#what about literally everything else???

[lotus-pear]

the dialogue choices in this game should be more diabolical

[hiding-under-the-willow]

anyways. What

[aroaceleovaldez]

i am once again thinking about Percy and Annabeth and their respective relationships with their step-parents, particularly how the other views the other's dynamic with their step-parents.

Because there's a really interesting subtle thing that we see which is when Annabeth talks about her step-mom to Percy, Percy's assumption is that Annabeth's step-mom is like Gabe. He just presumes that because that's what's familiar with him and based on his own experiences he assumes their situations are similar.

But then when Percy actually meets Annabeth's step-mom (and her dad) he realizes their situations aren't at all the same. He was expecting another Gabe, but instead he just found a genuinely caring family that was just struggling to find their footing with one another.

The interesting thing is that this implies an inverse - especially with what we know about how Percy and Annabeth describe their experiences. Percy doesn't really talk about Gabe ever. To anyone. Grover knows the whole picture there but he's basically the only one of Percy's friends who does. As far as we know, unless Grover told her at some point, Annabeth doesn't know about Gabe. She knows he was a jerk, but Percy out loud doesn't ever really get into details about it. She knows they didn't get along and eventually Gabe disappeared and Percy basically never spoke of it again. Presumably, Annabeth thinks Percy's dynamic with Gabe was like her dynamic with her step-mom, like how Percy had thought their situations were the same. Especially given we know Percy assumed their situations were the same and likely spoke about it as such if it ever came up.

Like. That's such an interesting tiny aspect of their dynamic that never gets touched upon. Annabeth likely doesn't know about this very core traumatic experience Percy endured before they met because she's operating under the assumption that their family just was a little rocky like hers was.

[sheepthatgobaa]

sleepover with the buddies.

[heyclickadee]

Yeah, every time I see someone say they got a purely happy ending I’m kind of baffled because…they really haven’t. Hunter does, he’s able to retire and give Omega the childhood he knows she needs. And Omega, yeah, she has a pretty good coming-of-age age and gets to just be a kid without people coming for her, but the rest of them?

Wrecker? He fits in Pabu great, sure, but is that what he really wants? Echo’s still fighting before the time-skip—when IS it going to be enough? Does he ever get to rest? Is Crosshair, like, okay? He never actually makes the transition out of being a soldier and the last thing he said about himself was that he deserved to die. He spent two thirds of the show implicitly suicidal, made it explicit in the last episode, never takes it back, and then we don’t even see him in the epilogue to know that he’s, you know, functional. Tech?????? Come on. Phee?

With where we’ve currently left things off, if you told me that, say, Crosshair and maybe Wrecker discovered alcohol in the worst way two seconds after we cut away from the present day sequence, I wouldn’t be surprised.

every time I see 'but the Batch got their happy ending it's so sweet how amazing' I'm like mmmmmmmmmm well some of them did, anyways...yes very sweet...

[justareallyboredfangirl]

the fact that the intention was for Sevika to actually get to unwrap her new arm..

[luna-loveboop]

I want. Four to get appreciation. Because

Four gave a ton of unnoticed help when Twilight was injured

The fight with Wild was difficult, and I know we're all concerned about his negative view of the shadow crystal

But Four did something that no one else really thought of to help- He took care of Twi's stuff

From the beginning he told Twilight to not worry about them

So Four took care of pretty much everything but the others (that Sky and Wars handled)

He took care of Epona

Which is so very important- he took care of Twilight's horse. After her arrival at the stable Four followed up on her

And for Epona, a horse so attached to her human, having some company can help so much for reassurance

He took care of Twilight's stuff

He got Twi's shield- his bags and equipment, and organized it into one place

And he was worried. He obviously found the shadow crystal while handling Twi's stuff, but his negative reactions to it were out of concern.

Also- because of his placement in this scene

I'm fairly convinced Four was ready to start cooking before Wild showed up (since he's beside the counter with food supplies). At the very least he had the basket of fruit out for everyone -but he was literally standing with food behind him- he thought of everything

And he did housekeeping!

Wars payed for the inn, so Four took care of the inn

Realistically these boys were probably not too concerned with tidyness. Four got all of Twi's things on one table, and took care of the room they stayed in

Organizing tables and Twi's things, having food supplies ready, and opening the curtains- overall he was the one tidying up the inn

Four helped in a huge way! He took care of Twi's horse (Epona is so important), his equipment and shield and bag, as well as the other rooms in the inn

Four filled in all the little tasks that others didn't think of. He helped in ways that were needed, but not obvious

There's a lot of problems with the shadow crystal and with Wild, and I don't know what's gonna happen in the future

But don't forget this- don't forget that Four was one who stepped up in an almost unnoticeable way

Don't forget that when everyone was barely holding it together, Four visited Twilight's horse and took care of his things

No matter what develops in the future- this amount of care shown is important ya know?

.

Art and comic from Jojo @linkeduniverse au :)))

[reds-skull]

Price plays poker properly only when Ghost is involved

(I don't remember how to play poker so they're also playing wrong now)

[eddiediazenjoyer]

everything else ASIDE it is truly so so . strange. that the way that an arc about buck being so jealous and fast to get upset at the notion of being left behind that he reacts with violence against somebody that he loves . is wrapped up by. him getting a boyfriend. like it’s wrapped up by him getting a boyfriend who was the third person in that situation that served only as a catalyst for bucks jealousy. and the conclusion to this arc is him dating this person. instead of meaningfully addressing his issues with rejection and the danger of them to those around him. instead of apologizing to the person he hurt. it’s resolved by. he had a crush the whole time. STRANGEEEEEEE

[buwheal]

Hey Spamton, how are Pipis created?

[space-sheep08]

Actually so tired that people mainly focus on the bdsm when they talk about La Pianiste when we literally have this dynamic right here. Like, that's insane.

What if you were a little girl in her 40's who couldn't grow up because of your mother-wife who made you sleep in her bed and forced you to repress every sexual desires and thoughts of becoming your own person just to keep you close to her ? What if you fought back and yearned for dangerous things out of her reach ? But also, what if you let her because it's all you've ever known and been taught to want ?

[autisticandroids]

CASTIEL: Stop. What's the point if you don't mean it? You fear me - not love, not respect, just fear.

[youtube with closed captions]

a godstiel pity party. i'd like to thank an anon i got way back in february of 2021.

[chirpsythismorning]

El being *12 hours earlier* than the Cali timeline when she arrives at Nina. Will saying ‘it’s been 9 hrs’ in the scene following his monologue in the van.

We know that at some point their timelines merged when they arrived to save her…

But we don’t know when exactly those alignments took place when they were still apart… which just makes you wonder…

[wings-of-flying]

y'all fncers are kidding yourselves if you think there's any universe in which chip makes the first move. no shot. no way. the guy who represses his emotions? bullshit. whereas gillion 'you upset me so let's duel about it' tidestrider? come on. it just makes sense

[caligvlasaqvarivm]

Serendipity should be required viewing material before anyone tries to analyze Homestuck; not only is John Cusack a universal constant, but the themes and vibes of Serendipity are so fundamentally woven into Homestuck's DNA that several of Serendipity's thesises and conversations could be lifted directly from one to the other.

In particular, the way Serendipity utilizes coincidence and circumstantially simultaneous events in order to suggest - nay, decree - that the two leads belong together, is highly reminiscent of the way Hussie uses foreshadowing, and not just for romantic couples. It's also a major window into the ultimate stance Homestuck takes with regard to romance, fate, and destiny, and also more specifically, a really good look at Karkat's own personal philosophies of romance. There's a running theme in his movies of meeting someone that perfectly matches your freak, someone you don't ever need to compromise yourself around, who brings out the best in you.

Also, some of yall need to watch a shitty romcom every once in a while and develop some emotions

[commsroom]

cutter was born in the 20s, and he'd become "arthur keller" by the early 70s, so obviously pryce's story at the beginning of brave new world can't be taken literally - that's not even an old man, much less "older than anyone she had ever met." it's also inarguable she was an adult already working on her... ideas for the human body when cutter sought her out; "i want you to make a doll for me" and "i found people who had some very bold ideas about how to... tune up the human body [...] i funded their work, and provided them with a willing test subject" are pretty definitely referring to the same events. so, it's fairy tale language, but the question is: why? why frame it this way?

one part of it is the "fountain of youth" in connection to immortality, strength, and health. the implication isn't literally that cutter is very old and pryce is very young; it's that she represents this power, and that he wants her to bestow it upon him: "then you and i will fix the world. i will be young and you will be whole." cutter and pryce choose to look eternally 28, while referring to and conducting themselves as if they're very old: it's not just vanity, it's part of their self-mythology. simultaneously young and old, having overcome the natural order.

that mythology of "overcoming" natural limitations is especially significant for pryce: characterizing herself as a "little girl" within her own story is both self-victimizing and self-aggrandizing. pryce does not see herself as disabled so much as temporarily inconvenienced; even the usual limitations of the human body are something she hopes to transcend. "instead of being wretched or afraid, the little girl decided to be clever." she was put at a disadvantage, but overcame it all by herself because she was smarter and better than other people. by extension, anyone who can't do what she did just isn't good enough, even as she's closing doors behind her and making it harder for others like her. and at the same time: it's an underdog story that requires her to have been an underdog. she hasn't been in a very, very long time, but the power she holds over others remains justified in her self-perception by this image of a sick little girl who was hurt by the world. there's an implication of inherent worthiness, and even a sort of expected assumed innocence in characterizing it that way. the first thing people notice about pryce is her eyes, and... sure, maybe it's the technology, but if cutter can catch bullets without any visible signs, it seems likely to me that, like her age, this is at least in part an aesthetic choice. it intimidates people. she's turned this point of hurt and vulnerability into a power play, and remains attached to it.

and that's the other part of the mythologizing that's going on: presumably, pryce was not the only person who worked on all of this. cutter funded others. but the story retroactively simplifies it, in a childish fairy tale way, and paints an image of them as exceptional, uniquely capable and so uniquely deserving, people.

i think there's something interesting to consider here about pryce in contrast to hera: that pryce is a woman who self-justifies her cruelty via a mythologized girlhood, while hera is a woman who was never a girl, who was never considered innocent or even allowed the same recognition of the ways she's been a victim. pryce resents humanity and all it represents, resents her body and its limitations, feels that being human has only caused her suffering, but still clearly believes that she has more of a claim to humanity than hera does by nature of her biology and upbringing. pryce's "bootstraps" attitude re: disability and her own self-victimization are the crucial things here, but i think that is also particularly interesting if you read hera as a trans woman.

(incidentally, this is part of why i have a particular love for hera designs where she's just a regular woman, more angular, and maybe even older looking - a natural 30-something in contrast to an unnaturally maintained 28 - than pryce. they're both women who have chosen how they want to look, and it highlights something.)