#the things i've seen in this fandom

[nobodysuspectsthebutterfly]

I joined the fandom shortly before ADWD came out, I do not remember the Victarion is Azor Ahai theory...

Then you're very lucky it never crossed your path. 😅

[scarycranegame]

EVERYONE SHUT THE FUCK UP AND READ THIS.

THE CURRENT VOTE COUNT IS NOT THE FINAL RESULT.

IT WILL TAKE SEVERAL DAYS TO COUNT ALL OF THE VOTES AND DETERMINE WHO WINS THE ELECTION (POSSIBLY MORE IF A RECOUNT IS NECESSARY).

IT IS VERY LIKELY THAT THE FINAL RESULTS WILL NOT LOOK LIKE THE INITIAL RESULTS.

STOP DOOMPOSTING AND LEARN HOW THIS SHIT WORKS.

[lilybug-02]

My contribution to the Animator Vs Animation community 😔🙏

[writingjourney]

why is it "Tobias hates poor fans who can't attend shows and now they're not even getting tiktok edits" and not "people have been SO excessive with their phone usage that it's ruining shows for artists and many fans alike and the only way to combat it at this point is to have no-phone shows, which is not ideal for artist nor fans but could hopefully lead to a change in attitude towards live music in the long term"

[that-girl-glader]

Just because YOU don't like a piece of media because YOU think it's cringe and poorly written doesn't mean others don't like it. And just because YOU like a piece of media doesn't mean everyone likes it. You get? Great, now keep that in mind and stop shitting on media and people who enjoy that media AND HOW PEOPLE CHOOSE TO ENJOY THOSE MEDIAS. This goes with ships and characters too btw!!

[nebuladreamz]

chat the voices are loud again

[severus-snaps]

just saw another "snape was too busy holding lily's lifeless body to comfort baby harry!!!" in the wild

but like. it's occurred to me that even if Snape HAD actually been there, and even if he HAD picked up baby Harry and attempted to comfort him, people who don't like snape would probably find something to complain about that too

like, "how creepy to pick up your dead crush's baby!!! snape was a creepy obsessive stalker and lily wanted nothing to do with him how dare he touch her child without a guardian's permission!!" or something, or that snape would only make baby Harry feel worse (fair, I don't get the impression that Snape was a naturally comforting, paternal, or cuddly young man), or that he was about to, like, kidnap harry or something and grow another lily in lab conditions 😂

[pinkypastal]

Shippuden is a ride

[makiswirl]

can i just say. and this is probably a niche hill to die on. that i am so gobsmacked every time someone vaguely hints at the idea that jotaro doesn't care meaningfully for the other crusaders, usually particularly kakyoin and joseph, when those two actually tend to be the ones he reacts to being hurt the hardest

like he cares for his loved ones!!!! that literally plays into his character motives in every single part he shows up in!!! stop lying to me!!!!!!!

[i-am-trans-gwender]

For the longest time I was under the assumption Dashcon was a failed Rainbow Dash convention. I thought the blue part of the ball pit represented her body and the balls represented her hair. I'm not even a brony.

[ladyinthebluebox]

wE wAnT cOmPaNiOnS tO bE mEaN aGaIn!!!!!!!!!!

my siblings in the maker, you can't handle Taash calling Emmrich a death mage couple times or [checks notes] ...asking Neve about her clothes [?????????????]

[galacticlamps]

ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--

But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.

And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.

That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.

Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.

And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"

So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.

Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.

[qwainte]

People are so weird about Halsin and other characters, I hate fandom sometimes.

[torchstelechos]

*Taps the sign* Isat is a game about facades, changing, and most importantly, mental health. If you think anyone in the game is a one note character, you are not diving into the world deep enough and have failed to understand the true meaning behind them. Please take a moment to read over meta about them, or simply focus on them the next time you play the game to get a full understanding of who they are. Isabeau is not dumb or just a love interest character, Mirabelle is not oblivious and always kind, Odile is not just smart and a maternal figure, Bonnie is not just annoying and short tempered, Loop is not just teasing and evil, and if you don't get Siffrin's facade I don't know what to say.

[terriblesolomons]

Can't quite articulate it intelligently yet - and it's not revelatory - but the absent-woman vision of the HBO war suite is so chilling to me...they're there, but they're always projections of the men around them. If women are present physically, it's for the sake of memory-making, not for relationship-building - men copulate with, kiss, flirt with, buy drinks for, and abandon women in these series in order to remember doing it later. In order to tell the story of doing it later, not for the pleasure of re-membering (literally) their flings, but for the stake of manhood amongst their peers.

If women are present emotionally, spiritually, they aren't /really/ present; that is, they're not present in reality. They're written into the dead wife trope without any proof of them having lived at all independently of the men who think of them, who turn them into icons, medals, omens, superstitions - they're there to fortify, edify, and intercede for the men who live in the real: in the war. They are all Madonnas, all saints. If they ever existed at all, it's in a different, untouchable, spiritual realm - one that has no bearing on the actual lives of the men whom they love beyond the comfort of a good-luck token.

(Even Lena Basilone, the widow of the Basilone marriage, haunts the memory of her dead husband!!! She trails after his legacy. She bends into its shadows. Since John is incapable of making a narrative out of her physical presence, she must deconstruct herself into an emotional definition of her own body: hands that offer his medal to his father - a body that comforts his mother - a shape that moves around the grief of his family, that gives it boundaries without ever affecting it...)

[dirtytransmasc]

no matter how hard they tried to pit you guys against each other, they could never make me hate any of you

just cause I like one, doesn't mean I have to hate the others. I love all 4 of my silly little babies.