#tw; sucide

[ochiody]

what if penelope was in love in paradise

[endlessmidnights]

I hate when people say suicide is the easy way out, they have no idea the pain you must be in to want to end your own life

[lullabyes22-blog]

"I think the cycle only ends when you find the will to walk away."

Got a lot of Q's for this in my inbox. Figured I'd just address them here.

tw: mentions of suicide, suicidal ideation

Re: the ending of S2:

Jinx did not die.

She symbolically killed her old self, and with it, her last ties to the past that imprisoned her. She understood that for her sister to move on and live her life - be happy without guilt - she'd have to renounce the bonds that held them together.

Her talk with ghostly Silco was the 'sign-off' she'd been waiting for, ever his dutiful daughter. Throughout S2, she kept hoping he'd haunt her, and in doing so, offer some impetus given her aimlessness. Maybe just straight up boss her around, and tell her how she's supposed to exist now that he's no longer there to be a (subversive if loving) guiding hand.

But it was the promise of time (as represented by Ekko) healing old wounds, and the courage to feel, as she once had - a hopeful child with a hopeful future - that allowed Jinx to commit impetus to action.

Her blimp-ship in the climactic battle is a tribute to Isha - but also to the child in Jinx's own fractured psyche: Powder. She's letting both little girls have one last hurrah before she takes care of business - and cuts off the last oaths, duties and commitments that bind her to a past whose parameters she's outgrown.

Better still, she knows she's got the capacity to outgrow them.

That was the point of Jinx's arc with Isha, and why, no matter my misgivings on Isha's character herself, I found Jinx's trajectory towards a more nurturing and fun-loving figure more life-affirming and positive than the straightforward 'Daddy's Villain Goes Postal' shtick.

It's even why there's a minigame titled Jinx Fixes Everything. It's Jinx, struggling and stumbling, as she tries to rewrite her narrative, and finds in herself the capacity to do good.

To fix things that seem irreparably broken.

And to understand why she's reached this stage, we've got to let go of our tendency to project our own stuff onto Jinx (precious meow meow, unrepentant terrorist, manic pixie crazypants, edgy hot psycho) and acknowledge the purpose she plays in Arcane's thematic structure.

Jinx's character comes off as a death-seeker, and that's no shocker. She is hounded by terrible guilt and loss. She's got blood on her hands, and ghosts on her heels, and no matter what she does, she can't seem to be rid of them. Her inner mind's fractured, her mannerisms ooze pure chaos, and she seems a creature of pure feral impulse and no mercy.

That's the Jinx we're accustomed to seeing in S1 - except that's also both the front she's most likely to put on during that timeline, and the persona that is necessary for her to inhabit to survive, as Silco's daughter and his top enforcer.

Then Silco kicks the bucket, she symbolically fulfills his dream by shooting at the Council HQ, she accepts that she must inhabit this path of shadows and loneliness (as symbolized by her starkly decorated chair in the tea party scene), she accepts the fragmented push-and-pull between past and present, and...

And now what?

Silco's given her a semblance of direction for six years, and he's gone. Vi, the sister she'd hoped would return, and whom she'd hinged so many childishly idealized hopes on, is herself traumatized, and afraid of what her sister's become.

Jinx has her shadows and her loneliness. Jinx is traumatized. Jinx is suicidal.

But Jinx is still, whatever else, alive.

And all living things need connections.

That's why we as the audience enjoy her little found family dynamic with Isha and Sevika. It's Jinx, taking the first tentative steps to reach out to people beyond Silco and Vi, and realizing, wow, she enjoys the pay-off.

And all throughout S2, we see Jinx growing more and more comfortable in this newfound space - even jealously guarding it at the expense of Zaun's liberty, and Silco's wishes, because she can't bear to lose what she's found.

And what she finds empowers her enough that, when Warwick shows up, she's actually willing to reach out to Vi, and call upon their family connection, because Jinx is learning the value of bonds, not as baling hooks of guilt, but as buoys to carry her forward.

That's the story Jinx's relationships serve to tell in S2. Each one shapes the choice she makes in the finale. Until she learns to accept the past (Vi), to lay the monsters to rest (Silco and Vander/Warwick), forgive herself (Caitlyn) trust that time heals all wounds (Ekko), and hope for happier new beginning (Isha), she'll never trust herself enough to just seize the chance.

Jinx's culminating arc is not about death, much less self-erasure. It's about resurrection, and embracing the sublime chaos of a freed mind, and a lightened spirit. That's what she craves beyond simple death, and what her baptism by fire, blood and riverwater, has been about.

Each trial grinds her down into someone else. Someone new.

Someone closer to who she is meant to be, rather than who she's expected to be.

That's why she's so glad to make the sacrifice for Vi. She's not dying as an act of self-immolation. She's giving her sister - the one who's proven she'll never give up on her - the ultimate gift, and showing Vi that she deserves to live.

She needs Vi to live, so Jinx, the persona, can finally die.

"He (Silco) didn't make Jinx. You did."

She's basically saying, "I love you, I will always be with you, but you are no longer responsible for my actions. Please move forward with your life, and grant me the choice to do the same."

It's two sisters embracing everything they've meant to each other, acknowledging the pain weighing them down on both sides, and welcoming the new so they can each slough off old paradigms and live life as a whole person - or at least take steps to remembering what wholeness feels like.

That's the reason the show's final shots linger on the Hexgate tunnels, Jinx's monkey bomb, and the aircraft.

It's the show's way of reminding us that Jinx has ascended to a different version of her identity - one removed from the past that haunted her. It's Jinx, finally striking out alone, away from the sister whose memory she clung so desperately to, and who was, in turn, horrified by her hand in making Powder a monster (perceived guilt or real, fandom may debate ad nauseum) due to past mistakes and abandonment.

The ending of Arcane isn't tragic. It's deeply hopeful, and serves as a reminder that no matter how damaged you think you are, and no matter how monstrous the world finds you, there are still ways to come back to yourself - or to walk the path toward a new you.

Jinx is symbolized by crows. Jinx is shown with firelights emerging from her mouth. Jinx is depicted holding a torch like Janna ushering in the winds of change.

Thematically, Jinx is change.

And the best way she can embody that change is to write her story, and make it her own.

[lostmf]

By @hel7l7

[lyculuscaelus]

BY INSERTING ODYSSEUS’S MENTAL BREAKDOWN AND HIS SUICIDAL THOUGHTS JAY HAS ACTUALLY MADE LOVE IN PARADISE SO MUCH MORE ANGSTY OMG???

The dissociation—Odysseus was in no shape to carry on. Jay didn’t even need to bring up anything abt s.a. that happened on the island—just a simple comparison between the behaviors of Odysseus when he arrived and that of Odysseus seven years later: just look what happened on this island that caused him to breakdown so thoroughly. This is so perfectly done.

[heartfullofleeches]

[Tw: Suicidal Reader]

Femboy Assassin Yan: This can't be accurate... You ordered a hit on yourself??

Suicidal Darling: I'm too scared to do it myself, but... I'm even more afraid of being alive when I'm all alone and have been that way my whole life..

Femboy Assassin: ...

-

Femboy Housewife Yan: How are you feeling today, Sweetie?

Darling, wrapped in a blanket: Bad, but.. a little better that I was.. Is that okay?

Femboy Housewife Yan, kissing their forehead: It's a start, and that's all that matters.

[omi-papus]

Nobody talks about how suecidal thoughts are sometimes comforting. Like you think to yourself that no matter what happens, no matter how bad it gets. Thats the one thing that will always be there. It feels releaving knowing that theres just a way out, of everything. That you can skip all the steps and just quit. That can be calming. And thats dangerous. Really fucking dangerous.

[wavyypeachyy]

I don’t think suicidal thoughts actually ever go away.

[streave]

I want someone to notice, but on the other hand, i don’t.

[dietcokestanxx]

I’m so tired of not being what everyone wants me to be why isn’t just me good enough why can’t people love just me why am I only ever actually wanted when I’m anything but myself

[zkaus]

At the back of my copy of The Vampire Armand, there's an old interview with Anne Rice talking about creating that novel. I've never forgotten her answer to one of the questions... It haunted me for years.

It gives incredible insight into how and why she wrote such beautiful, brutal and broken characters, and what she endured in the creation process.

BUT before you read this, I'm going to STRONGLY warn you, it goes to very very DARK places

Q: What are your work habits for a novel?

A: Once I truly begin to write, I work obsessively, in twelve-hour days, punctuated by days of long sleep and vivid dreaming. Starting time and ending time are no longer important. I might begin at 9 A.M., or after noon or at eight in the evening. I go from there. I turn on the computer and write, write, write.

My room is a mess. Notes are scribbled on the walls so that I can look up at them at the appropriate moments and insert the date, the name, whatever, when I need it. Books are stacked so high that people have to search for me when they come into the room. Opened books with marked-up pages are stacked on top of one another.

I become suicidal. I go through a horrid despair some time or other before the final page, during which everything seems meaningless—from the dawn of history to the very hour in which I am writing.

I’m intolerable to live with. But I spread myself thin over a number of loved ones and staff members so that no one person has to put up with how intense, hysterical, and miserable I am.

When I get elated and talk fast and furiously about wonderful aspects of history or the characters, or good developments in the story, people run away from me. I don’t blame them.

While the novel is being written, I try to avoid dressing for outdoors. No one can make you go out if you don’t have shoes on. Not even in the south. I wear long velvet robes and soft velvet slippers. I refuse to go out. All food is brought in. I eat hamburgers because they are easy to hold with one hand while reading and holding the book with the other hand.

In the middle of the night I read, sometimes on the carpeted floor of the bathroom, just because it’s warm. I am wretched. I don’t care anymore about being abnormal. Writing is everything. Everything. It seems impossible to write the book. It seems impossible to lift a hairbrush to brush my hair. But I do it. I put on mascara every day that I write.

This period of intense work lasts about six weeks. It’s best that way. My imagination is overheated, and my memory clogged with data of varying importance. If I go over six weeks, I begin to forget things; I feel the loss of intensity and information and I become all the more self-destructive and obsessed.

The end of the book is a big event for me. A big event. I start screaming. I put the hour and the date at the end of the last page. I expect everybody to understand, at least a little. It’s a triumph! The darkness of destiny has been driven back for a brief while. I celebrate. I scream, eat chocolate, and sleep.

Right near the end of writing The Vampire Armand, I realized I had to return to Italy, especially to Florence, and at once I began to make preparations for the trip. As soon as the novel was finished and off to the publisher’s, as soon as it could be accomplished, I flew to Italy. That gave me hope, a way out of a life threatening darkness that often follows the climax of a book. But I still ate chocolate and screamed.

While writing, I don’t want to rest. I don’t want to sleep. Why sleep? It seems stupid, except when weariness overcomes me like a giant cloud of poisonous vapor. Then I sleep fifteen to twenty hours. I tell people to go in and out of the bedroom and ignore me lying there, as if I were dead. I won’t talk on the phone. I won’t open my eyes if I don’t have to. I dream terrible, upsetting dreams.

I want to kill myself. But I can’t. I can’t do it to other people, and I have work that must be done, novels that must be written. So I don’t kill myself. Besides, I don’t think it’s good to kill oneself. It’s a horrible idea. It has a horrible effect even on acquaintances.

I think a lot about people I loved who are dead. I think of how dead they are, year after year, ever more dead.

[tvuniverse]

BOBBY NASH and AMIR CASEY | 9-1-1 → 7x08 Step Nine

[endlessmidnights]

I walk into a room and immediately think of all the potential ways to kill myself that exist there

[lostmf]

I’m not sure I deserve it ..

[faithbetryin]

Thinking about the fact that Matt survived a building falling on him, and while he survived, the love of his life- that he just got back from being resurrected into a soulless weapon, died. They wanted to die together, yet Matt survived. Then he found refuge in the place he felt the most alone in his life: the orphanage where his mother cared for him without his knowledge. The basement of a church where he's surrounded by angel statues whilst rejecting religion, forced to be watched under their stone faces. And after a suicide attempt, he has to hear the choir singing above him, surrounded in a tomb of graves in the walls. He is surrounded by death, failure, by religious symbols and sounds. Yet he's supposed to find meaning, challenged by the comments of his mother who tells him not to dwell in selfish "self pity."

DAREDEVIL, 2.01 "RESSURECTION"

[heartfullofleeches]

[talk/threats of suicide, Dark Humor]

Laughingstock [Slasher Yan] with a Darling who also threatens to off themselves when thing go awry. Whether they're legitimately suicidal or it's all morbid human is a constant plague on his mind, but depending on the circumstances LS would do a complete one-eighty and try to fix whatever's wrong.

-

"If we run out of cereal again, I swear I'm going to jam this spoon in my eye."

"Aw.. Don't talk like that, Cupcake- If you need someone to talk to, I'm always here."

"...You do the same thing all the time."

"Yeahhhh, but- I wuv you and I want you to be okay.🥺"

-

"If you keep ignoring me I'm gonna hang my noose outside your bedroom so the first thing you see next time you try to escape again is my lifeless corpse swinging in the doorway!"

"....okay, let's do it."

"You're always so fuckin' mean to me even though I- ...Huh?"

"Murder-Suicide right now. I'll choke you to death then I'll be right behind once I've watched the light drain from your eyes.. Sound good?"

"....."

"Fuuuuuck, that made me hard. Maybe we can skip the dying part for now and you can strangle me a little until your head's clear."