#when nothing's left

[bug-hearted]

bill likes to prank fiddleford sometimes. it gets very funny

[technically-human]

You've got so much to learn

[shittybundaskenyer]

And they ask me // Is it going good in the garden? // I say I'm lost but I beg no pardon

[fantastic-nonsense]

society if Two-Face was Batman's arch-nemesis instead of the Joker:

[am-a-disappointment]

Daniel molloy you have to stop!, your curiosity too insatiable, your look too bisexual the vampires are going to torture you!!

[murkying]

redstone supervisor

[sems-diarie]

death is insane. wdym i’ll never see my grandmother again

[lambentumbra]

who are you in your head?

[assiraphales]

bro I’m sick bc ace dying in his arms was luffy’s biggest nightmare but dying in the arms of the person that he loved most / loved him most was probably the kindest Fate (under the circumstances) that he could have been given. luffy, the person he sacrificed himself for and would again and again and again and a million times over if he’d been given the chance bc there was no world he wanted to live in without his little brother alive and breathing, there with him at the end.

[white-hole-station]

One of these days I need to write an actual essay-style meta on how much Outer Wilds is a game about grief. It's not just that it depicts a lot of loss - it intentionally tells such a wide range of stories about how people and communities handle a loss, in all the different forms that can take, and all the different consequences that can have.

There's the Nomai, losing contact with the rest of their culture and each other, and coping with their loneliness and mourning in the little out-of-the-way journal entries and big scientific projects alike we see in their texts.

There's the Hearthian village grieving Feldspar, and the range of ways we see them and their disappearance talked about: a temporary setback, a death, an ascent into legend, or just the empty, missing space where a friend used to be.

There's the devastation of the owlks, compelled to bet the existence and comfort of their very home on an objective that later betrayed them, and reacting in anger and abject sorrow once they realized what they'd done, and in fear of the somehow even greater loss the Eye promised.

There's Gabbro, aware of the loops and the supernova and maintaining a calm that often rides the line between peace and forced apathy - because there's just nothing they can do to stop it, and on some level they already know that, and have either grieved it already, or are deciding simply to avoid that grief indefinitely.

And then, of course, there's the hatchling. Faced with the slow unfolding of final, utter loss, at the very beginning of their career. I will never get over that, how much grief was forced into their young brain to be processed, how much they had to come to terms with something no one is supposed to be able to handle, even if they have infinite time and space to do it.

Outer Wilds takes all this grief, and paints it on a backdrop of spinning planets and glittering distant supernovae. It never shies away from the reality of how bleak and heavy it all is, but it leans so much into the beauty of it, too. In order to lose you first must have loved. There is so much to love about this world, about its planets and its people, past and present. It deserves an essay. It seems I can't even post quickly about how much it means to me, without almost writing one.

[chickenscribbles]

Everything functions perfectly fine without you.

[pjxckson]

Come now, swing wide those gates

'Cause I have paid my penance kindly well in time for judgment day

-

Even in Arcadia

[autisticrosewilson]

While we're on the topic of De-aging AU's I wanna talk about Jason and Damian if Jason was 14 again real quick.

Do you guys think that Damian looks at this version of Jason, so different from the version he knows, nothing like the person he was told Jason was, and feels uncomfortably seen?

Damian was always told that Jason died because he was reckless, because he disobeyed orders, he was fired as Robin and he got himself killed. A cautionary tale, not a threat to his position. He dismisses Jason because Bruce does, because Dick does, because sometimes even Babs and Alfred do.

That's not the kid that he's looking at now. This Jason is happy, and smart, and full of love that has not yet soured into grief. He hangs on Bruce's every word, trains until his hands bleed and his body gives out to perfect the moves Bruce teaches him. He looks at Bruce with stars in his eyes and he calls him dad.

And Damian can't help but think, that this is the perfect Robin. The perfect son. And if Jason - sweet, loving, strong, Jason - can be fired, can die and have his room locked away and his pictures torn down, can have his last memory as Robin be as A Good Soldier, how could the rest of them ever compete? What could Damian do to stand a chance?

Jason will never grow out of the shadow of Robin, like the rest of them did. As long as Bruce, and Dick, and Babs, and Alfred look at him and see a dead kid who came back wrong, he will never get to be anything else. He will not get to be looked at through who he is now without the shadow of a dead boy looming over him.

And the worst part? Jason is exactly the same person he was back then. Bitter, sure, angry, justifiably, but he is still the boy with too much love in his heart and righteous fury festering in his gut. He is exactly the same boy who threw himself in front of an explosion to save his mother.

(The lines between the mother that betrayed him and the father that disgraced him are so very blurred. Fire or blade or crowbars or fists it does not matter. It ends the same way it always does because Jason Todd always dies, in every universe, in every timeline, Jason dies and crawls out only to be killed again and again and again.)

[dasiesanddarkness]

the thing about I Dreamed a Dance and There’s a World is that There’s a World is always described and acted as Gabe convincing Diana to kill herself to be with him- in the proshot after he says “I’ll show you just where” (and touches her wrist) she pulls away from him and shakes her head, like she’s trying to say no to what he’s suggesting. but. in I Dreamed a Dance, Gabe seems completely content with leaving. he has his stuff, he sings with her and gives her a hug and then starts to walk away unprompted. it isn’t until Diana grabs his hand, refusing to let him go and let herself move on and says “I’ll die to dance with (you)” that he sings There’s a World. it’s an example of him (in this moment at least) being more than just a hallucination of her dead son- he’s an extension of Diana and a representation of her grief. he can only convince her to commit suicide because there is some part of her that already wants to, so in reality, he isn’t “convincing her” at all- he’s just acting as the final push to do something she was already considering

[b6d11f]

at my best, I'm a sacrificial lamb at my best, I am something you could handle

[spacesheeeeeep]

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 ?