women so thoroughly in order to justify how he used them to meet his own emotional needs that it was only in losing all value for his own life that he could gain the ability to see them as equal voices. To actually put those voices into his own life story. It's at the cost of himself that he allows other people to truly exist, in the death of the self that he finally allows the world to exist outside of himself. It’s almost a positive character arc. Almost.

When Kevin finally loses the ability to abuse Allison, he, like many abusers, loses all desire to live. His world was built on a structure of superiority and inferiority, on beings and vessels, on the inherent value of men and the inherent meaninglessness of women’s lives. The system on which he based his entire reality has been destroyed by Allison’s declaration of the self. And, if he was a being because she was a vessel, then in losing the ability to treat her as a vessel, to fully and completely dehumanize her, he has lost his own humanity. 

It may be perfectly summed up here: “Become major. Live like a hero. That's what the classics teach us. Be a main character. Otherwise, what is life for?” (Coetzee).

If you’re not to be a main character, if there indeed is no split between major and minor characters, between people and the paper dolls that populate their story, between living beings and the vessels into which they pour their need – what is life for?

Nothing. At least, not for people whose narrative must exist at the expense of another. 

And that’s why I say that only a narrator like Allison could survive this kind of story. Despite beginning her story trapped in eternal silence, her reality fully elided no matter how immediate and obvious it became, Allison was the only point-of-view character of any of these three stories who didn’t establish her power through the degradation of another. Who didn’t conceptualize the world via being and vessels. Whose narrative didn’t exist, by necessity, at the expense of another person’s humanity. Whose thread could exist in a larger tapestry without destroying her sense of self.

Don’t get me wrong, she’s not generally a likable character. She’s misogynistic, cruel, selfish, jealous, desperate, afraid, and in pain. Like anyone in an abusive relationship, she’s not at her best, and she’s often pushed to do things that are ugly and disturbing because she’s simply been pushed too far. 

But, for me, the power in her character is in how her last scene never felt like a final scene. Her story didn’t have to be killed, her conception of the self didn’t have to be killed, in order to reveal the brutal reality of stories twisting and intertwining without any inherently superior truth or narrative among them. Allison’s story was one of declaring herself. And that’s why it didn’t feel like it ended at the end. Instead, this felt like a beginning.

[bobbinalong]

pérez doesn't seem to know bart's supposed to be older than fourteen any more than deodato did but spurrier is in my good books for now for the fact alone that he's aware of how important max and bart are to each other.

The Flash (2023) #7