#when you don't get that sense

[not-poignant]

hihi pia! youve said before that you like to leave a lot of the visuals up to the readers imagination with what you write, but i thought to ask can you explain maybe the layour of garys cottage? 😭😭 im so bad with stuff like orientation and space, and i struggle so much sometimes when i read and think ok, now where is that door they came from and where is that chair next to the table and that window. rereading the teacup incident & i just really cant make it work. its fine if not. ily!

Anon, very unfortunately, I am not an architect, and I just spent 30 minutes trying to draw this out which has highlighted to me that I know what the layout is but my job is actually writing and not...drawing the layouts of homes. (If only)

You can always just look up cosy cottages and then use that, anon!

The job of a reader (imho) isn't to imagine things exactly as they are, but go from the details they've been given and often relate that back to what they already know. Sometimes that might mean looking something up if it's genuinely something you've never seen before (karri trees), or relating them back to a tall tree you're familiar with (sequoias). In fact no reader imagines the same thing when they're reading. I could spend 1000 words describing a red cabinet and people will imagine 1000 slightly different variations anyway. Everyone has a different idea of 'red' and a different idea of 'wood' and a different idea of 'cabinet' and even if I lock down into the nitty gritty, if we're not living in the same country, our power sockets look different, our heating and cooling systems (and accommodations for them) are different, the fabrics we use are different (unless we all go to IKEA), the smells of the home are all slightly different.

I think even if I did draw it out successfully in two hours (which is not time I really have spare at the moment :/ I wish I did because I think it could be fun except that I don't want to download architecture software to make an actual blueprint of an entire cottage that's in scale but also shows exactly where the furniture will go which includes interior design as well x.x - and I do know exactly how it's laid out mentally, so I know I could make it work. (And I still might, maybe, but probably not while I have a 15 week old puppy I'm sorry anon D: ) But yeah doing it on paper has proven to me that actually writing out the location of like 50 different things means the blueprint becomes too small and messy to still tell what's going on. I wrote 'table and chairs' over the table and chairs and now you can no longer see the table and chairs in my sketch which is not useful!

There's a difference between the layout of a house and the layout of the objects and furniture in a house. I may have worked for an architecture firm, but I am not a house designer. *cries*

But! All you really need to know is that Gary can't see the kitchen cabinets from where he sits on the couch. Which means if someone crouches down and opens the cabinets, he can't see them either. There are a lot of houses that have layouts like this, especially houses that have a counter not just up against the wall, but in the middle of the kitchen.

For example in this image, if a couch was in front of the kitchen counter that's free-standing, and a person was sitting on the couch and looked at the free-standing kitchen counter, they would not be able to see the kitchen cabinets from the free standing kitchen counter, or what's in them. They can only see the counter. If the lounge was lower than the kitchen, they'd see even less.

In this image, if the couch was where the stairs are, you'd not be able to see what Efnisien was doing in the kitchen at all until he stoop and held up the teacup. If he kept the teacup low in his hands, you'd not be able to see it at all.

Because Gary's cottage is small, but open plan, the lounge has a view to the kitchen, but not directly into the kitchen.

There's lots of houses that feature this kind of architecture, so if you really want to go down that rabbit hole, you can just search different kitchens in cottages until you see one where if you sit on the couch, you can't see someone crouched in front of the kitchen cabinets.

Gary's free-standing kitchen counter is also multi-level like this is multi-level:

So someone could stand there and make a coffee and a person sitting on the couch wouldn't be able to see what they were doing. Ornaments and vases and notes etc. can go on the raised bit, and kitchen stuff can happen on the lower bit.

Ah marvel at my use of technical terms *cries again*

Anyway! I hope that helps somewhat. I'm mad that I can't draw this layout for you because I do wish I could just...mentally take people on a tour through this cottage. And it would be great to do that. But I am looking at the saddest most pathetic sketch in my sketchpad right now, and I used to work as an artist, but I'm just very very very very bad at this kind of technical drawing.

But maybe the teacup scene will make a little more sense now :)

[katsinspats]

Tragic: Guy you based your entire villain backstory on doesn't even remember you

[hajihiko]

💕

[vaguely-concerned]

on the one hand I think inner demons could stand to have a bit more romanced rook specific content, but on the other hand the underlying in-built implication that 'yours is the one true voice of comfort and safety in my inner world' is a sentiment and intimacy so way beyond the romantic or the platonic or any secret third thing you could care to name that it makes me lose my entire poor little mind a bit. it's so big and fundamental — near-existential — that in that exact moment at least the distinctions kind of seem irrelevant.

all the people lucanis' mind conjures up along the way are relationships he has that are unavoidably mixed and fraught in some ways even when they're also full of love (they are fraught BECAUSE they're full of love) — the good in them inseparable from things that hurt him at the same time. (it's about: the basic disorganized attachment patterns this poor guy is dragging around with him. careful with those, they're dellamorte heirlooms. what you love also inevitably hurts you and you won't be allowed to have one without the other, you have to surrender parts of your soul to hold on to what little you have left: this is the story up until now.) and the idea that rook isn't that to him — that beneath the fear of wanting them when romanced (which is more its own separate thing because within this psychology, actively wanting something and not just clinging on for dear life to even a meager status quo lest you lose it is in itself dangerous bordering on catastrophic), this is a relationship where there isn't resentment, or guilt, or shame, or dread, or rage, or self-hate, or any of the other emotions that keep him paralyzed, unable to move this way or that. no debts, nothing owed of yourself and your soul's substance except what you can freely and safely and happily give. love and freedom don't coexist — but, I mean, you're almost starting to make me think........... unless...👀👀👀. the unconditional and undramatic 'you are here and I am here with you, you can be exactly how you are right now with me and it's safe for us both even though you're afraid it won't be, I'm not going anywhere' acceptance rook shows him here that he returns to them in the big romance scene, when it's rook who needs it. the way he's just. standing there in the center of it all, like a child desperately helplessly waiting to be found, hiding in the place he hopes you'll know to look first. (rook does know. it's one of the first things they say in there.)

in short the most important room in his little mind palace for the romance is the very first room — the one where rook isn't. where, in fact, rook cannot be, because they disprove the entire structure of the place with their existence and presence in his life. with everyone else he's putting words in their mouths about what they think of him, and rook is the one who actually gets to come in to speak their own words to him — and have him listen. ('he'll listen to you, he always listens to you', 'your voice is a comfort'.) of course rook isn't present anywhere else in there — at the risk of stating the obvious to a tedious degree, they aren't one of the locks, they're bringing the key. in the very finest 'the messenger and the message' sort of way.

[teaboot]

One of the most bizarre feelings imo is finding out about a prejudice you didn't know existed

Like. I only recently found out that there's areas IN MY OWN COUNTRY where discrimination against Italian people is a genuine problem

Like

I definitely know WHY I always assumed Racism was a prejudice more dependant on differences in skin colour but holy shit damn yeah okay so there's also ultraviolet racism too huh, we're all just drinking the shitty bitch water then

[krysmcscience]

The Lamb is malicious in a funny way and the Goat is funny in a malicious way. No, I will not elaborate.

Anyway, everyone give thanks to the Lamb for interrupting what was sure to be a very boring and patronizing PSA from their grouchy cat hubby. Truly, they are doing God's work. Granted, the Lamb canonically is God now, so, uh. Mostly they're just doing their own work.

Speaking of their grouchy cat hubby, yes this is absolutely still Narilamb, Narinder is 100% into his goofy-ass spouse always no matter what and we all know it, he just wasn't expecting his brand new adopted kid to share the same single goofy-ass brain cell as the Lamb. :)

[owlheartt]

Something I really like about timebomb is that Ekko actually knows what he's getting into.

I'm not really seeing it get talked about but in season 1 they mention that Ekko and the firelights help people addicted to shimmer get off it and lead more fulfilling lives within the community. I should probably rewatch the scene for the exact wording (might be misremembering tbh) but that comment implies A LOT.

First: Ekko's mission is helping people where he can, he would probably try and help Jinx even if he wasn't in love with her

Second: He has experience dealing with severe mental illness as that often goes hand in hand with drug abuse, namely depression/suicidal ideation like what Jinx was exhibiting

Third: He's probably mapped out best course of action FOR dealing with this and has already figured out his own limits/boundaries. Meaning he knew what he was getting into trying to talk Jinx out of suicide, and was thus more equipped to deal with the aftermath

Fourth: He's probably helped ex members of Silco's gang. The firelights seem to have a theme of healing and repairing and recovering, so they've probably also learned to forgive. If they're mission is to rebuild the lanes into a safe space, they can't exclude people they don't like, they have to make room for them. I think they fought Silco out of necessity, and I doubt Jinx would be the first person they help who's killed one of them.

These all might be a bit of a stretch but I think it really fits. Beyond that, it shows that Ekko can ACTUALLY help Jinx. As much as unconditional love can do, Ekko has the tools for Jinx's recovery and a path ready for her. He also probably knows that her "healthy" will look different from AU Powder's "healthy." On top of that, I expect he knows how to respect her even in the middle of psychotic breaks and won't agitate her already frail mental state

[phantom-of-the-501st]

"I don't enjoy solitude."

I was thinking about this line and I find the context of it really interesting because on the surface it suggests that Echo doesn't like being by himself, which is true, but the conversation wasn't about Echo being alone. Omega was asking him if he wanted to join in with some meditation, and that's when Echo said he doesn't like solitude. It isn't just being by himself physically. It's being left alone with his own thoughts that really gets to him.

And it's so much of why Echo never sits still. He's always with someone or doing something because it's how he escapes being inside his own head. The only time I can think of where Echo is just sat by himself, not actively doing something, is here

And it's not exactly giving "yay fun happy Echo times". It's more "depressed and thinking about all of his dead brothers times."

This is why he's always doing something. Not just to save his brothers but because the one thing Echo can't do is sit still and do nothing. He can't retire, he can't go and live a chill life on Pabu because this man hasn't found a way to temper his own thoughts. He just keeps going and going and going because stopping means confronting what's in his head and he is undoubtedly going to spiral.

And I think that's partly why Hunter is a little hesitant about Echo staying in the Rebellion. It isn't just about the fact that the Empire is too powerful, or that Echo has a chance of being KIA, it's also about the fact that Echo will just run himself into the ground. There's only so long he can keep it up for and one day he's going to hit his limit.

I don't know what the end is for Echo. The only way he's going to kick his feet up and retire is when he actually heals enough to not go into a depressive episode or a panic attack every time he isn't distracted. Yes, Echo is better than he was when he was first rescued, but realistically this man has done almost fuck all actual processing of anything he's gone through.

Because it terrifies him.

And that's so valid. But when everyone in the fandom is trying to work out where he is or what happens to him, I genuinely don't know. I strongly believe he will stay in the fight for as long as he can. But how his story ends? I can't say.

Edit: I want to clarify that I don't think Echo is only in the fight purely as an escape mechanism. I just think it'd definitely a big player in why he never seems to stop.

[marzipaint]

i think yjh really likes that she can pick up hsy and kdj anytime she wants for whatever reason

[uncanny-tranny]

Social transition being seen (by some) as this super easy thing that isn't as hard as real transitioning (medical) is bullshit. Be critical of the idea that there are some trans people who just "have it easy" because they are trans or because they are trans in ways you may not be.

Social transition is just as difficult, hard, and rewarding as medical transition. Maybe it is not as hard for some, sure, but that is not the same as thinking that social transition is inherently easier or lesser. If you're socially transitioning, your voice still matters.

[linabirb]

milgram season 1 and season 2 mv art style comparison!

[rawliverandgoronspice]

Always a bit puzzled by people saying that anyone who wanted long-term consequences for TotK Zelda's sacrifice are "edgy".

I'm not even particularly in the camp that she should have remained a dragon forever (I think this should have been Ganondorf's fate, it would have been sooo much more impactful than to explode him and move on but anyway). To be honest, I wish the rules for turning back would have been 1) clear 2) active gameplay on the player so that it feels like it's something we have earned, and 3) not make her have amnesia about it and/or at least having her gain some crucial insight because of the experience.

(also: doesn't she crave knowledge? isn't that insanely mean to have her watch over every civilization and every bit of history ever and then take it away from her? kind of dislike how totk privileges the comfort of the player's feelings over what the characters would actually want or need tbh)

To be perfectly honest, I fully expected us needing to turn her back before engaging Ganondorf so we would fight him together, especially since Zelda as a compagnon exists in the game code already (though in a very subdued state). It feels very very strange to me that all of this mechanic of Sages following us existing and yet we never have the very climactic cool Zelda-staple moment of facing Ganondorf or Ganon together (OoT, WW, TP, ST and probably more that I'm forgetting all did this in some way --even BotW had Zelda more involved than in TotK). I'm not sure Mineru was a compagnon that was needed over Zelda honestly, especially given the kind of non-insight she gives us on the zonai (even if the idea of the mecha is cool, it really could have been Zelda using her zonai + sheikah knowledge to pilot one for us or something).

But anyway: yeah, even if this isn't what I would have wanted personally, I think wanting Zelda to remain a dragon is kind of arguably more respectful of her relationship to Link, in a way, that what the game ended up doing. When she enacted this sacrifice, Zelda decided to trust him to such a extent that she lost herself, reciprocated his trust in her and his devotion to her, and now the future of Hyrule exists beyond her and beyond what Hyrule once was, but she trusts them to follow through and be happy and she will watch over them from the stars moving on. It's fine if we manage to save her from that fate, but even if we don't, honestly this sounds like a beautiful story/tragic romance to me, if you want to read it that way. Tragedy doesn't necesserily involve edginess. Fictional pain isn't always mean, or out to get you.

[sanasanakun]

People try too hard to make Curly an active participant in Jimmy's abuse. Isn't the whole point that he's passive in everything Jimmy does? Abuse occurs because he actively doesn't do anything? Not to call someone out or be mean, but I saw a post saying Anya's ID being in Curly's locker at the beginning shows that he intended to prevent Anya from filing an HR report and I disagree. I get where that interpretation is coming from, but I think it's a little uncharitable. I don't like being too kind to Curly because he's like...a morally mid dude at best lol But if we're going by the HR report interpretation, I would say it's more likely he requested Anya's ID in order to file an HR report on her behalf. After all, the only way to contact Pony (that we see) is in the cockpit, he's the Captain, and Pony Express sucks bad so I wouldn't put it past them to only allow the Captain to use the communication device thing. As we see before, Curly is the only one able to use tools around the ship that you would think other employees could use (ex. Swansea should be able to use the axe if he's the repair guy. Idk why they'd need an ax but that falls under manual labor which Swansea is designated for as the mechanic/fixer dude. But it has to go through Curly). I never got the vibe that Curly moved to actively protect Jimmy. He just lets things happen without say a word; Jimmy walks all over him, and by extension, the whole crew. I get why people would think that because he gives the whole "Hey Jimmy, we can get through this together, bud" spiel right before the crash. This part interests me a lot because there's so many ways to interpret Curly's intentions there. My interpretation is that Curly is on autopilot mode. The responses seem so stilted in comparison to Jimmy's. Like it's the kind of thing Curly's said before again and again and again when Jimmy's gotten in trouble. However, as others previously pointed out, I don't think Curly ever dealt with Jimmy doing something this irredeemable. He doesn't know how to respond, so he just goes for the default "You've gotten through tough situations before. Work through it one step at a time." Like the response is lame af lol I think he was in shock; he was scared (and just so I can say it one more time: he's super lame).

Anyway, this is way longer than I intended and I've said things a billion people have already stated. But uhhh tldr the whole point of Curly's character is he's passive; he never acts. He just watches. Making him an active participant in the abuse by taking actions to cover for Jimmy (like preventing Anya from filing an HR report) defeats the purpose of his character. He's a bystander.

[vaguely-concerned]

fun detail I only put into context after seeing the post-fade jail romance scenes with all the companions: lucanis is the only one where rook is surprised when they realize he's there as he starts talking, because they didn't hear him come in haha. (Bellara and Neve knock before entering, like relatively normal people fhsda. Harding's scene starts in medias res but from the staging my vibe is that she and Rook entered the room together. Taash walks into the room ahead of Rook. Davrin comes in through a door left open for him -- Rook is standing with their back turned but they clearly expected him, they just smile a bit and don't seem surprised. Emmrich of course takes you to the Grand Necropolis for the top goth hookup since Mary Shelly fucked on her parents' graves, the man quite simply never misses.)

lucanis has also closed the door behind him without rook noticing. old assassin habits die hard I suppose lol. he totally still accidentally jumpscares the others without meaning to all the time because he moves around quietly when he doesn't think about it, I know this in my heart. I wonder if he was just... looking at them for a while before he spoke up.

[sysig]

The familiarity is not very comforting (Patreon)

[clowningaroundmars]

so many mike chiltons in the motorcity tag!!! here are mine :D