#which i think is definitely possible

[mermaidsirennikita]

Kev throughout this novel: I have nothing to offer you, Win!!!!!

Win, looking downwards: Idk I think you have SOMETHING............................

[lesbians4armand]

once again i really do think armand’s morality and view of his own morality is summed up by “i tried to be good, am i no good?” because he KNOWS he’s not, but he so desperately wants to be good in any way he can be, so that he can be desired. and this in turn means he is deep in denial about any bad he has done other than the deep seated feeling that he is simply “bad” as a vague concept and not the sum of his actions. anyway who’s up thinking normal thoughts about characters.

[buwheal]

Why does the orange Addison's mannequin kinda resemble you?

[sunnibits]

potentially hot take but this is a pet peeve of mine

[fluentisonus]

something something

[apocryphics]

“means to an end” / “ends justify the means” doesn’t apply when you don’t believe that the end is more important than the means. been thinking about the western obsession w teleology & how the worship of a great ‘ending’ can, at its most innocent be merely something like the predilection towards & desire for things like the Disney Happy Ending but what this leads to (i fear) is a rather perverse cultural & psychological belief that tacitly allows genocide, capitalism, exploitation, etc. (think pragmatism, liberalism, current u.s. policy philosophies, etc.) — if ‘the end’ or ‘ends’ are all that matter — fundamentally we are devaluing life. we matter because we end but the point is to dwell in the means as faithfully as possible, whatever that means / looks like to each of us. but as we all know — to release the hold on the end is to release power and control; it’s leaving yourself (or whatever entity, political or otherwise) to the whims of life, and life is fundamentally random and capricious. so even this I think is rooted in a primal fear of the unknown & man’s desire for certainty. but that will always evade us. and the desire for more of it leads to moral dissolution, which we see so much today…

[viiinz]

autism be damned my boy can do calligraphy and knows a lot about capital punishment

[prolibytherium]

I never touched it but I feel like i only ever hear positive things said about song of achilles.. in (rough strokes at least) what makes it dogshit to you?

Okay it's been a while since I actually read it so some of this might not be spot on accurate. Sorry if at any point I say 'the book never does xyz' and it actually does once or twice but I think my underlying criticisms are accurate

-Patroclus is made into like this soft gentle tender quivering little yaoi boy. In the source text, he's shown as compassionate and moved by the suffering of his own men (and apparently having some medical skill, tending to the wounded in the camp), but very much invested n combat and very, very good at it (pages worth of descriptions of the guys he's killing left and right). In this, the arguably more complex character from this 8th century BC text is flattened into Being A Healer, he doesn't want to go to war he just wants to help people, he only goes because Achilles has to but he doesn't want to fight he's a HEALER he's a gentle lover NOT A FIGHTER who just wants to help he just wants to help everyone around him he HEALS while Achilles is a doomed warrior who is so good at fighting and KILLING its a DICHOTOMY GUYS!!!LIKE THE BEAUTIFUL SUN AND MOON DOOMED LOVERS SO SAD patocluse HEALER . (I Think he's specifically characterized as being BAD at fighting but might be misremembering)

-I don't remember much about Achilles' characterization I think it just makes him less of a jackass while not adding anything of interest and levels out into being mad boring.

-Not getting into the literal millenias old debate whether the mythological characters Achilles and Patroclus were being characterized as some type of lover by the original oral sources of the Iliad or its Homeric writers. We will never know. We don't even know what (if any) culturally accepted conventions of male homosexuality existed in bronze age Greece (we know much more about their descendants). But there are some interesting elements of their characterization in this direction, with how unconventional their relationship is WITHIN the text itself- Patroclus is described as cooking for Achilles and his guests (very specifically a woman/wife's job), Achilles chides Patroclus like a father, but there's also scene where Achilles' mourning of him directly echoes a passage of Hector's wife mourning her husband, Patroclus is explicitly stated to Achilles' elder, and is overall treated as his equal or near-equal, closest confidant and most beloved friend (to the point that pederastic classical Greeks would debate over who was erastes (older authority figure lover) and who was eromenos (adolescent 'beloved')- many took it as a given that this text depicted their present-day cultural norms of homosexual behavior but it existed so Outside of these norms that it had to be debated who was who). Their relationship is non-standard both within the text and to the descendants of the civilization that wrote them.

Basically what I'm saying is this book had opportunities to like, explore the unconventionality of the relationship (being presented here as explicitly lovers), explore the dynamics of why Patroclus wants to do 'women's work' (besides being a tenderhearted softboy), the weird dynamics where they take on paternal roles to each other but also roles of wives, how they feel about being this way, and just kind of Doesn't. Which I guess isn't an intrinsic fault (because it omits much of what I just talked about to begin with). it's just like.... Lame. This book takes jsut abandons everything interesting about the source text in favor of flattening it into bland Doomed Yaoi.

-The conflict that sets off the core story of the Iliad is Achilles and Agamemnon fighting over Briseis, an enslaved Trojan woman taken by Achilles as a war-trophy, Achilles spends most of the story moping because he was dishonored by his 'trophy' being taken. Achilles and Patroclus and everyone else are raping their captives, all the women in the story are either captured Trojans (or in the case of the free women within the walls of Troy, soon to be enslaved, and are slave owners themselves). Slavery as an institution and extreme patriarchal conventions are innate to the text and reflective of the context in which it was developed. You cannot avoid it.

But obviously you can't have your soft yaoi boys doing this, so the author has them capturing women to Protect Them from the other men. Their slaves are UNDER THEIR PROTECTION and VERY SAFE (and they might even Like And Befriend Them but I might be misremembering that. Briseis does though). Our heroes have apparently absorbed none of the ideals of the culture they exist in and the author seems to think "they're gay and aren't sexually attracted to their captives" would translate to them being outright benevolent (also as if wartime sexual violence is just about attraction and not part of a wider spectrum of violent acts to dehumanize and brutalize an accepted 'enemy')

In the source text, Briseis mourns Patroclus as being the kindest to her of her captors, who tried to get her a slightly better outcome by getting her married to Achilles (which probably would be the Least Bad of all possible outcomes for a woman in that situation, becoming a legal wife instead of a slave), and wonders what will happen to her now that he's gone. This is a really really sad, horrible, and compelling dynamic which could be fleshed out in very interesting ways but is instead is tossed entirely aside in favor of them being Besties. Like brother and sister.

All of the above pisses me off so much. If you don't want to engage in the icky parts of ancient/bronze age Greece then don't write a retelling of a story taking place in bronze age Greece. I'm not gonna get mad at children's adaptations of Greek myths or silly fun stories loosely based on them for omitting the rape and slavery but it is SO fundamental to the Iliad. If you're not willing to handle it, either fully omit it or better yet set your Iliad inspired yaoi in an invented swords-and-sandals setting where you can have all your heartbreaking tragic doomed lovers plot beats and not have to clumsily write around the women they're brutalizing.

-The author didn't seem to know what to do with Thetis and she made her just like, Achilles bitch mother who spends most of the story trying to separate our Yaoi Boys (iirc her disguising Achilles as a girl and hiding him on Scyros is made to be more about getting him away from Patroclus than trying to save her son from his prophesied doom in the Trojan War) until she sees how much they loooove each other and I think helps Patroclus' spirit get to the afterlife or something in the end?

-This is more of a personal taste gripe but it has that writing style I loathe where the prose feels less like a story and more like an attempt to string together Deep Beautiful Hard Hitting Poetic Lines that will look great as excerpts on booktok (might predate booktok but same vibe). It's all very Pretty and Haunting and Deep but feels devoid of real substance.

I really like The Iliad and The Odyssey in of themselves. They're fascinating historical texts that give a window into how 8th century BC Greeks told their stories, saw their world, interpreted their ancestors, etc. And genuinely I think these texts have 'good' characters, there's a lot of complexity and humanity to it.

WRT the Iliad- all of the main Achaeans are pretty fascinating, the one singular part where Briseis Gets To Talk and laments her situation is great, Achilles fantasizing that all of the Trojans AND the Achaeans die so he and Patroclus alone can have the glory of conquering Troy (wild), Achilles asking to embrace Patroclus' shade and reaching out for him but it's immaterial (and the shade being sucked back underground with a 'squeak' (the squeak kinda gets me it's disturbing and sad)), Hecuba talking about wanting to tear out Achilles' liver and eat it in a (taboo, exceptioally pointed) expression of rage and grief for his mutilation of her son's corpse, just one tiny line where the enslaved women performing ritual wailing for their dead captors are described as using it as an outlet to 'grieve for their own troubles' is heartrending, etc. A lot of grappling with anger and grief and the inevitability of death, a lot of groundwork laid for characters that could be very interesting when expanded upon in the framework of a conventional novel.

And Song Of Achilles really doesn't do much with all that. I know a lot of my gripes here are kind of just "It's different from the Iliad", I would have thought of it as mostly mediocre and forgettable rather than infuriating if it wasn't a retelling (and I DEFINITELY have strong biases here). But I think the ways in which it is different are less just a product of a retelling (of course there's going to be omissions and differences) and more a complete and utter disinterest in vast majority of its own subject matter, to the book's detriment. I think a retelling has a point when it EXPANDS on the source, or provides a NEW ANGLE to the source. This book doesn't Really do either, it just shaves off the complexity of its source material, renders the characters into a really boring archetype of a gay relationship, and gives very little else. Its content boils down to a middling tragic romance that has been inserted into the hollowed out defleshed skeleton of the Iliad.

Bottom line: I definitely would not be as mad about it if I wasn't familiar with the source material but I think it's fair to expect a retelling to Engage with/expand on its source, and I also think it's weak purely on its own merits. This book was set up to disappoint Me specifically.

[57sfinest]

calling harry a “can opener” was SUCH a good play for so many reasons i think about it every day.

in the context of his work, it makes him a tool. as many people have pointed out, including martin luiga, part of the hdb tragedy is that he simply cannot leave the force, and his superiors know that and are using it to their advantage. no matter what happens, even if harry hated every nanosecond of every bit of the work and wanted to leave, he can’t and won’t leave. they can leverage anything they want against him and then reel him back in with a facade of kindness when they “allow” him to keep his job, as long as he does what they want him to. the 41st knows he has this inexplicable talent with people and they use him for it. he’s a cop: that talent can be used in so many awful ways, to push so many different agendas. and they won’t even be his own. a can opener has no particular desire to open a can, aside from maybe the satisfaction of fulfilling a purpose. a can opener has no agency, it’s just a tool for someone else to use to get what they want. and he’s learned to be okay with being used as long as it means he gets to stay. his complacency with this system makes him guilty even if he’s also being harmed by it.

but in the context of his personal life you kind of... flip it. the people around him are going to be opened up whether they want to be or not, and it’s terrible for his relationships. it’s shown that the questions, the prying- the can-opening- it’s become inextricable from who he is as a person. it’s like he doesn’t know how else to communicate, except it’s hardly communication when you’re just ripping people open. he’s invasive as all hell, although whether he means to be is debatable. he’s the kind of person that wants to take things apart to see what makes them tick. he dissects people, but really that’s too delicate of a word for what he does; if he doesn’t get what he wants right up front, he’ll abandon all subtlety and go for brute force. if he can’t get your screws loose he’ll just smash you on the ground and pick through your pieces until he’s satisfied, and if what he did to you isn’t fixable? oh well, there are other cans to open. 

and he’ll use it for personal gain: we already know he is (was?) manipulative. once he knows how you operate, he knows how to make you keep him. he can yell or he can cry; he can threaten you or he can threaten himself; he can be completely suffocating or he can withdraw completely; he can be an incorrigible liar or brutally honest; he can present himself as a threat or a joke or a talent. he’s a chimera- that’s why he’s got this inexplicable magnetism, even when people know they shouldn’t like or trust him. fidelity of character means nothing to him. he’ll be whatever he needs to be as long as it gets him what he wants. the can-opening is just his way in.

[mothfables]

i keep thinking about the chain (minus legend) being turned into wolves from this post of mine so i figured why not ramble about it

the base idea: everyone except legend is turned into wolves. legend is a rabbit. you can imagine the issues this causes

-definitely inspired by Wolfie’s Pack by AmayasAngel and Wolf Family by Breanna!! they’re very good go read them now <3

-the wolves can understand each other. wolves and rabbits cannot

-they eventually manage to figure out who’s who through some trial and error

-in the beginning, the Chain have to constantly reign in their new instincts around Legend (small, brightly-coloured prey animal moving quickly = hunting mode activated). as i’m sure you can imagine, this does nothing to help Legend’s poor heart or issues

-Twilight + Sky, the two most familiar with Legend’s rabbit form, are extremely protective of him the whole time they’re transformed

-Wind + Four are pup/juvenile sized, with Wild + Hyrule slightly bigger than them

-Legend has about a hundred heart attacks during this time; it does not help that half the Chain are very eager to play, with him or with each other. either way his nerves are through the roof

-Twilight is in charge, as he’s the one most familiar with this form. this also means he has the (dubious) pleasure of teaching everyone else - sans Legend - how to be a wolf

-Legend mostly chills with Sky or hides from the more... excitable members of the Chain (these are not mutually exclusive)

-Sky takes to grooming him to help both their nerves

-you know how rabbits grooming each other can be a sign of submission + boosts their ego? yeah. Legend gets an ego boost for a while there and it allows him to be confident enough to engage with the others for a bit

-they take turns grooming him one time (he gets massively ego-drunk) and he binkies for a good five minutes in the middle of camp while everyone else watches in amusement (and the younger ones join in)

-the curse eventually wears off or gets removed and everyone has to take a while to adjust to being hylian again. that being said, being able to communicate properly with everyone is a relief

-there is some teasing on both sides but the Chain remembers quite clearly how terrified Legend was (and how they were, too, when they realized it was him and when they couldn’t understand him) and so they keep it to a minimum. Legend definitely gives as much as he gets, though

[coffeebanana]

I’m not saying I want adrinette to break up in S6, I’m just saying that’s how we get ladrien

[dogsliampaynedoesntinstagram]

do you have any advice about boycotting? I have been trying to follow bds but people online are always calling for boycotts and saying people are supporting genocide for bot boycotting xyz and Im having a lot of anxiety about it. Obviously feelings arent more important than not supporting a genocide etc

There's a bit of discussion of boycotts at the moment, so it seemed like a good time to finally respond. I do have advice - very simple and strong advice. The point of a boycott isn't individual moral purity, it's using collective power.

The starting point for building collective power has to be people resisting oppression. Just like a strike can only be called by the workers, a legitimate boycott can only be called by those who are resisting oppression.

For the last 20 years, a coalition that crosses Palestinian society has called for Boycott, Disinvestment and Sanctions. I follow what they say - I don't give a shit about what people online are saying. They are very clear about their strategy - and the important of strategic boycotts. There are some global targets, and then other targets are organised locally - the link above includes information about how to find out what the local calls are.

I believe there is a strong moral and political imperative to observe BDS. I hope that the clear direction and the short list will help with your anxiety.

I think it's really important to understand that there's a principle here - it's not just about BDS. When offering solidarity, you start with what organised groups resisting oppression have asked for. Don't listen, or get stressed out about what random strangers have said.

******

There is, I think, another point, which is just as important. People who are going around making up targets are actively harming the Palestinian Liberation struggle. There are two messages I hope people get from this post - the first is that the starting point of meaningful solidarity is what people collectively resisting oppression are asking for. The second is that the sort of mouthing off online that is stressing you out is actively doing harm - and anyone who wants to do meaningful political work - has to stop pretending that indulging in self-righteous and reactionary social media posting has anything to do with meaningful political work.

There are two reasons that people who make up things they think other people should do actively does harm. One is that it undermines the ability to build power by substituting an individual's voice, for the collective voice of people resisting oppression. Substituting individualism for collectivism is guaranteed to weaken movements

The second is the behaviour you describe is coming from the more reactive parts of our psyche. Politics is about building power through coalitions. When people try and prove they're right and other people are wrong they are letting the anxiety processes of our brains take control - and substituting our most reactionary selves for meaningful political organising - then they're actively getting in the way of building power.

The fact that you're feeling anxious isn't an accident - it's a direct result of other people's choices to act from the reactionary and anxiety part of their pscyhe. If one person is acting from their own anxiety - it absolutely does promote anxiety in others. Good political work comes from building power and coalitions - which involves strengthening relationships - none of which are done best from a position of anxiety (you'll probably be anxious at times, when doing political work - that's really normal. But that's different from anxiety being at the centre of the political work).

I think one of the biggest problems of social media's impact on our ability to organise - is that it's very easy for people who are reacting entirely individualistically, from the reactionary parts of their psyche, guided by their anxiety, to persuade themselves that they're doing collective organising - when they're actually doing the opposite.

I'm sorry you're feeling really anxious. I think it would really help to turn around what you think you're doing. You frame this as not supporting genocide - but that's probably not an option. The political and economic system you are living in supports genocide, and if you imagine you can opt out of that you're setting yourself up to fail. If instead of trying to do the impossible - you focus on acting in solidarity with people collectively resisting their oppression - then it should both be less stressful and more effective. The requests are clear and simple - and you can and should do them.

[aromacaque]

you want to analyze a cartoon that is something children can watch? ok here's the first and most important lesson ever.

have you ever heard of "suspension of disbelief?"

ok. next step. do you know what an unreliable narrator is and can you separate the character's perspective and opinions from the writers? because i promise you that the beliefs of the main character do not always reflect the writers and the point of analyzing media is to dissect that.

[nadiajustbe]

I know people in HMC books speak English so there's not gonna be any kind of miscommunication between the characters, but sometimes I think about how it would be way more funny If there was some language diversity.

Howell Jenkins falls into the portal to an absolutely unknown, magical realm and... everyone speaks English. He was rather happy about it, finding it funny: it's a new, fantasy, fairy-tale based world with dragons and spells and seven-league boots and magic, and yet its habitants English. What are the odds?

However, it does not takes him long to realise (much to his own frustration) that, even though all of the locals native language is, in fact, English, it is pretty different from the English Howell himself is familiar with. He cant understand it quite well at fist, but it sounded like an odd mix of a modern language, specific dialects and an old tongue people was using around Victorian England/Middle Ages. It has so many words and unusual forms (Howell even called them "slang" once in a while), that it takes him a while to fully get every term and subtexts ms. Pentstemmon was referring to.

Their languages were similar just enough to catch the full sense of the sentence, but not enough to undertand all the little details, not cultural nor linguistic. It would even worst If he wasn't a big fun of Shakespeare and old Arthurian Legends growing up, letting alone studying old English (and old Welsh) at the university.

The language also differs from the area. Michael, for example, uses so many words you can hear in Porthaven only, regarding it's unique aspects. Sophie uses a lot of Market Chipping proverbs, and even more old terms connected with hats. The language he heard the King using wheh he got his first chance to met him at the time of his apprenticeship was so long, confusing and vivid, as If it was taken straight out of old English Literature books. And yet, English.

To this day Howell — at this point long-knowing as Howl Pendragon — finds himself confusing new terms, forms of words, proverbs and sayings. Maybe, he thinks, you have to be truly born there to understand all of - although he did better than anyone else would. Sophie seems to catching up just well.

—

Abdullah ends up with a flying carpet and the magical genie, exited to give away his fist wish to find the love of his love... only to not understand a word of what the genie is saying. This is how, instead of searching for Flower-In-The-Night, he now searching through a whole Zanzib for a proper translator from English because, here's the problem, If he can't understand the genie, then genie can't understand him, and If genie can't understand him, it's pointless to even try making a wish. He knows it's English: there's plenty people all around the world visiting the market, and he had even learnt certain words, important for making a trade, but that's not nearly close to a full sentence on unrelated topic.

With a great effort and after hours of searching for a really proffecional master of languages (who charges Abdullah nearly all of his money for one single session), he finally gets to the point. Except, here's another moment. That's where Abdullah finds out the wish has to be spoken from his heart and not through the other person. Here comes another catch — Ingarian English, no matter how simple or structured is, to put is simply, badly different from Rapshutian Arabic. It's not even the same language group!

So, he sits in the small, hot room near the glamorous bottle and tries to pronounce a bunch of difficult, complex words written on a paper, the kind that translator couldn't cut or simplify to ones he's familiar with, for a whole ten (to fifteen) minutes. And, as If trying to make his task as difficult as possible, genie, when he shows up, starts randomly breaking into the language translator can't even recognise, with no talk about understanding. Abdullah assumes it may be a secret genie language only this creatures know and, annoyingly, gets along with it.

After successfully wishing to understand (and use) English, he also finds out he can't wish for anything more language-related, and he shouldn't even bother himself trying to ask for a foolish things like an ability to speak every language in the world. Language is a big part of human's essence and otherwise shouldn't be messing with, just as magic focusing on it is strictly limited.

Using this fact, the genie also finds a loophole - from now on he speaks his secret genie language half of the time, stopping only when it comes to important tasks, because Abdullah "wished to know only one of his languages" and he, apparently, knows more.

This whole puzzle takes new turns, when, while traveling with the carpet, Abdullah meets the solider. Despite claiming being from Strangia, this strange man from the forest starts speaking with them in English in first and then, noticing they're from different country, easily switches to Arabic.

As they wander together, the soliders explains that he is non less confused than they are: he didn't even noticed he could speak English before the passer-byes from Ingary noticed him, and now, being with genie and Abdullah, he also remembered he knows Arabic. He adds that he can't recall anything before his duty in the army, where he definitely used Stangian and nothing else, but it feels like an strong knowledge he has, even If he doesn't remember learning any of this. He decides to wave it off, focusing on the cats and schemes.

The solider becomes a great translator for them along the journey, up to the day the got the inn. He does not understand the secret genie language, though. Especially when from the jinnies and angels they found out there's, in fact, no such a thing as a "genie language"

The story finally clears itself when Midnight and Whippersnapper turn into humans, the Solider turns into a bewitched Prince and the Royal Wizard surprisingly seems to recognize all of the words the genie was — and still is — using.

—

Charmain runs after Sophie with a long, old dictionary she has found in the Great Uncle Norland's Library. The Royals, of course, gave their honored guest the translator, but the things quickly becomes pretty private, with the search for the gold and all this story with lubboks, so Sophie tells them she's gonna manage it by herself.

To say the Dictionary is heavy is to say nothing: it's huge and thick, containing thousands of words from Ingarian English alone, split by topics, marked with tons of colors an additional moments. Even carrying it around is a whole different type of task.

Half of the time Charmain and Sophie communicate with gestures, context clues and even sounds. When they need to say something really long and complex, they write, leaning on the Dictionary, as it's a bit faster than talking. Still, at some moments Charmain has to flip through the massive pages, searching for the right word with her finger, while Sophie has to do the same. Till the end of the day the both learn some basic words from each other's language, which makes it easier.

The poor nanny has even harder times with Twinkle and Morgan, because she has no idea about what they actually want, except they both whining and crying, one louder than another.

Translator does not come in handy that much, as it looks like these children mix languages everytime when speaking to each other. She has to guess things all over the room to finally get what they need, and usually it's the most useless things ever, like striped pants and a bunch of toy horses falling from the sky.

They see Sophie and Twinkle arguing about something, but no one gets the topic of their screaming, let alone the reason why Sophie is so mad at this angelic child. Charmain asks Sophie about it, because she heard an unusual name along the lines of their quarrels, but Sophie looks too annoyed to explain, mumbling something in her native language with some sort of anger.

The only positive side of it all is that, If Chairman can't understand English, then the lubbocks can't either. Wich means that they didn't have to be as cautious when using Dictionary as they would have to If they understood each other perfectly.

Then she has to climb on the roof, where Twinkle is sitting. Charmain tries to dismiss all his attempts to start a dialogue till she's there, huffing and suffocating as she tries to get the Dictionary with her, trying not to fall.

Twinkle seems to be really proud of himself, saying he knows twice more languages that anyone else in this magical House. Charmain flips through the pages, asking either one of is the one she knows (Norlandian, I assume).

Twinkle says no. For a second Charmaine starts to really understand Sophie's feeling, fighting the urge to hit him on the head with this massive book.

Peter does not communicate with this new guest as much and, luckily, he knows the language Charmain speaks, so they don't have to struggle with a language barrier. The way speaks might be a bit different because of the area he grew up and the amount of hiding and spells he encountered, but there's nothing they can't handle. Luckily.

Calcifer knows the Saucepan song, but other than that his linguistic knowledge is far from perfect, certainly not as good as you'd expect from a fire demon. He also cannot use a Dictionary, because it will burn the second he'll come to close to it, and If this happens their main way of communication is basically gone. He makes up for it, talking with Twinkle, Morgan and Sophie, as well as being expressive enough to understand the basics or what he feels and plans. Sometimes someone (aka Sophie) has to translate what he is saying when she's near, wich is a bit longer than Charmain would wish, but still pretty plausible. She got that he desperately needs his logs, after all.

Twinkle could have used some kind of magical bubble to get them finally understand each other fully, but, again, magic connected with languages is pretty difficult and has its important limits, so it wouldn't last long. Little 30 years old boy is enjoying his childhood, running up the stairs and beating these huge bugs, not as much caring about Charmain all this huge book in her hands.

In the end, (as he turnds out to be) the Royal Wizard Howl is right - the only languages lubbocks can understand is punching.

(Many thanks to my rly good friend @your-queen-shuri for being co-author of this concept. A bunch of ideas here are from her!)

[kooldewd123]

okay i realized i've had this brainrot since sv came out and i've barely seen anyone else else talk about it, so

raifort's totally from alola, right? she's got a lunala belt buckle, a tapu koko bracelet, and a marshadow hairpiece, not to mention that this whole outfit just screams paniola town to me. raifort is alolan and i will not hear otherwise.

[sieglinde-freud]

one time eva told me that inigo was basically just a total drama character and i cant like that kinda hit me like a slap in the face but like in a good way because like. she was right. and that was several months ago but the concept was so good i sometimes just come back to it and now i have a question for the class

no i dont think inigo (or anyone else i excluded) would win but if you have a case for him im open