#we'd be doomed

[getvalentined]

I understand people giving Lucrecia the benefit of the doubt with regard to what she did to Vincent, just like I understand people not realizing how undeniably fucked up Gast was, but the important thing to keep in mind about these characters is that the majority of them are written as being in the throes of some pretty extreme cognitive dissonance.

It's not bad writing, it's that they're hypocrites. They reached a moral event horizon at some point, and they did what they felt they had to do when crossing it.

Gast abandoned a child because he wasn't what he wanted—even having raised Sephiroth up until that point and knowing that he was a pretty normal kid overall, as we can see from his behavior as a young teen in Ever Crisis, Gast still couldn't bear to continue to be responsible for a monster. He knew what Hojo was capable of, because he knew about what happened to Vincent, because it happened in his lab, and he left a literal child in his care anyway. Sephiroth's only crime was not being what Gast thought he was, and Gast damned him to a lifetime of torture under a "father" whose only goal was to use him to prove his own genius. Why? Because Gast had a goal, and the goal was what mattered, the ends justified any means he could devise. He was a man obsessed, driven to the verge of madness in his lust for the Promised Land. A religious zealot with the most powerful scientific team in the world at his disposal, ready to prove him right—and then he wasn't right, and the whole world fell apart underneath him. Ifalna gave him back that stability, because she was a real Ancient, and she gave him a new, better child to care for. A child that wasn't a monster, a child that was his, a child that might one day lead him to the Promised Land, if her mother didn't do so first. When Aerith was born, Gast got to be right again, and therefore all was right with the world. Sephiroth (like Genesis before him) may as well have never existed at all.

Lucrecia openly experimented on a man who loved her enough to die for her, going so far as to apparently use data from those experiments to improve her own academic standing, because she couldn't bear the guilt of being responsible for his death. It wasn't about whether it was the right thing to do, it wasn't about whether she loved him back, it wasn't even about her thesis at that point—she just couldn't continue to live having lost everything as a result of her own impatience, her own lack of regard for everyone around her. She killed her mentor through her own impatience, she gave up her son for experimentation, she didn't stop her husband from experimenting on her ex-lover, and she had nothing to show for it but crippling Jenova toxicosis and an equally crippling cowl of regret.

I could even go into Hojo here, how what he did to Sephiroth was a result of struggling to escape Gast's shadow, how what he did to Vincent was a result of him struggling to prove that he deserved his wife, how everything he did was born from the all-consuming need to do just one thing for which no one else could take credit. Hojo got the director position not because he earned it, but because Gast ran away. Hojo got Lucrecia not because he wooed her, but because he didn't have eyes like the unrequited first love that she killed. Hell, Project S only happened because Project G failed! Nothing Hojo has ever had that was worth anything was because of his work, only because the work of others failed. Why do you think he talks about "failures" the way he does? The failure of others is the only reason he's gotten so far, and he knows that any failure of his own will knock him right off that pedestal—and he's terrified.

None of these people are good people. I don't know that any of them ever were. But in their eyes, everything they did was justified, they took the right course of action, because they took the only course of action that their personal understanding of reality would allow them to take.

Were any of them actually right? Probably not. Certainly not, in some cases. But there's no going back on it now. The arrow has left the bow of the goddess, and there's no calling it back.

[kisasan]

me:*thinking no other mha ship will take over my life the same way bkdk does*

kudoichi:

[lilrobinbird]

Hellooo, I'm death and I came to tell you that Ariel's incredibly unoriginal (though they didn't realize it at the time), but also, maybe you'll have time to watch Night Country this weekend?

Also how's life going? (Oh, I'm still death!): Damn, I hate that bitch

Helloo

Why unoriginal tho? The bear possession idea also comes from the series? The au concept with Atuat is still very cool you should share it with whole tumblr!!👀

[luke-o-lophus]

I like Crowley's grey bad-boi-deep-inside-good persona as much as the next person but let's not pretend he's above hypocrisy.

Miss ma'am criticizes the overkill of making angels fall for asking questions, but (apparently) obliterates his plants at the first sign of disobedience/failure/disappointment.

(then again the shredding happens off screen so who knows?)

[vickyvicarious]

I feel it's also how a bit similar to how Bluebeard told his bride not to enter the forbidden chamber, and gave her the key to it. He knew she'd disobey. (Though what will happen next is a bit more like with Shahryar, from the Arabian Nights that Jonathan referenced. Dracula might have surprised himself with how possessive he got with this seemingly disposable bride.)

You're absolutely right, my friend. I've seen others making this comparison as well and I totally agree. Love the combination of them as well... Dracula did the whole "I'm going out, don't go into these places" Bluebeard thing, with the punishment of (un)death awaiting Jonathan if he disobeyed... but then in the moment he took it all back in order to hang on to his entertaining new bride (Scheherazade) longer. He's too interested to kill him now. Actually, he wants to keep this going just as it is, at least for one more night month.

I have been warming up to "Dracula doesn't realize how possessive he feels over Jonathan until he sees him about to be 'loved' by someone else" ever since I first said it. The more I think about it the more fitting it seems. Of course, he does seem to have pretty firmly decided to only keep this diversion going until he has to leave for England so there are limits to that possessiveness, but at least in the meantime no one else gets to touch his solicitor but him.

I do think that Jonathan was slated for being turned after Dracula left if he hadn't escaped. It's very unclear if Dracula planned to return any time soon or ever bring his fellow vampires to England with him (and to an extent, if Lucy can be taken as an example, he tends to lose interest after turning them - same with the ladies in the castle maybe, but they do at least live with him/he feeds them so less so), but I do think Jonathan definitely qualified as vampire material instead of just food. It's just that Dracula personally prefers the torment before the turning so he dragged that out to the last minute and left the turning to them. Toying with human!Jonathan was only possible in the castle, he couldn't really bring him along in a box as well, so he called it quits then.

I guess you could say Dracula saw it more as an enjoyable but finite 'summer torture fling' of sorts and lost interest after that point. After all, he doesn't go after Jonathan in London. But I do think there's room to read it the other way as well, and it was only the anger/wariness about Jonathan not only having escaped but actively being in a group hunting him down that made him lose interest in that particular game. If when he'd seen Jonathan in England it had been under other circumstances I do feel like he would have had fun picking up where he left off. I mean, his canon attack on Mina was definitely at least a little bit about tormenting Jonathan further too. If he'd spotted him that day in Piccadilly, when Jonathan was still trying to repress/deny what he'd experienced... someone else might have gotten a visit at their window.

[shannonsketches]

This interview confirmed

The point of the wilds era games is showcasing mechanics, the 'core' of both games was to build and walk around

There will be no DLC

There will not be another direct sequel

The ultrahand will not continue in future games

The timeline is intentionally unclear to make the game accessible for new fans and the development process (tl;dr All Zelda games are intentionally AUs to a degree)

The producer and director both deny intentional references to prior games in the story, but then say that these similarities represent the soul of the series and the overall myth of The Legend of Zelda (pick a lane)?

The timeline doesn't matter, outside of specific sets of games it's irrelevant on purpose. Whatever you think about the timeline is correct. Continuity is not the point. Maintaining the form while creating something new is the point.

Fujibayashi really only cares about mechanics and Aunoma is totally cool with that

[laplacesdevil]

finished this a couple of days ago... but on june 17th, a beautiful friendship between magentas and phonekind were born ! they may be noncanon in dsaf + tkp but in my heart they're canon bffsies forever

[qourmet]

severely tempted to get a tattoo in honor of my late friend of a pink rose butterfly & i'm caught between "how do i make it not look trashy" & "TRAMP STAMP TRAMP STAMP TRAMP STAMP"

[twopercentboy]

this is my own personal hell I hate it here

[sarcophagid]

i need to put a giant disclaimer that everything in xxv's story sounds so much worse on paper because the events themselves are pretty bad, but in execution i don't want the tone to be heavy it's important to understand that like, nobody cares how bad it is they jsut all have bigger problems/horrible priorities/a carefree and joyful mindset

^ dice game

[kxllerblond]

and if i said this mfer was my super late game clark development inspo??? what then huh

[harteatiing]

I NEED TO REPLY TO OUR THREAD

"Well, I'll admit that, at least where our interests do align, you have strikingly good taste." 'Radio Appreciator' scored a point in that regard, especially, along with plenty of other squares. "But even so-- and I mean no offense, my good man-- I don't know that you could handle me."

@hazbinned // bingo !

[the-acid-pear]

One of the most beautiful things Deltarune story has is the fact that you cannot remove its tragedy, because it's thru that very same that hope and love is born. You cannot change the past but you can take what you learnt and thru it build a brighter future.

[ettadunham]

why is my little baldur's gate guy so horny, smh

[villainsidestep]

living up to the villain sidestep name (thinking of a Third puppet)

[tealfruit]

thinking once again about how after me and my ex broke up he went to the pawn shop we'd always buy/sell DVDs and shit at (we were poor) and the guy asked him where I was and he told him we broke up and the dude cried about it.