#suicide discussions

[orionsangel86]

Are there anythings that you would have changed about The Sandman?

The show or the comic?

Plenty of things I'd change about the comic. As great as the story is, it is a product of its time and there are some underlying messages whether intentional or not that are inappropriate and fucked up and don't really belong such as:

The racism towards black women implied to be cursed to die violently when linked to Morpheus in some way following the Nada situation.

In fact the whole Nada story is pretty gross. When she thinks that by cutting her hymen she'll remove her virginity to put Dream off her, but then its stated that healing her hyman doesnt restore her lost virginity... like first of all. No. Second of all - shoving a rock up your vag does NOT remove your virginity lets not spread the message that it does.

The way Dream comes across a bit rapey in the Nada story overall and its not made clear how much influence Desire has in that.

The inherent misogyny which is typical of 80s/90s comics but in particular the violence towards women and overt sexualisation of women. Whether for shock value or not, its just not necessary.

The implied message that depressed and suicidal people should just kill themselves and everything will be better once they are gone.

The idea that a person who is depressed can be replaced by a better good version of themselves and even their family and friends will just treat that person as the new them. The implication that the depressed person isnt valued and must instead conform to the responsibilities and burdens of the system they are trapped in - rather than changing the system.

The concept that the moon is inherently transphobic and that witchcraft is transphobic just irks me as a pagan person- like yeah there are huuuuge problems in the community and the whole divine feminine and fucking womb magic bullshit is all over it but I really really hate how Sandman perpetuates that myth and indicates its the goddess that encourages that view and not asshole closed minded people. The moon isnt fucking transphobic FFS.

Everything about Gwen and Hobs relationship in Sunday Mourning. Its problematic AF and I hope I don't need to explain why.

Not a fan of the portrayal of Loki and Sigyn. Its too black and white for such a complex myth.

That fucking awful reaping joke in Collectors which I loathe with every fibre of my being.

Even with all these points I want to caveat this by saying that I love these comics. I KNOW that a lot of this is subjective and open to interpretation. These things have many shades of grey to them. I adore the comics in so many ways but that doesn't mean they dont have their issues. I know people are emotionally connected to these comics and this criticism isnt meant as an attack on them.

For the show, well tbh I think its practically perfect, but a couple of niggles:

That fucking awful reaping joke in Collectors - can't BELIEVE they kept that in. I mute my TV at that moment so I don't have to hear it every time.

Hob's slave trade ties - They needed clarity here and should have kept the regret in 1889 more obvious. I understand why they changed it but I think that topic should have been thought through better.

There were complaints I read about how black characters and black men in particular seem to disproportionately suffer violent deaths. I know this was unintentional and a simple matter of open casting for extras and minor characters which is a GOOD thing, but sometimes casting should be less blind, and more considered where minorities are concerned.

Some of the dialogue in Johanna Constantine's episode is clunky - but that only bothers me because I've watched it 284929294787 times and have it memorised.

Despair was handled poorly. It wasnt great rep for fat bodies (like me) and she comes across so weak and submissive to Desire. Which she just isn't at all in the comic. Thankfully it looks like they really did take that criticism to heart and made positive changes in Dead Boy Detectives. She was fabulous in her cameo in that.

Not enough gay sex. The 1 star homophobic reviews really overexaggerated on that and left me disappointed. There should have been at least 1 gay or lesbian sex scene in every episode. Do better season 2. Do better. (For legal reasons this one is a joke - Sandman is a goldmine of queer rep and should be on every queer fans watch list 100 times over)

There you go. No piece of media is perfect. There can always be changes and improvements, but the Sandman is a story that really does fit the description of masterpiece. I think my ideas of things that need to change are generally matters of framing. I dont think the comic story should be drastically changed in the show, I don't think it should be given a different ending. Its a tragedy after all, but tragedy can come in many forms and perhaps the story can be adjusted so the tragedy isnt so harsh. But anyway. This is all just my opinion and as with all things i'm sure there will be plenty of people who disagree with me.

[pollsnatural]

Spin the wheel to get a spnblr discourse topic.

[metanarrates]

ugh anthy is so good. nearly every single other story I've seen about a Mysterious and Tragic teenage girl has failed in some way either because the writer forgot to give the character complexity and an internal life, or because the tragic things in her life were far too aestheticized to have real teeth. anthy succeeds as a character largely because the whole story is dedicated to deconstructing an aestheticized view of her & her suffering, and also showing how that aestheticized view dehumanizes her and denies her agency. she is not a harmless victim or a beautifully agonized one - she is a teenage girl who is reacting in realistic, complex ways to a lifetime of crushing systemic abuses. and similarly, every teenage girl around her is also reacting in complex ways to their own suffering under patriarchy.

depiction of sad teenage girls often posit their pain as a natural phenomenon, something that is just intrinsic to girlhood. adding a layer of mystique onto them just further serves to obfuscate the sources of teen girl suffering. instead, teenage girl pain becomes palatable. consumable, even. #aesthetic. these depictions are unthreatening because, by their nature, they cannot depict societal issues in a way that would demand a restructuring of society. we can posit a familial tragedy but not a tragedy of the family structure. we can lament a beautifully mentally ill sufferer but not the systems of wellness and community that failed her. et cetera. nothing can ever hold up an uncomfortable mirror, only a flattering one.

revolutionary girl utena directly says that that idea is bullshit and that its teenage girls are suffering as a direct result of entrenched systematic oppression. and in that uncomfortable honesty, it's able to be WAY more authentically hopeful with its sad teenage girls. anthy is able to finally walk out of the society that trapped her and live freely of the image that was constructed around her! she can be a flawed human girl who is still going to be happy with her girlfriend! her victimhood is not eternal and does not mean she can never find happiness! A TEEN GIRL DOES NOT HAVE TO STAY IN A COFFIN IN ORDER TO DESERVE COMPASSION!!!!

[imposterogers]

batman canon: canonically cursed gotham, pseudoscience, creatures in the sewers, freeze guns, twenty rogues running rampant, the most absurd villains imaginable including kiteman condiment man & eggman, campy/eccentric outfits & personalities, superpowers used for evil

batman live action (excluding adam west, michael keaton, and gotham 2014): ok but what if we make gotham a normal ultra realistic city…………with normal levels of crime……………with one villain per year…………..how about that

[ghost-proofbaby]

never love an anchor (e.m. x reader)

"On some level, I think I always understood that a ship could never really love an anchor."

warnings: severe hurt/brief comfort, suicidal ideations, severely depressed reader. again: detailed recount of suicidal ideations. dead dove: do not eat.

wc: 5.8k+

an: i cannot emphasize this enough - this fic deals with a severely depressed, and blatantly suicidal reader. it is extremely heavy. it is extremely triggering. it is extremely self-indulgent. the romance aspect is ambiguous and the comfort aspect at the end is brief. this is a genuine, and sincerely personal piece of writing. it is an outline of how suicidal ideations may present themselves to some people. of these 5k words, 4k is deeply littered with reader's ideations without sugar coating. please, please, please do not read this unless you're in the state of mind to read it. you've surely heard it before but i'll say it just to be sure: it is a permanent solution for temporary feelings. and, just in case no one has told you, i'm glad you're alive. if you're reading this, i'm glad that you're alive. you're enough.

if you find yourself feeling like reader, i urge that you find resources such as those linked. hotlines, therapists, friends, your doctor, your family - please. i do not wish these emotions upon anyone, and they should never be taken lightly.

that being said, here are my guts from a very vulnerable moment, spilled out across the page. please handle them with care if you choose to read.

Technically speaking, the pressure that the human body is capable of handling almost seems infinite. When introduced slowly, and time is given to adjust, there is no pinpointed amount of pressure that dooms the human body. Like a crab in slow boiling water, your body should be theoretically able to handle a steady increase, bit by bit, and never truly notice. 

So why does it currently feel like you’re dying?

The pressure was never an overnight thing. It was a conglomeration you’d gathered, piece by piece, collecting little souvenirs of all the responsibilities you can’t currently remember if you’d ever agreed to along the way. It hadn’t been sudden, it hadn’t been with lack of adjusting, it hadn’t been a pressure suddenly unloaded upon you all at once – you’d done this, brick by brick, all with your own two hands. 

Keeping up with friends, keeping up with work, keeping up with expectations. Always trying to run ahead of the curve, always trying to be better. You should be fine. You shouldn’t even notice. You shouldn’t be sobbing on your bathroom floor, clutching the edge of your porcelain tub, every single breath a labor of survival. 

It feels like every bone in your body is splintering. It feels like the world has cracked open your ribs, one by one, just for show. You don’t feel poetic like the movies, you don’t feel like a valuable lesson learned in the books. You feel as though you’ve become nothing more than some crude display in a contemporary art gallery, and you were the one to hang yourself on the wall. 

Needles prickle across your skin with another heaving sob, as if you can feel the push pins you’ve used to spread yourself out for consumption. 

We still on for tonight? 

The text from Eddie glares at you from your phone discarded on the floor mere inches away. You’re lucky the screen hadn’t broken when you’d thrown it down on the ground on your way to the toilet, dry heaving through all your tears. 

He wasn’t a part of the issue. If anything, he was part of the solution. 

A shining clean slate, pristine whites and a scratch-free surface for you to press your cheek to when it all got a bit much. An abyss of freedom and openness for when the world was all a bit smothering. An anchor to cling to, a rope to tie around your wrists to keep from floating too far. The willow tree in a graveyard to rest your back against, the caress of a warm sun even if only momentarily as you stared out across headstones of all the pieces of you that you can never get back. Every version of you that has long since buried, a few even with newly churned dirt resting upon them. Something soft, something sacred, to rest your hands upon. 

Why does he still let you rest your bloodied and dirtied palms on his shoulders? Did he ever agree to that to begin with? 

You can’t remember. Or maybe your brain is simply refusing to recall. 

I hate to cancel, but I’m sick. I don’t think I can come out tonight :-( 

What? Is everything okay? Are you okay? Do I need to bring you anything? 

Please don’t.

The please is what gives you away. You should have forgone it, should have offered him a lighthearted response instead. 

But there is a pit in the bottom of your stomach, and seeing all the question marks across his text only made it more terminal. Only gave it more reason to swallow you whole. Only gave it more reason to grow and to tangle up and to restrict each stuttering breath of yours that you can’t seem to steady. 

Another buzz comes from your phone, but you don’t look to read it. You resort to resting your forehead against the lip of your toilet, all attempts at a deep breath futile as you finally taste the salt across your lips. 

Were you too much? Were you not enough? Was it possible to be an odd juxtaposition of both? 

A harrowing thought crosses your mind, and you know if Eddie could read minds across the intricate webbing that connects cell phones, he’d grab you by your shoulders. Maybe shake you until you see sense, or maybe cling to you until the thought has faded into nothingness. As if he could squeeze you hard enough to press together all the splinters that are left of your bones, forming a new body – a better body. One that can handle the pressure. One that isn’t imploding upon itself. A more durable mind, a more capable suit of skin to occupy. 

Does it even matter anymore? Would it even matter if I simply vanished? 

Would it be so bad to let the pit finally consume you? To just give in, to let it erase you from existence. To finally wave your white flag and let the awfulness inside of you finally win the battle, erasing you from existence and leaving behind an empty space in the world that could be filled with someone better.

Someone who could be a better friend. Someone who could be a harder worker. Someone who wasn’t choked up on their bathroom floor, beginning to contemplate if the painful gasps were even worth it. 

Were you worth it? Were you worth the air in your lungs? Or could it better serve someone who could handle all the pressure? 

And it wasn’t even that much pressure to begin with, if you pick it apart thread by thread. It was the natural weight of the human experience, and you were still crumbling. 

There was a full bottle of ibuprofen in the cabinet. There was a busy street not far from your home. There was a bathtub that could easily be filled with water – you’d never been good at holding your breath, unless someone counted the last few months, in which that seemed to be all you were good at. 

There was even a bridge, 5.27 miles away from your house exactly. You could already envision the patch of grass you could park your car at, feel the drop in temperature as you stood and overlooked the tame waves of a man-made lake.

Maybe your feet didn’t even have to leave the pavement. Maybe it would be enough to just stand in the silence and see the jump with your own two eyes. 

You felt like nothing more than a ghost of yourself, yes, but maybe. Maybe, just maybe, there would still be a broken shard within you that could stir awake at it all. Maybe if you got up off the bathroom floor and set yourself into motion, it would open its eyes just in time to scream no. 

Ghosts don’t just appear. They were a vibrant soul once – they were somebody once. 

But it’s hard to imagine that you ever were. When it gets like this, it’s hard to push through all the tumultuous thoughts and loathly emotions to remember that. A version of you vibrant, a version of you that might have been worthy, if only for a moment. 

A version of you that wasn’t insulting to compare to others. That was capable of progress, of earning your blip of existence. 

You don’t want the bottle of ibuprofen. You don’t want the busy street. You don’t want the overflowing tub. You don’t even want the calm of the bridge. You just want it to stop. 

There’s a knock on your front door that echoes through the entire apartment. You dread that you already know who it is, but you can’t get up to answer. 

You can’t move from this very spot. You’re terrified of what will happen when you do. 

Will your bones collapse into ash upon the floor? Will you make one wrong move, and in a fit of pressure, make a terribly permanent decision for what feels like a terribly permanent feeling? 

Maybe you were born with the pit in your stomach. Maybe you were born with that black hole inside of you. Cursed to always be yearning, always be a juxtaposition, always be a ghost of what could have become. 

You think you hear the click of your front door opening. You think you hear heavy footsteps across the hardwood floors. You think, you think, you think. That’s the issue. 

The tears are still coming and going in erratic tides. The salt is drying out your lips, your cheeks, the corners of your eyes. You’d thought you’d been incapable of any more emotions like this, but your tear ducts have managed to prove you wrong. 

Does it even matter anymore?

You’d left the bathroom door wide open. 

Were you worth it?

You’d been home alone – past tense.

A more durable mind, a more capable suit of skin to occupy.

A soft gasp of your name has you microscopically lifting your head from the toilet seat. You know what the scene looks like; it looks like nothing more than the excuse you’d used. You look as though you’re ill, like you’ve been spilling your guts across the bathroom floor all night. 

If you had been, would it all feel a little less heavy? 

“Hey, Eds.” 

You’re tired. You’re exhausted. Your voice is nothing more than a drag of a whisper as you look up at your anchor standing in the doorway, his face painted with concern. 

Maybe you were an anchor – maybe being an anchor wasn’t a good thing. After all, what use does an anchor have beyond weighing down the ship? 

“Jesus,” he mutters as he rushes to your side, falling to his knees carelessly as his hand flies out to brush back tendrils of your hair, “You look like shit.”

You felt like shit. 

Selfishly, you lean into his touch, desperate for comfort. Desperate for those caring palms to soothe the ache you’d carried since birth. Desperate to hear him tell you that you’re wrong – hands to promise you that you’re worthy, fingers to wrap around your bones rather than these burning ropes. You’re bloodied and raw, fully on display, and you just want to be okay. 

You don’t want the bridge. You want Eddie. You want him to magically make it okay, and that’s unfair. 

You’re not his weight to carry, not his burden to shoulder. 

After far too long of a silence, one in which he sits patiently in with you, all you can really reply is a broken, “Yeah.” 

Immediately, he knows something is wrong. Because of course he does. 

Because he’s a good friend. He’s a good person. He has the right words more often than not, and his hands were always formed to heal rather than injure. Create rather than destroy. Those warm palms are made to hold the space he’s earned in the grand scheme of the Universe, and it almost makes you nauseous as the jealousy spreads. 

He’s good. 

And you’re simply rotten.

You used to lie to yourself and say it was simply one rotted bit amongst plenty of good, but tonight, it all seemingly comes to clarity. You can’t dig out the bad, cleanse yourself of the rot, because it’s all decay. 

You don’t have to let the pit consume you – it already has. You were born with it, and it had swallowed you whole from the first cry that had ever left your lips. 

He makes himself a bit more comfortable, and you almost feel bad for reducing him to nothing more than the bathroom floor, “You wanna talk about what’s really wrong?” 

“I’m sick.” 

“This isn’t just some stomach bug.”

Your throat begins to tighten again, and suddenly, his gentle touch across the crown of your head burns. Your eyes water ferociously, and your chest caves into itself.

You can’t make a better body or a more sound mind out of the mess you’ve become. You can’t pull gold from tarnished rubble. 

Confessing to him will only be handing over something heavy, something terrible, that he shouldn’t have to struggle with as well. But not offering him a sliver of the truth almost feels more dishonoring. 

“Do you ever feel like a waste of space?” you croak, leaning back, finally accepting that the small space of the toilet that had been cooling your face has gone warm. Another thing you’ve ruined, in hindsight, “Like, this world is filled with great people, and I just… I just, I’m taking up the space- I’m wasting the space-” 

You can’t get out the proper words. You don’t know how.

How do you say you want to cease to exist when you’re not really sure if that’s the truth? You’re miserable, and you’re selfish, and you’re not entirely sure your feet would have ever left the pavement if you had driven yourself to the bridge. You’d be too scared to do it.  

Too scared to miss the day that science announces it’s found a cure to all your rot, a miracle drug to erase the pit, a way to reverse all the damage you’ve been comprised of your whole life. 

His brows furrow and his hand stops all the calming movements, “What? Are you- are you saying you feel like a waste of space?”

It feels silly to admit it to other people. To try and describe how it all feels. Like a child trying to convince their parents the Boogeyman is real, you have to make him see that you’re right. You have evidence, you have proof, and it’s not just a feeling. 

“I don’t feel like I’m a waste of space,” you finally correct, both yourself and him, “I know I’m a waste of space.” 

“Bullshit.”

“Eddie, don’t-”

“No,” he cuts you off. And somehow, in only a way that he’s capable of, it’s not offensive, “You’re not. I’m not going to sit here and listen to my favorite person claim they’re wasting space-”

“I am!” It’s your turn in the cycle of interruption. You pull away from him entirely, chest heaving with the weight presenting itself once more, tears starting to fall all over again. You can’t even distinguish where the old tears stop and the new ones begin, “I really am. All I seem to do lately is just exist. And that’s such a- such a- that’s such a waste. I can’t read any of the things I should enjoy these days, I can’t even write. All of the words feel like they just come out wrong. I’m letting everyone down left and right, I’m never living up to whatever pedestal you’ve put me on. I don’t even know what I’m doing with my life. I don’t even know where I’ll be in a year from now – I can’t even see that far in the future.”

Heaves become sobs, and the crumbling has begun once more. A cycle of breaking, a cycle of demolition. Even leaving behind the rubble feels like a crime. A waste of space. 

“I don’t think I’m a good person,” you manage to spit out between all your visceral reactions, “Every year, I tell myself the same thing – I’ll be better, I’ll be kinder, I’ll be worth it. And every year, I fail.” 

Can he see it? All the fractures and splinters and pits and metaphors? 

Can he smell it? All the rot and the destruction and hopelessness?

Can he feel it? All the pressure? 

Through your sniffles, you press your back to the tub, knees to your chin as you wrap your arms around your legs, desperately trying to shrivel up. To take up less space. To waste less space.

“I used to think I could make up for it,” you whisper, “I could offer people things that made them forget I’m… so useless. But I don’t think I’m even capable of that anymore.”

If he’s about to respond, it’s drowned out by your cries. You press your eyes hard into your kneecaps, until you see stars, and you try to swallow down all the embarrassment. Try to stop all the hurt from spilling out, to stop all your guts from painting the bathroom walls. 

He could simply sit there, let you wallow in your misery alone. Sit and stare as the artwork finally serves its purpose to the visitors of the gallery. Maybe jot down some commentary on how with your bones all spread out like this, the point the artist was attempting to make becomes oh so clear. 

And yet, he doesn’t. 

You know it’s his arms that are wrapping around you, pulling you from the chill of the tub and into the warmth of his chest.  And you let yourself smother within the fabric of his shirt the same exact way in which you’ve convinced yourself you smother everyone around you, let yourself breathe in drugstore cologne and his last cigarette rather than think about all the thoughts that had been spiraling you into dismay over the last twenty four hours – over the last twenty four years. 

He’d probably been smoking while waiting on your call tonight. Probably riddled with anxiety, if the shake of his hands pressing into your back are anything to go off of. An anxiety and waiting game that wouldn’t have to exist if you didn’t exist.

The thought makes you cry harder. 

If a ghost dies, can it even still return back as itself? Can it still find it within itself to haunt empty hallways, and watch the ones it once loved find peace?

“You’re not useless,” it sounds as though Eddie might be crying as well, if not just a little choked up, “You’re not- I swear- You’re not useless, okay? Never have been, never will be.”

His murmured words are nice, but they fuel an unimaginable guilt. It was supposed to be a nice night. A night of movie marathons and midnight coffee, of trying to remind yourself why you still stick around. A moment of incomparable joy and sweet reprieve as your stomach ached from laughter, your cheeks swelling with an infallible grin that Eddie always seems to pull out of you.

There’s no smiling, no giggling, right now. Just his favorite band shirt from the show you two had attended a few years before, soaking with a fast-growing stain from all your tears. 

When you don’t answer him, only manage to wrap your selfish arms around his waist, he continues, “How long have you felt this way, sweetheart?”

And if you hadn’t already been shattered previously, that would have finally broken you. 

You can’t pinpoint when it started. You can’t clear the smoke of memories and find an exact moment that you can point to and say, there. That’s where the hurt starts — that’s where the rot starts. 

“I don’t know.”

In your mind, it’s a wail. Loud and ferocious, efforts of all it has taken to withstand the pressure of your undoing screamed out loud. 

But on this quiet bathroom floor, it can’t even be considered a whisper. Nothing more than the spoken words lingering from a ghost who can’t give up the haunt. An echo of a memory, an echo of the piece in you that can’t let go, not yet.

Not of existing, and not of him. Your fists hold him so firmly against you, you’re scared that you’re going to bruise him. Hurt him just from the sheer effort of trying to show that you love him. 

The only way you know how to love – a violent dog who will always bite the kindest hands. Leaving behind bloodied knuckles even if you hadn’t so much as snipped this time. 

You take a sharp breath, aware of the levity of the words you’re about to say, “I don’t want to exist anymore, but I wouldn’t even make it off the bridge if I tried.”

It’s not about the bridge anymore. In all likelihood, it wouldn’t be the bridge you turn to. There’s a grand metaphor somewhere in the admittance, but your mind is just too tired to try and paint a prettier picture of it for him. 

Because exist is just a placeholder. And there’s a bigger, scarier word that should stand in its place. 

He starts to break the hold, and you nearly sob out again just at that. Losing the warmth of his chest and arms strike pain somewhere deep within you, just north of the pit that’s devoured all that’s left of you. 

“Bridge?” Phrased as a clarifying question, but when you see his face, it’s clear he knows. There are no good words left to say about it, “Sweetheart, no.”

There are worse reactions to be had. More scenarios that end in slamming doors or deafening silent treatments. Realizations that you’re right and it’s not worth it – defense mechanisms that involve them leaving first. 

“I couldn’t do it, even if I want-” 

Even if I wanted to. The words you can’t speak, dying on your tongue. 

Do you want to? Where does the pain begin? And where could it end?

“You really don’t see it, do you?” he laughs humorlessly, his hands still gripping your biceps in a death hold, “You… you just…” 

He doesn’t know what to say, and you don’t blame him. You knew this was heavy; you knew this isn’t the type of bomb to drop on someone you love. 

But if you didn’t, where would the bomb have gone? You’re not equipped to detonate it. You’re not equipped to survive the explosion. You wouldn’t want to survive that explosion. 

“I’m sorry,” your words pour out, beginning to shake beneath his palms, “I’m sorry, I’m sorry, I’m sorry.” 

Dry, cracked lips feel as though they nearly split from the apologies. More violence, more devastation, more of what you always knew you were. You can see it in his eyes – you’re dragging him down with you, right down to the bottom of the ocean. You’re being an anchor. 

He’s all stutters and harsh breaths, panic filling the space with your own as his eyes search yours, “Don’t apologize. You don’t have to apologize. Just-”

He cuts off and is pulling you close again. Slamming your bones into his, wrapping up around you as if he might be able to keep you safe from the world. From your own mind. 

“I don’t need apologies,” another squeeze of your closer to him, another attempt to pull you away from the dangers that lie within, “I don’t- I just… Can I help? How do I make it better? Just say the word. I’ll do it.” 

It’s not your job. That’s not your job. 

You don’t realize you’ve said the words out loud until he’s squeezing you so tightly that you now can’t breathe. Until all you are is him. All his old t-shirts he’s lent to you that hang in your closet, all the nights spent with tangled legs as you sit across from each other on your couch, all the phone calls in which he refused to be the first one to hang up. Cologne that is too cheap to be able to cling so ferociously as it does to all your surroundings, chain-smoked cigarettes you always chastise him for because they’re gonna kill you one day, the smoke of his latest blunt resting in an ashtray as his head finds home in your lap. 

All the inside jokes. All the hugs. All the simple texts, if for nothing more than to just check in on each other. The broken reminders of having someone out there that cares. That loves you. 

How can such rotten hands pull such love from others? How have you yet to infect him? 

“I know it’s not my job,” he finally says, and you know for a fact he’s crying along with you before the first of his tears have wet the crown of your head, “It’s never been a job. You’re not a job. Okay? Get that through your head. There’s- Fuck, there’s plenty of things I wanna drill in that pretty little head of yours right now, but I know I can’t, so just get that.”

He’s trying. A little trill of his tongue that falls a bit flat when he refers to your pretty little head, a brief squeeze of your shoulders as he tries to relax a little. He wants to make you feel better. He wants to make it better. 

But he’s still holding you like he’s terrified. You did that – you instilled that fear. 

“I’m a mess,” you whisper in bitter realization, ash on your tongue as you process what you’ve done. You’ve already apologized, but you’re seconds away from doing so again, “I’m- I’m a mess, and I’m dragging you into it, and I’m sor-”

“Stop being sorry.” Definitive words, no room for argument. The smallest of shifts as things click into place. He isn’t budging – he isn’t letting go, “Do you remember when I first met you?” 

You can’t tell if the question is meant to have a point, or if it’s meant to be a distraction. You let it grow into the latter.

“Yeah,” you breathe out against him, melting into his chest, trying to focus on his voice rather than the ones in your head, “But tell me about it anyway?” 

“Two years ago. Technically, two years and seven months,” he starts in the same voice he used to take on during Hellfire sessions, before the members had scattered from coast to coast and his D&D club only became a rarity when the stars aligned. There’s still a crack to his voice from his tears, but that doesn’t stop him, “We were in some cursed fucking diner we don’t even go to anymore, in the dead of the night, and all the servers knew your name and order,” he paints the picture with a humor that should feel out of place, but it settles some of your breathing. Omitting all the vivid details, opting for triggering the memory with words you’d just get. You can feel the stick of the plastic beneath your thighs, you can smell the grease of the kitchen. You can see the cloudy night out of the oversized windows. He’s a natural born storyteller in the most subtle of ways, always knowing his audience, “You were sitting all alone in that booth, and all of Hellfire had just left. Gareth had just told us how he was going to college in California – did you know that?” 

“I didn’t.” 

“Well, he did,” his chin presses against the top of your head, a huff of a laugh escaping him, “Dropped the bomb it was our last summer as a club probably. We were happy for him, though. Real fucking happy. Got milkshakes to celebrate and made plans to get drunk off our asses the next night to keep the party going. It was dumb, and I’m getting off track, but…” 

Baited breath, you’re waiting for him to continue. No thoughts of the bridge. No thoughts of your failures. Living in a small memory with him on the floor of your bathroom. 

“Anyways, you were sitting there all alone, with a plate of fries and ranch.” 

“Oh, God,” your nose scrunches and you try to pull away, suddenly remembering how embarrassing this memory ends for you. It suddenly didn’t seem like the best way for him to make you feel better by any means, “No, I remember how this story ends, and-”

“I’m not done,” he locks his arms around you, and you can feel the whisper of a smile as it brushes against your temple, “Obviously you know where I’m going with this, but I’m not done, sweetheart. Because all the other guys had just left, and I’m sitting there, realizing the only other customer was some random person over across the diner, scribbling away in some notebook. Thought you looked cute when you were all focused like that, y’know? But then you were so focused that it became distracted, and you spilled that ranch all over yours-” 

“Please, stop.”

You’re laughing through the words, weakly, the air of desperation in the word please being far different from earlier in the night. No bridges, no failures. 

“I was probably being a weirdo, trying to run over and help you or whatever the fuck I was trying to do. I probably made it worse, right?” 

You’re there, remembering a version of Eddie that was a stranger, taking napkins to the knees of your jeans and smearing the ranch rather than really helping you clean it up. “Yeah, just a little bit.” 

“Sorry for that, by the way,” he airily apologizes before continuing, “But I just remember thinking about how focused you were on that notebook. And how you laughed with the waiter. And how you were just… lost in your own little world. And how you were so cute. You were so nice. The type of person I wanted in my life. Took one look at you with that ranch all over your lap and thought, huh. I want to get to know that person.” 

“Nice? I was not nice, I was-” you cut off, heart all but stopping as you recognize the point of it all. It wasn’t meant to just be a distraction. He was making a point. “I was a… a mess that day.” 

“Exactly.”

He pulls away again, and this time, it’s a little easier. The world has put a pause on its ending and you can handle the weight of his arms lightening for a few seconds, just so he can get a good look at your face. 

“You were a mess the day that I met you, and I still wanted you in my life,” he says each word deliberately, not breaking eye contact. Fear has broken through to determination. “And even if you’re still a mess today, I still want you. Nothing changes. You get that?” 

No bridges.

No failures.

The weight of it all had been heavy. The type of sorrow you thought was never meant to be carried by more than your own two hands. But he had taken it in his palms, lifted it from you entirely, even if it would only be temporary. One day you’d have to endure the pain again, get to the root of the problem. Figure out if all your ailments had been something wired into you since birth, or things you’d picked up along your way. But for now, you could breathe again. You could hear the drumming of your heart in your ears, and you could hear every single one of both yours and Eddie’s breaths in the silence, and that was enough. 

“I don’t want to die,” you finally quietly admit. Saying one of the bigger, scarier words. The thing you’d been too afraid to let slip off your tongue originally. “I just- sometimes it all gets a bit loud, you know? And I know you said don’t apologize, but I am sorry that I scared you. And I’m sorry that you have to take the bad to also get that little bit of the good with me.” 

His hand leaves one of your arms for the first time since he’d first wrapped you up, and it finds its way to cradle the side of your head. Holding you as if you’re porcelain still. You know that won’t go away, not tonight. “I’d rather have your bad days than have nothing at all,” he chokes up once more, and you can see tears threatening to welt in his eyes, “You get that, too. Alright? You’re worth it. Bad, good, funny, sad – give it to me. I’m asking for it. Just don’t… don’t leave me with the nothing.”

You’re worth it. 

He’s found a worth in you attached to nothing at all. He’s sitting here with you, on the bathroom floor, and his perception of you has nothing to do with what you can only offer. 

It just has to do with you. He sees you, and he’s decided you’re worth it. Even now.

He smiles softly, as if he can see the realization dawning upon you, “You wanna get up off the floor now? We can go sit on your couch or bed or something.” 

You’re quick to shake your head. Your knees are partially digging into his thighs, your breaths are matching his. 

“Okay,” his face falls slightly, but not entirely. Not entirely, “That’s okay. Do you want me…. Do you want me to go?” 

Another shake of your head. But this time, you need to offer more than just the motion of your head, especially when you can feel tears returning as your throat tightens up, “No. No, just- Stay with me? Please?” 

Your hands reach out without you even processing it, gripping his wrists, desperate and clinging and still verging on the edge of violent. The thought of being alone is terrifying, but the thought of having to watch him walk out of this room is even more petrifying. 

He doesn’t even flinch as you sink your claws in. His smile only returns, and he shuffles to pull you both to hold your backs up against the wall across from the toilet, “Of course. I’ll stay, sweetheart. I’m not going anywhere – wouldn’t even dream of it.” 

His words shake just a little less than they had when he’d first entered the room. 

He can’t fix it all magically. That isn’t his job, isn’t his role, isn’t his choice. But he can sit here with you, on the floor of the bathroom, endlessly patient and tragically caring as he urges you to lay down. He stretches his legs out and pats his lap once before hovering his hands over your shoulder, guiding you until your temple is flush with his thigh. 

He can choose to not hesitate as his fingers immediately push through the baby hairs by your temple, a soft hum in the back of his throat that sounds exactly as you feel.

Hesitantly content. Just for now. It’s enough. 

The storm is receding. As hours pass by, and noises of uncertainty become more confident hums of a song you faintly recognize, it all settles. He stays. You stay. The storm passes for the time being, and the hole tempers itself for just the night. 

It’s enough for now. You’ll worry more tomorrow, or the day after, or the day after that. You’ll talk more about why you feel this way, and he’ll offer better solutions. The weight won’t simply be passed into his waiting hands and forgotten – one day, you’ll find a way to lighten it through dissipation rather than through catastrophe. 

One day, the seas will calm, and you’ll find yourself the ship rather than the anchor. 

And the captain can be the boy who sits on the floor with you through the sadness, content to wait out the storms with you until you find the worth he sees in you.

[starlightshore]

Lingering Spirits - A Danny Phantom AU where Danny moves to Amity 2 years after the Portal Incident. Combo of Alicia Adoption (Farmboy AU) + Nobody Knows AU

A more serious/ Horror take on the AUs

Hoof, starting on a morbid foot. Please note that it's intentional that Sam is romanticizing death and has over-blown anti-human feelings. they're a depressed teenager! they're going through it and they're coping the only way they know how. They'll learn to grow more healthy world views and ways of dealing with their depression with time. Please don't assume I'm condoning their world-view lol.

Anyway on a lighter note, I wanted Sam and Tucker to look different than my usual AU stuff in this AU, so I hope you guys like the design change!

Updates will be infrequent as I'm pretty busy. However, I did this on a team call day so I was kind of productive in my other projects haha!

[sweetteaanddragons]

I Could Not See to See

(Title taken from Emily Dickinson's "I Heard a Fly Buzz When I Died," a poem about the transition between life and death. It felt appropriate.)

(Summary: Morgoth's darkness blots out even the stars. Maedhros loses hope that any of them can survive this.

Some six thousand years later, Elrond refuses to lose hope when it comes to bringing home everyone that he can.)

The last time Elrond saw a star in Beleriand was when he was thirteen. After that, the Enemy’s smog grew too thick; only the sun’s light was fierce enough to bleed through it, and that only weakly.

He was also thirteen the first time Maedhros turned to him around the campfire and said, “When you die - ”

Elrond was not sure precisely what his face did at that moment. He thought Elros would have gone for a weapon if their hands had not been so occupied with the first bowls of hot stew they had been able to risk for three fortnights.

It helped that the most threatening thing Maedhros was handling at the moment was the ladle for said stew. It helped, too, that it had been a very long time since Maedhros had been the most immediate threat to them. He had slain three wights for them only that day and taken a nasty slash to the leg in the bargain; Elrond did not think he would so lightly turn and slay them now, especially while the leg was not yet well, and Elrond, for all his youth, was already the best healer among them.

Still. It did not stop Elros’s grip from changing ever so slightly on the bowl of stew.

“If,” Maglor said hastily, sitting down between them and Maedhros and heavily stressing the word. "If you die.”

Maedhros - the greatest swordsman Elrond had ever seen - looked down at the cut on his leg that even he was not quick enough to stop. Not when surrounded by so many enemies; not when protecting two more vulnerable targets; not when so many plants have shriveled beneath the choking smoke and animals have grown so scarce. “If,” he said sardonically.

He did not complete his thought.

It was two years later before Maedhros turned to them again and said, “When you die.” He paused there for an interruption, but there wasn't one.

Around them, what remained of the Feanorian followers were doing their best to make camp as far back from the mouth of the cave as they could. Outside, the rain hissed down, and there was something evil hiding in its whispers.

There were fewer of them than there were before the rain began to fall.

Maglor was still there. Maglor was by the mouth of the cave, singing up a draft to push back against the winds greedily pushing the rain farther inward. His mouth grew tight at his brother’s words, but he didn't stop the song.

“When we die,” Elros prompted from where he was leaning against the rough stone, wincing as Elrond inspected his wrist, swollen from his fall in the desperate scramble up the mountain.

“I don’t know where you’ll go.” The words were flat, but Maedhros’s eyes were as worried as he ever let anyone see. “You might be counted Men; if you are, there is little I can do to advise you, save to say that if there is any danger where Men go, you should certainly seek your kin.”

“Tuor, Turin - ”

“Huor, Hurin - ”

“Nienor, Morwen - ”

“Yes,” Maedhros interrupted before Elrond and Elros could get too far into their game of seeing who could remember the most ancestors. “Though if it comes to it, I’d recommend more toward appealing to Beren and Luthien and less toward Turin. I know little of his curse, but from what little I did hear, you will not want to tangle with it if it still remains.”

Elros refrained from pointing out that at least hiding behind the edges of a curse would be a familiar state for them. Elrond suspected that even someone not half entwined with Elros’s mind could guess it, judging from Maedhros’s weary twitch of the lips.

“But if you are counted as elves, that is another matter. Mandos’s Halls will be safe; I cannot speak for what you will find when you are released from them.”

The part of Elrond that still remembered being six years old and watching as his father sailed away in desperate hope of Aman’s salvation wanted to protest. Aman was perfect; Aman was untouched.

But he was not six years old anymore, and he had heard enough speculative whispers by now to know that just because the fires of Alqualonde must have long since burned out and those first darkness-fueled riots long since ended, it did not at all mean that all in Aman must be at peace. Conflict would not have ended with the Noldor’s exit.

“Stick together and use your best judgment as to whether it is better to be Sindarin princes or Noldorin princes or anonymous children of nowhere in particular. But before that - ” Here, he broke off and with a sharp gesture summoned Farande over from the throng of people investigating the back of the cave for danger. “Before that, you must get there, and if the wraiths and spirits that have haunted us this past month are any indication, that may require more cunning than it once did.”

Farande saluted as she drew near. “My king,” she said, before turning to them and taking on a tone Elrond had never heard her use before; she sounded like Maglor when he was teaching. “Mandos’s call is loud, but even in the days when all there was to oppose it were some leftover traps, Melkor’s was tempting.”

It took Elrond a moment to process this. His hands paused in their gentle prodding of Elros’s wrist. “You’ve died before?”

Elros peered around him curiously as though the information would somehow make Farande look different than she ever has before.

“On the great journey to Aman,” she said. Her tone did not invite further questions. “After the final blow, your spirit will linger about your body for a few moments in confusion; already, you will begin to hear the calls. They will tug at you. When I fell, Mandos’s was by far the stronger.”

She said nothing about what she suspected about now.

The hissing whispers in the rain seemed to get louder.

“The Enemy is cunning,” Maedhros said. His eyes were suddenly very hard to look into. “He lies well. It is not surprising that some fëa may have become confused by him.”

“Can you teach us what Mandos’s sounds like?” Elros asked Farande. “So we don’t get confused?”

She grimaced. “I will sing up the best memory I can for the company,” she promised. “But it will not be perfect. And without knowing what form the Enemy’s lie takes, I cannot promise it will be close enough. Which is why, when you fall, you should keep your fëar as near as you can to your bodies until I can come find you.”

Elrond recoiled a little. “But houseless spirits - ”

“Not houseless,” she said. “Namo is too stubborn to give up the call so quickly. He will not cease calling for some time; certainly not so little as it will take for me to find you. I can guide you after that.”

Elrond supposed this might work; he had seen communication with the dead before.

But it had always been the Enemy’s dead, bound closer to the world through his magics, and the communication had always been on the order of as forcefully as possible shooing them away. He was not sure Farande would be able to find them to speak to him - unless she didn’t need to, he supposed; if she went to their bodies and assumed they yet lingered, she could speak well enough, although how she would hear them describe the sounds they heard -

Elros’s mind had already raced further ahead. “That will only work if you die in the same battle as us,” he pointed out. He didn’t bother asking what would happen if he and Elrond didn’t fall in the same battle; the idea was too unthinkable. “What if you don’t?”

She raised one scarred eyebrow, almost laughing. “You think you will outlast me, little prince?”

“No,” Elros confessed freely. Farande had been fighting since before elves first saw the light of the Trees; it was hard to credit the rumor he had heard that she was once a healer when her hands were so quick with her blades. “But what if we fall in a fight and you don’t?”

“I will,” she said, all laughter gone. “I swear it to you as I swore it to my king, little prince: I will. And I will lead you home.”

For just a moment, Elrond stared at her in blank incomprehension.

“It won’t take me long,” she promised, her hand, just for a moment, brushing up against her own neck. “You know how quick I am with a knife.”

Elros recovered quicker. “You can’t,” he protested. “Namo won’t let you out, not after - “

She laughed in earnest then, high and clear. “I will be twice slain and thrice a kinslayer. Namo will not let me out regardless, and I would not want him to; Aman was never for the likes of I. No, his Halls shall suit me fine, and I can think of no better mission to bring me there.” 

She bowed to Maedhros and went back to her work, still laughing as she went.

Elrond stared after her. He could not seem to swallow.

“If that was a ploy to get us to train harder,” Elros said from behind him. “Congratulations, it worked.”

Maedhros didn’t smile.

(It did not take someone as perceptive as Elrond to see that Farande had made no preparations to depart.

“Your sons yet linger,” she told him. “I would not leave them alone.”

“No,” he agreed. There were others who had said such, and he was glad of it. “I worry for them.”

“I will defend them to my last breath,” she promised.

“I have never doubted it! On these shores, you shall keep them safe if any can. But Elrohir . . . Elrohir, at least, will sail, I think. I am not sure about Elladan, but I think he will sail for his brother’s sake. They will sail, but the sea is wide, and my sons are not sailors. I do not know that any Cirdan’s folk will yet linger when they decide to try it.”

Farande said nothing.

There were many who had said they would linger a while longer. He worried for them all.

But there were few he thought as likely as Farande to let themselves fade to echoes beneath the trees.

“You promised once to guide Elros and I west if it came to it,” he said softly. “I ask no oaths, Farande; you know that. But is it so greater a thing to ask a different guidance home?”

She swayed forward - swayed back. Swallowed, as she looked down to the courtyard where Elladan and Elrohir played at fighting and laughed below.

“It was no home to me,” she said at last. “It - could be, for them.”

“It could be for you,” he said, softer still. “Surely there is yet some untenanted valley in Aman where our people can gather again.”

The laughter swelled louder below. It had been long since he heard it from them so light and so free.

She swayed forward.

“I will sail them west,” she promised. “If you ask it of me, my lord, then yes; I will get them home.”)

[synap]

I’ve spent the past year working on this comic on and off! It’s such a relief for it to finally be finished. It was a massive labor of love for my two favorite bugs. Here’s hoping silksong comes out before I spend another year making the sequel! (Don’t get your hopes up)

[grendel-menz]

optimistic from now on

[myfandomrealitea]

I know this topic is extremely controversial and extremely nuanced and blah blah blah and I'm lighting a rock on fire and bashing my own skull in with it, but....

Sometimes. People are just ready to die.

That's it. I firmly believe assisted suicide, at absolute minimum for the terminally ill, should be a universal concept. People want to die with dignity. People want to die with comfort. People want to die feeling like themselves.

When someone is ready to die, peacefully, we should let them.

[yurucamp]

so glad you are a fan of shimeji simulation!! ❤❤🍄🍳 i hope to see you draw more someday

this is how i learned that the page on my website with my shimeji simulation art is very broken, i just fixed it! https://waxwing.neocities.org/tkmiz

will draw more for sure, i should reread it soon! any characters you'd particularly like to see? if i remember correctly, it was announced on my birthday, i followed girls last tour as it was being released so i remember the annoucement of shimeji simulation so vividlyy

[skufdaddyswansea]

Anya and Swansea

There's much to be said about how Swansea's bond with Daisuke, and Anya's interactions with Curly, reveal parts of their characters that Jimmy obscures. But there's also more we can learn about them by analyzing their relationship to each other, and the things they share.

From their first exchange, it appears that they have a fairly rocky relationship. Anya comes across as meek, Swansea is quick to shoot her down, and harshly at that.

It's not by accident that this is how they're introduced; first impressions go a long way in shaping our opinions. This fits in with a large part of Mouthwashing's narrative framing through Jimmy's perspective. It immediately suggests his way of thinking to the player; Anya is weak and incompetent, and the rest of the crew agrees with this judgment. Swansea is an old, selfish bastard with no respect for anyone around him.

But if we take into account the context of this interaction, we can see it from a different angle. The most important thing to take into account is the timing: two months after the crash. Keeping that in mind, we can then look not only to the one time we see them chatting before the crash, but to Anya's overall demeanour.

Here she appears lighthearted, friendly, even confident. It becomes clear that she's simply taking the crash harder than the rest of the crew. And after seeing the whole picture, it's not hard to see why. Everyone is in the same hopeless situation, but she's the only one stranded there for months on end with her rapist. The man she already feared was at the verge of more extreme violence, and rightly so. And on top of it all, she blames herself. It was, after all, moments after her third cry for help that the crash occurred.

And here I would also note a subtle but significant difference in the way she responds to Swansea's dismissals as opposed to Jimmy's.

She may not assert herself strongly, but with Swansea, she's at least comfortable enough to attempt it. For obvious reasons, she rarely does so with Jimmy. Add to that the way Swansea's roughness rolled off her back before the crash, and I think we can assume Anya felt much the same as Daisuke.

Of course, Swansea's words are still callous. But it shouldn't be taken for granted that he, like Anya, is alone in his particular struggle. He has, long before the rest of the crew, decided that the Tulpar will be his grave. Although it would have been easy for him to save himself using the lone cryopod, he has no interest in doing so. Instead he keeps this knowledge to himself, both to keep the crew as stable as possible in the final days and to protect whoever would get that one last chance to be saved.

And to cope with all this, he gives in to his worst impulses. Not just to his alcoholism, but to the walls he builds around himself.

Despite his worsening temperament, Anya still trusts Swansea. After months of enduring in silence, she tells him everything. I believe, in this moment, that Swansea does the same.

Shortly after this scene, before Swansea hits rock bottom, there's another rare moment in which Swansea is not guarding the Utility room. This time, he's dancing in the lounge, as he'd apparently been doing all 'night' long. And at a short distance, in his line of sight, is Anya.

Both of them could see time was running out. There was little they could do to make their remaining days any brighter. But Swansea was able to do at least one thing for Anya that no one else did-- he took her pain seriously. He took her at her word, and it changed the way he saw Jimmy entirely from that point on.

On the surface, Anya and Swansea couldn't have been more different. But in the end, they had more in common than perhaps even they knew.

Both stared death in the face with conviction, which was not misplaced. With food and air running out, no sign of rescue, and an increasingly unstable captain, they had no reason to cling to any delusions of hope. However, within their final words, a darker truth emerges.

It was easy for them to give whatever tiny sliver of hope the cryopod represented for someone who they considered more worthy. After all, in their eyes, they weren't worth saving to begin with. They were just broken people, with nothing left but to wait for the end. Even before the crash, these thoughts may have lingered somewhere deep in the darkest corners of their minds, waiting to surface.

What is certain, however, is that neither got the chance to find out otherwise.

[reksigh]

if you could flip a switch and open your third eye

[ruegarding]

in relation to the last post, the entire plotline is poorly executed.

annabeth's reaction to percy in tartarus is normal, like, not good, but normal. percy's not only challenging the laws of the world, he's indulging cruelty. being afraid is a normal reaction to have. despite that, it's still a conflict that needs to be resolved...and it's not.

immediately afterwards it's like ok back to normal! the jagged edges of percy's soul smooth over and annabeth is back to business (which immediately begets the question: why did rick write that then? which is never answered. the point? missing*). like, the actual issue isn't even addressed. before turning the poison onto akhlys, percy is being tortured w it (and nothing annabeth tries stops it). percy isn't doing this bc it's fun and exciting. he's doing this bc he was feeling so angry, so hurt, so scared, so traumatized that he resorted to hurting someone to make himself feel better. this is literally never addressed.

even in boo, annabeth's arc isn't abt learning to not be afraid or to trust percy again, it's to allow herself to be afraid. w piper. away from percy. and she never confronts percy directly, she never reconciles her fear w percy, they never address how this changes their relationship. also piper is there bc annabeth is so freaked out by percy that now piper is freaked out by percy. which is. a separate issue that is only an issue bc once again it never gets resolved.

and then w percy obviously he has his suicide attempt. like, he thought what he did in tartarus was so unforgivable that he not only believed that he deserved to die, but deserved to die slowly and painfully from something that he could easily prevent. like. that's the thing. percy's powers come easily to him. do u know how low he would have to be to not even subconsciously try to save himself? and the only response is a "i think i get it" from someone who's perspective does not properly convey the severity of the situation (ppl read this scene without even realizing it's a suicide attempt). once again, percy and annabeth do not confront this conflict together. percy tries to kill himself and the narrative is like...anyway.

if rick didn't know how to handle this, or even if he just didn't want to write it, he didn't have to write it. any of it.

but it's not that rick doesn't know how to handle this situation bc he writes the same thing in boo and handles it a million times better. nico and reyna have a very similar situation to percy and annabeth and the inclusion of both of these scenes and the difference in how they're handled ends up vilifying annabeth in the narrative.

reyna and nico have known each other for less time. they have built up less trust. and yet. when nico challenges the laws of the world and indulges cruelty in a way that reminds reyna of her extremely traumatizing backstory, she comforts nico. she doesn't treat him like he's dangerous. hedge tells him "we all get angry" and reyna vehemently agrees. nico is given explicit support even before he can start spiraling. and when nico is told to not use that power, it's bc of how it affected him, not how it made them feel, not that it's unnatural.

this shows that there was a correct answer. annabeth didn't have it, and suddenly her "normal" reaction looks bad in comparison. but instead of addressing this in any meaningful capacity, we're going to ignore it and send p*rcabeth to college. #relationshipgoals.

it's such a narrative failure. and rick could've just. not written it.

[messiahzzz]

the IGN article has already been addressed by several users, but imo the points of critique raised by others were still often misinterpreted, or ignored entirely.

— so i’d like to talk about it.

beforehand, it is important to mention that it remains everyone’s respective responsibility to curate their own online experience. you shouldn’t purposefully expose yourself to topics that cause you distress or trigger you. however, general discussion should always be valid and welcomed. you have every right to voice your opinion on the matter and to be upset about this. please don’t feel guilty about venting and expressing your emotional response.

we also need to differentiate this specific interview from the fandom’s overall treatment and interpretation of gale. several of the posts i’ve seen on the subject tend to derail into the latter, without addressing the valid points many have raised or glossing over them entirely. this isn’t about the usual “haha gale eats shoes” joke or whatever new meme fandom comes up with. this is solely about the developer’s treatment of gale, the character, and about a specific, internal bias that has been prevalent throughout the entirety of the game, as well as their social media. this particular interview merely adding to the amalgamation of points mentioned.

yes, it is certainly unrealistic to expect larian to address every single companion in detail and to touch on every nuance possible, in an interview that broadly focuses on the game’s narrative and gameplay. there are, however, specific character sections. each companion received a headline that was reflective of their overall character archetype or provided quick insight into their development.

Karlach: 'The Labrador of the Party'

Lae'zel: 'She's So Young'

Halsin: 'A Creative Risk'

Shadowheart: 'The Jason Bourne'

Wyll: 'We Lost a Little Bit of Narrative Room'

Astarion: 'Much of What He Does Is Out of Fear'

Minthara: 'It's Not a Redemption Arc...But She's Got a Lot of Love'

and last but not least:

Gale: 'The Guy Who Starts Off Annoying Everyone'

what followed was a brief discussion about their respective storylines, each being addressed with a certain level of respect, empathy, and consideration. except for gale. all that was mentioned in regard to his character was the narrative impact of gale’s suicide. talking about the overall logistics of this ending, the visuals of the cutscene, and how, to them, his sacrifice felt like the right ending and how in many ways, it is.

Chrystal Ding, Lead Writer: On a very human level, you have the guy who starts off annoying everyone, he's constantly asking you to give him your most treasured possessions to eat, otherwise he's in trouble, and at the end, he gives himself for the world. Sven Vincke, Founder: And he had the choice already once before where he wasn't ready for it. So it's a very powerful ending, and it comes in different permutations.

gale is the character who is initially annoying companions and players alike. he is verbose, enthusiastic and has a tendency to break out in long-winded rants. he repeatedly asks for your assistance, to help him manage his condition. to spare himself and his surroundings from an untimely, explosive death, he must consume items that you’ve carefully collected. gale is, essentially, a liability. a ticking time bomb. he already had the option to have his life be a meaningful sacrifice, but he wasn’t ready to die yet. now, that the party has reached the end, he has another chance to give himself up for the world.

short after, gale’s section of the interview quickly diverts into a more general discussion about the difficulties of playing as a wizard and other classes.

larian claiming that there is a universal “right ending” in a game with many branching paths and choices very much contradicts the definition of a role-playing game. where it is solely in the player’s hands to decide what direction to take and what outcome they deem to be the right one. moreover, it is important to remember that the interviewees weren’t just any developers, but consisted of two lead writers and larian’s founder himself. some of them industry veterans who are, to an extent, pr-trained. we all know that fandom often sees statements from developers synonymous with word of god. as such, the implications and impact are truly unfortunate.

if larian was referring the SA survivor and stated that “the right ending” for him was to return him to enslavement or to hand him over to the gur. that for all the death and misery he (involuntarily) assisted, his sacrifice would at least grand them a slither of justice.

astarion caused death, perpetuated racism, and now that you have handed him over to the gur hunter, he is offered a chance to give himself back to the world.

it is then deemed the right choice for him because it is the most narratively satisfying/impactful/powerful outcome in the context of the overall story. the majority of us would agree that such would be a rather tactless statement, no? not specifically for mentioning it in relation to astarion as a character or his influence on the narrative — he is fictional, after all, but because of the real-life implications and the very real stigma the affected face. we can't deny that it would be hurtful to irl victims. maybe we would even fault the writing altogether for such biases. after all, why should astarion be the only character whose redemption and healing are considered to be significantly less important in the grand scheme of things?

fiction functions as an abstraction and simulation of our social experience. we are supposed to get invested, to explore the meaning, examine the parallels, or maybe just to enjoy stories for the sole purpose of indulging in the occasional escapism. perhaps a way to temporarily forget about one’s limitations and the prejudices we face. in many ways, chronic pain/impairment, suicidal ideation, and autistic traits appear to be disorders & symptoms that are perhaps less relatable to some, and that they are maybe not as sympathetic to.

it truly would’ve been nice to see larian approach this interview with more professionalism. opting for a simple, diplomatic “actually, there is no right ending. the sheer variation in choices makes such a distinction impossible” would’ve more than sufficed.

this isn’t asking for larian to touch on every nuance possible, in an interview that largely resembled the flow of a regular conversation. it’s about asking for the same level of consideration and care that was granted to the rest of the companions. it’s about addressing gale’s particular brand of trauma with the same level of basic human decency. maybe we even could’ve received some new bits and pieces of insight on gale’s development, rather than the regurgitation of every shallow reddit/tiktok take we’ve seen up to this point. alas..

[srslylini]

If I said the scene with Jinx hallucinating Silco in Stillwater is so beautifully done that it being in season 2 ruins it?

Here is a run down of this scenes dialogue

In itself it is just a dialogue but what I find very noticeable is that Jinx does not in fact actually talk with Silco, she talks to him and then gets talked to. Their conversation doesn't flow because Jinx doesn't engange in basically anything Silco says (run with me here I know it is Jinx hallucinating Silco). She tells him to "go away, you're too late" and when Silco starts talking about imprisonment and how "it says something about Marcus that he thought putting Vi here is a greater mercy than killing her" Jinx doesn't react to that. Her only reaction is "killing isn't mercy" but that's not necessarily what Silco was talking about. If you want you could say they are talking in circles.

Even when Silco talks about killing being a cycle and that there is still rebellion "in that husk", she really doesn't react very much to what he is saying. She closes herself off to any sort of conversation. Mostly she only reacts to the last words presented to her. "I'm done running in circles".

This is her completely ignoring the part of herself that still wants to rebell, by the way.

Now the next part, I feel what they were trying to do is draw a parallel to Heimerdingers line in season 1 of how imprisonment is a curious concept since you imprison the body but not the mind. Here Silco kind of contradicts that though, what he is saying is that the mind is a forged prison one needs to escape out of. That is one of the only parallels I can get behind this season. If it was intentionally done at all.

What I find very uneasy about this next part of the scene is that, while the dialogue we found ourselves in was never really a dialogue, it just turned into a complete monologue. It is Jinx completely detached from herself and in the form of Silco telling herself the only way to free herself is to die. There is no beating around the bush here.

Now lets discuss the visuals of this scene

What I find just as important here is the visuals. Season 2 made the mistake to lean too much onto "micro expressions" for most of its scenes but here I find what they did to be quite stunning.

The scene starts out with the Gemstone rolling through the dark. It is a quite chilling opening since we know what this stone is capable of doing. I feel this very much reminds us of its importance and what has happened with it. And then it hits Jinx.

Jinx who, at this point, has been haunted by the Gemstone for what is basically all her life. And it still continues to haunt her. What I find to be just as well done is that we as an audience are never sure if the Gemstone is actually there. It wouldn't make sense to be there, since she is in prison and I do not think they'd just let her in there with that gemstone, but also? By doing this the audience feels about as haunted by the stone as Jinx does. Who in that moment hurts herself, which manifests in picking skin off of her fingers.

She sits in shadows and Silco also comes from those shadows. That's how the conversation starts. They then continue to only show her eye. The shimmer induced eye. That is in stark contrast to what we then, what almost feels like a jumpscare, get to see with Silco. Suddenly his eye is the Gemstone. The two forces of two cities.

What I also find very interesting is that the audience gets to see Silco's new eye addition when he talks about Jinx still having a spark of rebellion. Well how did the Gemstone first come into play?

Jinx was rebelling against her sisters wishes to "stay behind". And that's when the fateful explosion happened and Jinx lost her entire family. Just as in the finale of season 1. Everytime we see Jinx rebell in season 1 it ends with the death of people she loves. I find it just as interesting that all of this comes after Jinx says "it's too late". She only sees her failures infront of her. All of her acts of rebellion, in her mind, caused the misery that now sits infront of her.

Just as Silco says "Killing is a cycle" we get a close up of his new eye. Now that might be a reach but I like how the Gemstone in itself is basically a "cycle". Also the fact that it is now Silco's eye. The sentence "the eye is the window to a persons soul" is very fitting here, I think. Just that Silco isn't actually Silco. He is the manifestation of Jinx' current state. So he is a manifestation of what she sees as her failures.

And is what happened with the Gemstones not what she sees as her biggest one? She lost all her families over that. And then she lost Isha to it as well. During this part of the scene we see Jinx picking her skin again, as if in an act to ground herself. As Silco says the act of "this cycle of killing will continue long after the two of you" he starts to become less of the focus. The blue of the Gemstone in his eye is suddenly almost all we see.

And then it's in Jinx' hand. I think this shows how Jinx thinks she holds that cycle in her hands now. Which also translates into how she wants to break it, by the way. "I'm done running in circles" as she plays with said figurative circle.

The Gemstone in this part of the scene is what Jinx sees as her prison. All her failures, all her pain. Silco talks over this scene in her monologue (as I talked about in my point before the visuals). All her life Jinx saw herself as nothing more than part of this circle. Then Silco says he thought he could break free by eliminating who he thought his jailors were. I do not like what they did here. At all. But this will come later.

In this scene we only see his new Gemstone eye, as he talks about his jailors. The gemstone comes from Piltover, all his life Silco wanted to break free from Piltover, so there is that. I will come to this later, as I said. Then he says the cycle only ends when you find the will to walk away and suddenly we do not see the Gemstone eye anymore.

More on this later. What I see in the next scene is maybe a little hard to get and potentially wrong. We hear Jinx swallow, right? And swallowing is the act of putting what's in your mouth to your stomach. So when she tries to spit out the Gemstone it can't actually land in her hand again. In my head, and please this is literally very much a far reach cause I myself haven't yet figured this part out completely, it's almost like she lost it again, the thread she held in her hand before.

That, for me, is the part where she understood what the Silco in her head was trying to tell her. A convoluted "you have to die". That's why, when Vi comes, we see her even more detached than before.

Why don't I like this scene in the context of season 2 then?

The hauntingly good of this scene is how factually wrong it is.

Or that it should be wrong. And that's why it is bad. The scene portrays this picture of a completely in shambles Jinx who, in a very twisted way, tries telling herself the only way to betterment is death. And in the end that should have been avoided. What the writers did, how ever, was make this scene be correct.

Well the only way out was death and getting away, right? It shouldn't have been. What should have happened is that the scene gets turned on its head and Jinx gets to the understanding that it is wrong, that she is deserving and allowed to stay. In context of a season 1 this scene was very fitting but in the season 2 we got, that excused classism, war crimes and killed its 3 suicidal characters this scene was terrible.

That leads me to my point with Silco telling us he understood the only way was breaking the cycle and not eliminating his jailors. In what they gave us with season 2 this is... definetly something. What they gave us with that is that Jinx apparently now "understands that Piltover isn't the problem but she is". That makes Jinx having to apologize to Caitlyn even worse. What Silco said in this moment is basically this "He now understands that breaking free of the people oppressing them (his jailors) didn't free him but understanding that he is part of the cycle and needs to end it is freeing" and with that in context of Jinx' mind this says

"I now understand Piltover isn't the problem. I am."

This wouldn't even be THAT bad had they portrayed this scene how it should have been shown.

As wrong.

Conclusion

This is basically why in itself this scene is beautifully done and everything that season 1 did great and why I in fact hate that it exists in season 2. It is such a disservice to have such a stunningly made scene in a season that endorsed all that it shouldn't.

I also do not understand them basically showing the two cities conflict with the shimmer induced Jinx and the Gemstone in Silco's eye and then just doing nothing with that. Like you had it right there. All of it. There it was and then you just failed to do anything with it, ignored it and then by doing so hurt your own series themes. Which is why I hate what Silco said with breaking the cycle and freeing yourself even more. Like how wrong can you even be? How can you show how wrong this is and then paint it as correct?