#this is fucking me up a little on an emotional level

[loycos]

my head's a bit clearer, some thoughts about act 3

-my biggest gripe is episode 7- cool idea, love the concept of peaking into a different universe and seeing what our characters couldve been under different circumstances, but a WHOLE episode. when you only had 9 episode in this season, that already feel like theyre moving at a neck's pace. for a universe that ultimately doesn't matter to the main universe where the story takes place. the fact it had timebomb made it feel extremely fan service-y.

-no emotional resolution to a lot of characters. viktor and jayce are the only ones i can think of that felt like they got the screen time and care for an actual emotional closure.

-isha wasn't even mentioned in this act. in general she was already a martyr for jinx's character development but guys can you make it less obvious.

-it started in act 2, hence why i was so jaded on it, but it continues here: just where the fuck the political drama between 2 cities go? the conflict between zaun and piltover took a back seat since episode 4 and never came back. the resolution to it isn't bad per say, but when u got so little focus on it in the finale it just feels rushed.

-i loved the cait and jinx scene. but like, that was the resolution to it??? after act 1 thinking about it disappoints me. im not against a conversation being the climax to a story, but that is, and im not joking, the ONLY conversation these 2 have in the show one on one. in general the jinx\cait\vi arc ends with 1 conversation per duo (well caitvi got one fight and one very steamy sex scene but u won't catch me complaining). and after act 1, idk i think i wanted just a little bit more. im biased though- the jinx\vi\caitlyn dynamic is my favorite part about arcane. the teasers for s2 always had them front and center so i assumed it'll play a bigger part in the story???

-i felt like what the show was at its core, which is the conflict between the sisters and the cities, was completely sidelined this season. in general i can't really tell what the main theme of the show is anymore. but yeah look at the resolution to the jinx and vi story.did it feel like it had the emotional impact u expected? cause i felt like it was underwhelming.

-sevika?? didnt speak since episode 4???? huhh???

-maddie was pointless. why was she there?? i don't understand the point of that character. i dont understand her motives. she ended up not mattering at all to caitvi's story. the only thing i got from her inclusion is "caitlyn fucks" but is it that THAT important??? of a character trait??? to add to caitlyn of all people?? in THIS season??? this belongs in the realm of fanfiction.

-a lot here felt like fanfiction actually. every silco inclusion (except of him in the cell with jinx), the whole "nobody dies au" they threw in the middle, even the caitvi sex scene (IM NOT COMPLAINING THO). the caitvi scene at the end was dialog out of fanfiction, wtf was that.

-why did caitlyn lose her eye? im not like against the idea on a base level but losing an eye is very symbolic, and im not sure what its supposed to represent here. caitlyn is an observant person, its a big character trait for her. so youre basically saying she sees less now? that she's more laser focused? i sure hope not. wasnt her whole arc with giving up of revenge about seeing the "bigger picture"? her sacrifice didn't feel in character, because caitlyn is not really a "fight to the death" type of character like ambessa is. if she made that sacrifice for something like love, or for the betterment of other people, that would be more in line. idk, you couldve made me on board with it but im just very meh on it. also caitlyn only really emotes through her eyes, it sucks that we get even less of it now?? though i guess it doesnt matter at this point.

-what was the point of the enforcer that looked like vander?

-ambessa was so wasted in these last 2 acts its crazy. where's the "you have to be the fox and the wolf" mindset from her? she felt like she was wolfing only with no wit anymore by the 3rd act.

-mel????????????? it was. uhhh. maybe you shouldve saved it for another series, riot. but in this show, waste of time. the fight she had with caitlyn against ambessa was cool tho.

-i sound like im a hater but u have to understand. s1 of arcane was a political drama and a character study show. seeing all this discarded for magic and time travel shenanigans on like 4 different fronts was so jarring it took me out of the show multiple times.

-cant believe im saying that, but i wish they'd try to stick closer to the characters' current state in the source material (the cursed game). someof it felt out of left field and done for shock value, which isn't why we love the story or these characters to begin with.

good stuff:

-caitvi sex lmao ill take it babyyyyy

-jayce and viktor's scenes at the end were powerful.

-as usual, the visuals were phenomenal. the animation is gorgeous. fortiche u made this show what it is and youre still its saving grace.

-thank god they dropped the warwick\vander plot

-i liked the implication of the conclusion to jinx's story, even if it felt a little inconsistent with the character.

-the ending to jinx\vi\caitlyn was poetic and i did love it, even if it was rushed and didn't really hit the emotional highs i wanted it to.

[docholligay]

I have no idea how wild the fandom for Hadestown is. If you don’t know me, if we’ve never exchanged words, and you have BIG FEELINGS about Hadestown that any level of critique will set off, I very much encourage you to move it along. I can’t do Hamilton 2 or whatever. (If I know you I will give you more leeway FOR SURE. I just want to keep strange weirdos out) 

First, I have to provide a little bit of context: I got in on the ground floor with Hadestown. 

Yes Doc, I too, have been obsessed with it ever since it was in previews--no, I mean, i saw folk singer Anais Mitchell perform the whole thing like 15 years or whatever ago in a converted garage venue. 

I wasn’t even in town to SEE HER, I was in town to see a different artist and this was back when live music was a bigger thing and not a dying scene, and people just bought tickets to whatever was playing on a free night. I like folk music, I liked the idea of what was then being called a folk opera. It was instant love. Orpheus and Eurydice is one of my favorite myths, I am from a rural and exploited place, I loved everything I heard, some absolutely glorious poetry going on there. Bought the concept album, forced so so many people to listen to it all the way through. Forced jetty to listen to it on our road trip! Before the musical came out even!

I have been following this musical ever since then. I kind of thought it would never get made! I followed the original version, and then the broadway one. What I’m saying is, I have what now amounts to about fifteen or so years of history with this musical, and all the changes it has gone through, and all my individual feelings about each of those changes. My evaluation necessarily lives within that context. 

This was part of the reason it took me so long to see the Broadway! I wanted the emotional space to feel however I felt about it, even if that ended up being, “I fucking hated that” and it’s hard to have that when someone buys very expensive tickets and a trip for you to see something you’ve been following for years. Part of jetty’s gift of this was “And you can hate it!!” and I knew she meant it, because when you watch something move and be workshopped and change, you get a lot of feelings about it. 

So I can’t really go, “I liked Hadestown/I didn’t” I mean, I have loved hadestown for a very long time. If all you wanted to hear was , ‘Did you like it?” oh yes! But I have at least four versions sitting my head right now, and they are all next to each other for evaluation in a way that someone who has only experienced the broadway can’t have. 

I want to provide this knowledge because my thoughts about it go so far beyond what is currently being staged on Broadway. No, this is not going to be me saying, ‘Everything was better with the concept album!” no, some things are, but this isn’t that I promise. 

Everything below this is spoilery

So, originally Hadestown was a slightly different story and admittedly, one that spoke to me more than the story I saw last night. It was a lot more specific in its earliest days--it was about an impoverished mining town. Hadestown was the company town, underground, and there was basically no mention of Hades and Persephone being actual gods, anything was winked to, but it was mostly about how the holders of capital have all the accountability of gods. The whole thing had a much stronger anti-capitalist framework, and Orpheus and Eurydice were basically naive kids who thought they could avoid involvement with the mine. Obviously, this very much spoke to me. It was matching my freak exactly. 

It is not that now. And that’s both totally expected, and disappointing to me personally. The show now is much more of a, I’m trying to put this in a way that feels less insulting because I don’t mean to be, very Captial L Liberal. Audiences who can afford Broadway tickets will eat up the vague notions of wishing for a better tomorrow and ‘show the way the world could be’ and putting this back into the framework of a story of the gods instead of the utter lack of choices available to people, that the game is rigged from the start, and Orpheus even having this chance is both an exception and a test hades expects him to fail. I get why this happens. Literally every story that has ever been brought to Broadway has had to be made more palatable to a broader audience. The story it is now, is much much more broad, much more life affirming or whatever, and much more easy to hear. I think I would like it better if I didn’t know the story from the very first versions. 

But that was not a problem last night! That was a problem when i heard the previews out of Alberta! So I’ve had years to adjust to knowing that they were going to blame Orpheus a lot more. Which I love that the Broadway seems to have backed off of! The Alberta production really sort of LAID INTO THE BOY in a way I aggressively did not care for, because it was the antithesis of the story as I understood it. Love that they took that back a step. 

Anyway, so, things I loved about the musical last night:

The staging of Wait For Me fucked SO SEVERELY that honestly it makes me forgive like 90% of the things I don’t care for in the final Broadway version, that I thought were done better in other versions. I almost cried, it was EXACTLY what I would have pictured in my head after hearing it all those years ago. It was incredible. I wish I could see it again, and study it. I am thinking about it right now! It will live rent free in my head. Perfect. 

The gal who played Eurydice has clearly listened to Anais Mitchell albums, because she sounded SO MUCH like Anais that it even took me back for a moment. 

I’m not sure if this is praise or a criticism: 

I don’t know how I feel about having Hermes as an overall narrator! I go back and forth on it and have since the Alberta came out. If I were going to do it I would do it differently than it is currently staged. Jetty was talking about how she loves when the instrumentals are onstage, and I’m the exact opposite--I mostly find it crowds the stage while not bringing much interest for me. But in general, i both like it and do not like it, to give a very useful critique. I don’t hate it, for sure. I love the opener for Wait For Me II. But overall I will probably need to think about it for another 15 years. 

Frustrations I have:

 I think I have decided that even for the MASSIVE INSANE BUCKWILD flaw of seemingly blaming Orpheus for Eurydice’s decision, the Alberta is the best version. I think I prefer the concept album on a personal level for a lot of things, but I think the Alberta is, well for starters, definitely more complete--the concept album has some massive gaps in it that desperately needed filling--but it preserved a lot of the poetry that the Broadway version seems to have stripped out while being much more mass appealing. I was particularly GALLED by the rewrite of Epic III, one of the things in the Alberta version that made me say, ‘Wow I am prepared to forgive a lot of horseshit for this song, my god” 

NEVER FORGET WHAT THEY TOOK FROM YOU

They took out "The heart of a king who loves everything like the hammer loves the nail" imagine writing that line and scrapping it, are you HIGH, fuck me running.

And I think this summarizes a lot of my frustrations about the changes between the Alberta and the Broadway. It no longer sounds like a folk opera. It has lost a lot of the poetry of the original, folk music being very grounded in lyric and somewhat less in vocal theatrics. 

Also, and this might just be an actors thing, I did not get any sense that Persephone and Hades love each other…at all. Part of the appeal for human beings named Doc who are me is that they love each other, and they can’t stand each other, and I didn’t FEEL that at all. Like i said this could be an acting thing--I was not overly impressed by our persephone broadly. But taking out her part in Chant II I think also really contributes to this problem. 

This is both the Alberta and Broadway versions: I MISS THE FATES BEING A REALLY TIGHT 40s STYLE GIRL GROUP SOB SOB SOB. In the original, the fates were the only characters ‘outside’ the story, and this was indicated stylistically by the fact that everyone else was singing folk music, and they were singing in this very different style. The idea fifteen years ago was that they actually would be dressed all in that style, but yeah, none of this happens now and i find it SOOOOOO disappointing personally. I hate their stupid costumes I hate the ‘rougher’ style of vocals I hate it so much ahahahahha. If I was going to force Anais to change one thing it would actually be this, even though it is insanely petty and silly. 

The best version of when the chips are down:

I don’t know if literally any of this is what you were looking for but I somehow deeply suspect not. I am IN THE SHIT with Hadestown though, so if you have any specific things you wanted to ask about or have me talk about, let me know! I am just cutting this off now because it’s already at 1700 words and I’m not sure anyone cares that much about my journey with the only musical I can truly say I knew about when it was still a twinkle in someone’s eye. 

(Yeah Doc, I have a question: Do you have anything mean to say about the concept album? OH BOY DO I. Some of it is to be expected like, "Uh, Anais you need the rest of the story here girl." but a huge one is I fucking HATE that she got Justin Vernon, who you know better as Bon Iver, to do Orpheus. He SUCKS. He sounds bored the whole time because that is how that motherfucker sings. I have HATED it since day one. Reeve Carney is perfect and literally what I started my local women's prayer and casserole circle to petition the Lord for.)

[lipstickchainsaw]

Things I would've liked to see in Arcane S2, in no particular order:

Caitlyn doing some more heinous shit after becoming dictator. Let her be evil, damnit! Let her fuck up the Firelights' sanctuary to achieve whatever goal! Make some people mad!

More of a sense of the power struggle between Ambessa and Caitlyn. Let Caitlyn look into the disappearances as well, or at least give us a sense of what she thinks is going on. Maybe give Shoola something to do after even Salo left. Make the upper class of Piltover feel more alive.

Give Caitlyn the initiative in her turn away from Ambessa, mirror Vi choosing to trust Jinx while facing to Warwick here, and have it take a little more to get them on the same page.

Let Ekko and Jinx actually rally Zaun in the final act. The way they're seen by their people was a pretty big deal, and I would've liked to see that go somewhere in the climax.

Actually, have Zaun actually discuss what to do in the Noxus/Piltover war. Both sides oppressed Zaun pretty badly, so maybe there's some people who want to support Noxus (a very small group), or who figure they're happy to let their enemies fight it out. Let Sevika, Scar and the Jinxers about this.

Hell, let Sevika show up at all after episode 4! Isha was important to her too! Have her and Jinx suggest building a statue for her, like Silco did for Vander, as another notch to help Jinx stand upright.

When Jayce and Mel come back, have them reckon with what Caitlyn did to their city, and have them take some time to forge the place back together.

Let Zaun negotiate with Piltover for their aid! Give them more than just one seat on the council amongst people who already look down on them (although I think Sevika is canny enough to get the most out of it, it's a real consolation price for a group of people willing to abandon their own homies to rally to the defense of yours), and make Ekko a prominent voice here.

Warwick in episode 9 didn't really do much for me. Any of the emotional beats there were already covered in episode 6. Not sure what to do with him instead, though. Maybe make Vi and Jinx protect others from him more explicitly?

By emphasising the Piltover/Zaun conflict more, you can have Vi be more conflicted about where she falls on that divide.

Ambessa also lobbies to get Zaun on board, maybe pulls some Renni shenanigans again. Actually get me invested in that grand climax.

Same goes for Viktor, honestly. Maybe give his conversation with Mel and Jayce a bit more weight. His turn to Ambessa and Singed's side is a bit abrupt (and also very much caused by Jayce killing him, so his moral high ground in that conversation is a bit weird).

Don't make Jayce talk shit about Viktor's terminal illness, goddamnit. Heimerdinger's whole arc was about how corrosive that attitude was, and the conclusion of it was that you can't sit down on your laurels because change will keep happening with or without you. I think that makes for a much more compelling argument against Viktor's philosophy at this point.

No notes on Singed. What a ledge.

Overall, I think the show needed a bit more breathing room to build up to the level the climax was operating on. It left a bit too much of what I cared about behind to get there, and adding an act could've been a way to alleviate some of that.

[multimilfs]

POV POV POV anything from agathas perspective (maaaybe smth jelly or protective 👀 im not picky tho)

hmm, this was a hard (but fun) one! i've been toying with some Agatha POVs in the new chapter(s) so this was a nice little exercise for that. not exactly what you requested, but i hope you like it regardless, darling!! i had so much fun playing around with this!!

also--spoilers for The Reigning Game CH5 below the cut

Agatha's POV:

"Help me up." Agatha demands.

When she inhales, it's choked. There's an odd heat to the feeling of her flesh sliding over the blade. Like the searing pain should be temporary. But it renews again with each breath, forcing adrenaline and rage into her veins.

The rage, so familiar and comforting, calls forth her magic, beckons it forward from that never-ending well somewhere deep in her person. Her power writhes in the same agony she does as soon as it surfaces. It claws at her, desperate for a foothold to pull away from the pain, from whatever is imbued in the fucking sword that makes her unable to rid herself of it. It begs for the pain to end. She cannot make it stop.

She lets loose a long string of curses.

Agatha doesn't know who this Witch is, but when she does she's going to destroy her slowly. She'll turn her magic against her so she feels the never-ending torment of her body unraveling. And when she begs for mercy, Agatha will give it to her; but she won't let her keep it.

Stupid fucking Witch. Stupid plans and you and biding her fucking time when she should just--

"Why should I?"

Agatha freezes. She holds her breath, which is a strange relief for her abdomen, though her lungs scream. She tilts her head back to look at you.

You, beautiful and kind and arrogant and foolish. You, with the sun at your back, surrounding your person in a ring of golden light. You, the problem and solution.

She really knows how to pick them.

There's a desire roiling in your eyes that intrigues her. Bloodlust. It lingers every time you look at her, every time you sit in silence long enough to consider how you might bring her to heel. Yet, in some deep part of her, Agatha knows this bloodlust isn't yours.

You're too still.

"Don't do this. Not now."

Your laugh is quick, easy, wrong, "I never took you for a sore loser, Harkness."

Harkness. Like saying her true name is beneath you; the Witch has kept that much true, at least.

“If you want to win, stab me yourself—don’t profit off of someone else’s fortune.”

She knows you desire her death for yourself, you always have. You've fought her tooth and nail every step of the way. Just like that day.

That day when she had outmaneuvered you, leaving your forces surrounded in the old fortress. Agatha hadn't seen the bodies she leveled, focused solely on meeting you halfway, as if called by some outside force. The blood had clung to her skirts though.

Upon her approach, you had wasted no time. You lunged, a flurry of blows and slashes so fast even she fought to keep up. You danced around the bodies she left trailing behind her. Even with the advantage of age and power you were quicker, flitting in and out of space before she could fathom how to catch you. A Goddess of beauty and rage and determination.

Agatha's familiar enough with manipulation--familiar enough with you--to see through the clumsy attempt.

Your head tilts, observing her like a specimen in a jar. Agatha's magic still roils and writhes within her, equal parts desperate to escape the pain and eager to prod you until the emotion in your eyes is your own. How dare that Witch alter what is already perfect?

“You don’t get it, do you?” You ask, “Being rid of you is winning. How it happens is irrelevant.”

The way out, wickedly deposited into her lap.

Agatha smirks through the pain.

Winning. Winning for whom? Not those masses your heart bleeds for. The poor and downtrodden Agatha rarely spares a thought for, but whom you had gone to war to defend.

The woven mask cracks, a hint of you peeking through. Her eyes rake down your form. Her head tilts. It's a shame, really; such a stunning example of fury, butchered by ham-handed manipulation.

“You’d be beautiful like this—if it was really you.”

the original scene (for context):

Lightness sweeps through your limbs. Walking away now would be so easy. It is your turn to have the last word.

“Help me up.” Agatha demands.

Her chest rises, though stutters each time as the pain of her flesh sliding over the blade renews. Under her breath she lets loose a string of obscene curses.

You tilt your head, your own voice sounding far away, “Why should I?”

Agatha freezes. For the first time since falling, she looks at you. You’re struck by the change in circumstances; not long ago it was you kneeling at her feet, begging. You’re seized by the desire to feel her beg.

You want to hold her heart in your hands and squeeze.

“Don’t do this. Not now.”

The laugh comes too easy, “I never took you for a sore loser, Harkness.”

“If you want to win, stab me yourself—don’t profit off of someone else’s fortune.”

You stare at her, hard; the paling of her skin, the way her fingers are clenched in the grass, palm sputtering purple. Her eyes are furious. There’s also something else there you can’t quite place.

“You don’t get it, do you?” You ask, “Being rid of you is winning. How it happens is irrelevant.”

Agatha’s lips pull into a smirk. It lacks the usual strength, but you still find yourself unmoored—fear creeping in where triumph was moments earlier.

Her eyes drag over you. Her own head tilts.

“You’d be beautiful like this—if it was really you.”

You can’t breathe.

[vagueconfusion]

halfway through the newest episode of misfits and magic and hit with the reminder that Evan gave K his shirt in the last episode to wear and they're probably still wearing it

[scattered-under-moonlight]

I'm replaying the first Outlast and Its DLC and I live for the boys notes, Also the difference in their personalities is so funny to me

Miles: I'm a professional but I'm also stuck in hell so go fuck yourself

Waylon: I miss my wife and this might suck but that wont stop me from being articulate

[primus-why]

I Feel TFOne Could've Handled This Better...

Hot take but I feel like folks have been really generous with the take that OP was unable to find ~the perfect words~ in the heat of the moment (and thus should be given some grace) when he told D to stand down and "not be like Sentinel"... namely cuz I don't feel that the narrative supports this?

Like-- after all is said and done, OP doesn't reflect on that part of their split. He doesn't have a moment where he seeks validation or voices his regrets over the choice of his words, it's actually cut-and-dry. The narrative (as it stands) supports that OP saw D-16 acting up, so he called him out and stood on business, down to the last scenes where he's basically like "yeah it's a shame but y'all knew I had to do it to 'em."

It didn't have to be much! I'm not saying to absolve Megs, just show OP looking at things from a different perspective/contemplating a bit on that tough choice and the morality of the moment. Some examples of what I wish we had:

B-127 straight up blurting the obvious by later chatting with Orion like, "Wait so you told your best friend that he was acting just as bad as the guy who enslaved us for our entire lives and was torturing him like an hour ago? Oof. Seems kinda harsh." Then have some of OP's regret show on his face.

OP asking Elita-1 after Megs is banished if he did the right thing. Have Elita back his choice up, saying, "You should have seen what he did after you were... gone. It was terrifying. I know it was tough, but you made the right call." OP is grateful for the support, but a conflicted look still flashes across his face before he steels himself to look out towards the horizon... and the future.

Have OP walk past other mechs/former miners who didn't go with the High Guard saying stuff like, "Wish I could've given Sentinel a piece of my mind!" "Yeah, but I'm glad he's gone for good." "Ugh I miss everything." "Oh, it was crazy! Megatron picked him up and then he rrrrriiipped-- oops, hey there, Mr. Optimus... Prime... sir?" And have OP wave hello, looking a bit sick when they leave.

Post-credits scene with Starscream going on and on, asking Megs when they'll be back to teach the upstart Prime a lesson. Megs grabs his face to shut him up. "Patience, Starscream. The Prime thinks I'm no better than Sentinel... but I'll show him. He wants Iacon? He can have it. In the meantime we'll take the rest of the planet! Then I'll come back, crush Prime under my heel, and we'll take Iacon too. Sentinel's reign will barely be a footnote, because I'm about to become Optimus Prime's worst nightmare." The vocal performance would really need to sell this-- like picture Megs saying something like that from a place of anger and hurt, not so much a place of genuine evil or malice.

Basically instead of Orion's assertion being backed up as black and white/good vs bad, I wish we had some different opinions/reactions from the characters sprinkled in there. Like you can't tell me out of allllll the miners who weren't strong enough/willing to go with the High Guard and ended up sticking around that NONE of them were like "eyyo honestly?? Kiiiiinda glad Sentinel is dead. Wish I could have helped, tbh." like come onnnnn...

And you can't even argue that he's not an active threat-- I don't think everyone would see things that way! It's not just about the threat he physically has, but the threat he represents and is very likely to act upon if given the opportunity! He has a proven track record of not only being sneaky and conniving, but also capable of dealing some serious damage/killing people bigger and stronger than him, plus he has the backing of the Quints. All he'd need to do is wriggle his way out of jail and run off to his sponsors, then he'd probably be back to hurt more people! (If the Quints didn't just kill him out of incompetence lmao). There's a lot of "ifs" here, but I think it's a valid argument that not everyone would agree on what is the right or wrong way to handle Sentinel once he was down long enough to, like, do something about him.

I feel the situation needed a bit of nuance. In some way I wish they had kicked the can and had D and Orion bicker while Sentinel escaped, then have D get frustrated enough by the loss of Sentinel to point fingers (and his fusion canon) at Orion, who then falls and becomes OP. (Megs could still show some of thar emotion/remorse right after he does it too.) Not only would this open the door for a sequel, but tbh the Quint might have just killed Sentinel anyways and sought to deal with the miners uprising themselves lol. (Maybe that could have been an after credits scenes too instead of the B-127 bit??)

Would love to see a moment in a sequel where they have a calmer moment after arguing for a bit. Have OP mention how Megs was out of line, that it hurt and even scared him to see him act that way, and Megs can quietly point out "you said I was as bad as Sentinel... is that really how you see me? After everything we went through?"

Then OP can fumble the bag again lmao like "D, I... I'm sorry, that didn't come out right... but you still took things way too far..."

"Why am I not surprised-- your opinion is what matters the most! Maybe that's why you became a Prime, since you're so good at acting like the world revolves around you--!"

*gets interrupted by someone else before another yelling match ensues*

[dykedvonte]

I think the most baffling thing about the Tulpar as a vessel to me is the fact that the ship really did only have a one way communication system.

I know it was cheap but even the most basic of vessels regarding major transport would have some way, shape or form for outside communication. Not only that but there was absolutely no form of innate emergency signal to show they may have been offline or in trouble despite clearly having a system to dock credits if they went off course. It's another factor that really shows that bad situations are made to get worse by design. One person who is required to relay all information to the crew and make all the choices without feedback. No way to update or call for help in case of a dire situation. No way to inform of inner personal conflicts and acquire procedures accordingly.

It really is like they are all in some sort of fucked up solitary confinement. They have their own world with strict roles that are meaningless in the end, as long as the cargo makes it, it doesn't matter what happens on that ship to the company. They don't want to hear anything and will come to conclusions on what happened based on how much pay they can withhold from the workers. Even what they do send is short, sterile and corporate to the extent it was likely written and sent out with a command by some random unmanned computer in an office.

There's something to be said about how unfair it is to force absolute power and control onto one person when you as an entity could do so much more to offload it but I've said it many times before so I won't again.

[carnivalcarriondiscarded]

im finally going through my stuffed animals to choose which ones to donate (most of them. ive been putting this off for a long time ahaha sobs) and each webkinz i put in the box kills me inside

[everybody-hit-the-pyro-cue]

specialized education and gifted children programs are so fucked up I see the purpose but the execution and expectations are genuinely horrific I've yet to meet a single one of us that's doing okay besides from those who just reached their breaking point and chose to stop caring

[rhineposting]

saw someone unironically saying "rhinedottir fed nigredo to durin to make nigredo grow better and stronger because durin's stomach is actually nurturing like hummus 😊😊😊" god if you're up there can you revoke this person's rights to speak about rhinedottir, or any morally questionable girlboss for that matter. if you can't accept that a lady had her son swallow her other son whole then just move onto characters who are actually nice instead of rewriting the actually not so good characters to fit your imaginary narrative better.

[mainfaggot]

just watched challengers at the cinema w my little sister. it was so intense wtf

[tittysuckersworld]

once again asking begging for a rival

[tristanrambles]

Me through clenched teeth with a white-knuckled grip on my pen: My Art has Value, the Only One who has to Like it is Me, My Art has Value---

[psalmsofpsychosis]

Yeah but the most hilarious thing a friend said about me was— I used to have a very dear friend who was hella intimidating to me, and i dont get easily intimidated. She was loud and outspoken and provocative, she loved a good fight and sought it, she was the only friend i had who i could happily challenge and provoke and get into her head because i knew she was absolutely secure in her own skin and rarely lost her ground, she loved being challenged. We were a formidable duo together, and there was this one time a guy jokingly asked her which one of us is scarier— she pointed to me without a second thought. It was so out of the blue and everyone, including me, turned around and was like ?????

because i assure you, i dont look scary, far from it in fact, and i can be loud, but it doesn't happen often. Most of my life i've been sitting in silence in a corner just listening. And i remember my friend laughing and saying that yes, she's loud and fiesty and she throws a fight and wrestles men every other Tuesday for the fuck of it, but really it's me people should be afraid of, because at the end of the day she plays along. She knows the rules, and she adapts to societal conventions, she works with people and she adheres to the implicit boundaries of different contexts (while screaming about how fucking stupid they are.) and sure, i dont look like much on the surface, and i'm mostly quiet and soft, but i don't negotiate. I dont play along and if i dont like something i'll flip the table on the game. She told the guy, "all things considered, i work with you and adapt one way or another; she doesn't adapt, she breaks through your thresholds."

And it's been 8 years and i still think about this remark. One of the most intimidating women i knew thought i'm the intimidating one because i'm a nonconformist, and so little has changed on that front. For the longest time she was resentful of me because she felt like i exist outside the rules and i think i'm exempt from them while she was stuck knee deep in societal conventions and "this is how things are done around here". I never really got it in my 20s, but now i think i do, which is to say; i pay my own price for willingly existing outside the thresholds of common protocols and societal codes of conduct, but that's just what i do. I never really learnt how to play along, and i guess i didn't want to, wasn't worth the effort. This isn't to say that i pick a fight with every single person i meet; quite the contrary, i dont respond to 98% of people i come in contact with, it's sort of a somewhat eternal state of "i dont care". I have very limited amount of energy, always did, so response is a privilege i only gift the people i absolutely love. The rest of the times i just leave, or if i decide to do something, i do it anyway, i throw myself into the thing without bothering to correct anyone or infouence their point of view.

But also, during the years i have met a select few people like me, and what always catches me offguard is, people dont tell you how much courage it takes to flip the table and go down the path everyone else is scared of. And i know this because i have met many cowards along the way too. People think that courage and bravery is the absence of fear. They think you must be so fearless in order to be an iconoclast, which is absolutely not the case; i have been afraid and vulnurable everyday of my life, i hear my bones rattle in my ears everytime i do the simplest tasks and i have always been thin-skinned, i get hurt very easily. And i always seem to pick up fights other people find impossible; it's not because i'm not terrified. Courage is not the absence of fear, it's the presence of purpose. You either have something that's important to you, something you want to accomplish, or you dont. Something either matters to you, or it doesn't, you cannot negotiate it. Everytime i flipped the table on things and said "i wont do that" "i will not become that" "this doesn't fucking sit with me" "i will not compromise" i was crying and i did it anyway, because my integrity as a person comes above societal conventions on any given day, and i dont fucking negotiate.

And the thing is, the older i get the less respect i have for cowards. I find value in fear, in uncertainty, in vulnurability, in grief, in pain, but nothing makes me lose faith in a person faster than "i want to do X, but i'm scared, so i'm not doing it." Lack of courage and resolve immediately makes me go "that's nice, good for you. You're lovely, and do take your time and go at your pace while you're detangling this yarn of yours, i know you got this, i believe in you even when you dont believe in yourself. But i dont have to be here while you do this, i dont have to exist besides people who choose their own manifactured comfortzone over change. " Because at the end of the day, i'm a noncomformist and i value change; not in pretty socially acceptable "oh i love change! let's have a discourse!" talks, but in action. Values are not pretty words, they're something that inherently translate into your behavior, you uphold them. And i think that's what makes me very scary to the average person; i dont talk about changing status quo, i bring it. And i dont care for standing besides people who dont really want anything to change after all because "that's scary and uncomfortable". Everything was scary and uncomfortable too when you were a toddler Jennifer, the difference was, back then you had courage.

[bmpmp3]

now that virvox has basically handed me my own personal slightly clunky boyband with the voicevox humming update to play with i now fully understand the urge for anime idol companies to give all the vocal lines to one specific character. i want to put my specialest little guy of all time (takehiro) in like every part LOL