#which is extremely weird in this context | Explore Tumblr posts and blogs

nereidprinc3ss · 6 months ago

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trolley problem

in which fem!reader has been gambling with her life and spencer reid is more than a little concerned

flangst, hurt/comfort warnings/tags: passive suicidal ideation from reader, she keeps risking her life, that really grinds Spencer’s gears, established relationship, existential dread, existential euphoria, lots of stuff about grief and death and self worth, not advocating for this, pretension from the author, blasphemy probably?, reader gets fuzzy from prescribed painkillers, arguing, hospital stuff, mention of sleep paralysis involving spiders, reader gets shot but she’s fineee, I pander to intro to philosophy takers, bau!reader, neurodivergent coded reader, if she’s not exactly like you I’m sorry, bean soup a/n: one day you’re in a writing slump literally the next you are in your notes app for six hours writing whatever the fuck this is but I think I love it even tho it’s weird and I hope u like it too!! btw this was gonna be called cotard's syndrome but then I never once talk abt cotard's but if u care that might be interesting context for the motif of not feeling human/alive, WC 3K

Spencer hasn’t spoken to you since the doctor left the room five minutes ago.

The air is antiseptic as you take it deep into the hollows of your lungs and trap it there for a moment, trying to optimize oxygen intake without actually having to breathe very often. Hospital smell is as universal as it is suffocating. It reeks of everything but death—flowers, blood, bleach, vomit. A humiliating, desperate scramble to defy the very thing that defines mortality. It’s pathetic. It reminds you of the worst instances of failure and loss and denial in your life. It curdles your blood. Literally rots you from the inside out.

You’ve had ample time to ponder that smell over the last few months because you keep ending up here, and some time ago you decided the institution of the hospital is inherently absurd. It’s stupid to think you could avoid the one absolute condition on your corporeal form: impermanence. It is the only thing that is promised, and people still waste their lives away running from it. It is the ultimate self-fulfilling prophecy.

So around the time you acknowledged that hospitals are simply monuments to the self-importance of man, you gave up on trying too hard to preserve yourself. You’ve seen death too much and too often. You’ve tried staving it off with prayer and the miracles of modern medicine, and it never matters in the end because it’s all magical thinking anyway. All the wallowing and the bargaining and pleading never got you anywhere.

You’ve accepted that from the moment you were born, you were marked for death.

But you’re not a complete nihilist. You’re not even totally resigned to the abject certainty of death—because you’ve found a loophole.

Everyone has as many chances at escaping death as other people are willing to offer them at the cost of their own lives. Not many people are willing to make that trade—someone else’s life for their own—but you’ve decided you are. Because if not you, then who?

It’s not that you don’t see the value in your own life, as Spencer keeps making it sound. It’s just the opposite. You understand that you’ve got an extremely valuable resource, and you don’t just have to sit on it. There are things you can do. Choices you can make. Ways to defy death.

Just… not yours.

Or maybe you’re just in deep denial.

Either way—this is a philosophy your boyfriend intentionally refuses to understand. He gets mad, or some kind of upset, every time you try to explain it. Usually he ends up leaving the room close to tears. You never feel good about it.

Right now he’s presumably trying to give you the silent treatment and not doing a very good job.

“Stop holding your breath. Why are you—stop that.”

Spencer’s frowning, skin sallow and milk-blue under fluorescent lighting. Purple seeps from around his eyes like spilled wine on a white table cloth. Your stomach turns.

“Sorry.”

He doesn’t tell you not to apologize. You don’t expect him to.

“Why are you doing that? Does something hurt?”

Other than your entire bicep being on fire due to the 9 millimeter Luger it recently came into contact with?

“Not really. I just don’t like the smell of hospitals.”

At that, he gets stony again. Like, Medusa stony. You feel a tightening in your chest that has nothing to do with a lack of air. His arms are crossed. A silk lined blazer drapes over your lap, and you wonder if he’s cold in just that white button up. It’s translucent in this light, like onion skin, or maybe something less organic—the folds and wrinkles look like fabric, but lots of things look like something they aren’t. In the Pietá, Jesus lounges dead on his mother’s lap, his cheek pressed to her arm like either of them have warm flesh, and her skirts drape from her knees and fall to the ground in delicate folds just like Spencer’s jacket and looking at pictures of it you swear you could find comfort there too—but if you wanted to make space for yourself next to Jesus you’d have to do it with a chisel and mallet. You’re starting to think that’s what it’s going to take with Spencer, as well.

“So stop walking into active gunfire. You’ll spend a lot less time here.”

Every deep sigh (of which there have been several) calcifies you further. Ironically, you never feel less alive than you do in a hospital.

“I didn’t walk into active g—”

“I’m not debating it with you. It’s not a discussion.”

“So you’re just going to be pissed at me for the rest of forever? I mean, if it’s not a discussion—what are you gonna do? Break up with me?”

You feel yourself dripping poison in the well. Even as you say it. As his head tilts toward you slowly and intently from his spot against the wall, and his warning gaze is cold and unforgiving and weighs 3.35 tons.

“Don’t.”

“Don’t what? Talk?”

“Don’t try and manipulate me by implying that there are no options between permissiveness and dumping you!”

“I’m not manipulating you. And I don’t need your permission to do anything.”

The first part is an incredulous scoff as well as a blatant lie. You are manipulating him. Chisel and all. At least, you were trying to. It clearly doesn’t work very well. His jaw clenches.

“Is this worth it to you? Fighting with me like we’re children solely so you don’t have to take accountability?”

“Accountability for what? I made a choice. I don’t regret it. You’re upset because I did my job.”

A beat.

Silence always makes you feel the gravity of your words.

“Do you believe that?”

His voice softens so much, so quickly, it splinters down the middle.

You’ve never been known for your light touch. For someone who sees eviscerated bodies nearly every day, and prides herself on her evolved understanding of mortality, you often forget other people are not, in fact, impenetrable marble—they are flesh and blood and bone, and you’ve splattered yourself in the evidence of that.

“What?” You murmur. You easily turn timid, when you’re afraid you’ve been too heavy-handed. Spencer’s seen you sob over the birds who hit the windowpane and never reappeared from the shrubbery—their delicate wings, their little beaks—he didn’t mean to, Spencer, and now he’s dead! He’s seen you spend forty minutes catching a spider with a cup and an envelope rather than smush it, even though you have reoccurring episodes of sleep paralysis wherein a giant arachnid is sitting on your chest, hissing and clacking its pincers. He knows you are, at your core, kind and good.

It’s a little scary for someone to know that about you. It’s a little scary when you see your own vulnerability reflected in their eyes and the way they speak to you, the way you see it in him now.

“Do you believe that the choices you make regarding your safety don’t concern me at all?”

“They’re… my choices to make,” you whisper, but you’re less sure than you were a minute ago.

“I’m not talking about that—I’m talking about how it feels like you are trying to kill yourself every time we’re in the field.” His voice shakes. You swallow. “You have been hospitalized for four serious injuries sustained on the job in the past five months. Every time I bring it up, you—you talk about life like it’s optional for you. Like you’re not only willing to give it up but are actively looking to throw yourself in harm’s way every chance you get. You think that doesn’t terrify me?”

There’s a small chip in the paint on the wall next to him roughly the shape of Africa.

“It’s not like that. I’m… I’m just having an unlucky streak.”

He snaps.

“Luck isn’t going to get between you and a bullet. Ever.”

“It’s my job, Spencer.”

“No. It is a risk of the job. Not a defining feature or requirement. But you keep running toward gunfire like you have a quota to meet.”

“Spencer, I’m not doing it at you. I’m not trying to get myself hurt.”

“Well it doesn’t really feel like you’re trying to avoid it, either,” he shoots back immediately, and you feel the anguish radiating from him until it lodges in your own chest, like it was always yours. Maybe it was.

You want to make it better, but you don’t know how, and even if you did, he’s pushing off the wall and crossing the room toward the door.

“Where are you going?” You call, a little too desperately for your liking.

“You need to eat something.”

Which translates roughly to he’s pissed and upset and he needs to leave the room. You’ve done this song and dance before.

However, food and an absence of him are contenders for the absolute last two things you want right now.

“Spencer, please don’t—”

But the door is already whooshing closed.

You stare at the grey and white checkered floor. Light bounces off the waxen reflection—some sort of parallel universe you can’t reach, perhaps. The whole room is desaturated. A mechanical humming threatens to drive you insane. It doesn’t feel like a place for living humans. You’re not convinced you are one.

When he comes back, maybe ten minutes later, nothing’s moved at all. In fact you’re not even sure you’ve been breathing.

The door closes as quietly as it opens.

This time, wordlessly, Spencer comes to you. You see his shoes first—his serious adult shoes. You wish he was wearing his Converse.

Then you see the bottle of apple juice he’s cracking open for you. Blue lid. Same kind you always get.

“You didn’t bring food.”

“You wouldn’t have eaten it.”

Fair enough.

You take the bottle with your good arm and sip shallowly—all that adrenaline and the subsequent interpersonal strife has left you nauseous. The drink is too sweet. It clashes with the tang of metal in your mouth.

Still, you drink enough to satisfy him, and then you’re tossing his jacket aside before balancing the bottle between your thighs so you can screw the lid back on. He doesn’t go back to the couch or his spot on the wall.

Spencer doesn’t pull away when you lean into him, but it does take him a moment to reciprocate. You’re still grateful all the same when he cradles the back of your head to his stomach like you’re made of porcelain.

“I don’t think you understand how upset I am,” he says quietly.

Only Spencer Reid could be furious with you and still hold you like this.

“I’m sorry,” you murmur.

“That’s not good enough. You need to stop risking your life like that.”

He doesn’t get it. Your brows flutter as they try to furrow but even holding that expression saps you. Maybe the pain meds are finally kicking in.

“I just wanna help people.”

“That doesn’t explain to me or justify your urge to do it at the cost of your own life. We all want to help people, angel. The whole team. That’s why we do what we do. But we don’t run into shootouts. We don’t split off and provoke people with guns when we’re unarmed and unprepared.”

“But it worked. She got away.” You feel a spark of fulfillment at the memory of Gloria Sanchez in JJ’s arms just before the ambulance doors had slammed you into your first cage of the night.

“We don’t know if he was going to kill her. He might not’ve fired at all if you didn’t go running toward him. That wasn’t strategic, it was reckless and irresponsible and you know that. I know you do. So something else is going on.”

The pressure in your nose that usually precipitates tears comes as a surprise.

“I just—if that’s how I can save someone, why shouldn’t I, you know? Why do they have less of a right to live than I do just because they’ve been deprived of the choice? If I have a choice, and they don’t, I should choose to… to help them. That’s my job.”

For a long moment, you listen to your own breath, muffled by Spencer’s shirt, and the mechanical humming, and something dripping, and the low, buzzy chatter of nurses far down the hallway.

When Spencer next speaks you get the sense he’s holding a lot back. His voice is taut enough it wavers slightly. Taut enough that if he weren’t speaking so quietly he might be yelling. It’s like pinpricks all over your body—not enough to hurt, but enough to make sure you’re paying attention.

“You can’t help anyone if you’re dead. Do you understand me?”

And yes, in theory, you do. But that doesn’t negate your original point. It only takes one life or death moment for you to utilize the most valuable resource you have. What happens after is no longer your concern.

“On the psych evals you helped develop it asks if you think it’s appropriate to sacrifice the one to save the many. The answer is supposed to be no. If you say yes you get flagged. The FBI frowns upon… lever-pullers. And that’s exactly what I’m doing if I let one person die when I could’ve potentially saved them.”

“Protecting your own life is not pulling the lever. What you’re doing isn’t smart or morally righteous. You’re just throwing yourself across the tracks, too. If you were to fail a psych eval right now it would be because you’re passively suicidal. And you know what? The FBI also tends to frown upon self-immolative delusions of grandeur and girls who like to play sacrificial lamb.”

“’M not a… sacrificial lamb…”

“No,” Spencer agrees quietly, stroking your hair. “You’re not.”

And you can’t react to the fragility in his voice, or the content of his words, and the fact that when he says it he means something different—you can’t do anything about it. You can only catalogue it. You can only know that he loves you, and feel a little guilty about it.

Some time passes. You don’t know how long he remains standing so you can doze against him. He does not smell like the hospital. He’s the antidote for whatever grief they distill from widows and orphans before aerosolizing it through the whole place.

“Baby?” He asks eventually. You know the lilt of it. He’s been thinking.

“Hm?”

He hesitates.

“Can we talk about you maybe taking some time off of work?”

“You heard the boss,” you mumble. “I can’t come in for at least a week.”

“I mean beyond that.”

You intend to respond, but by the time you open your mouth you’ve lost the prompt in all the brain fog.

“You’re so comfy,” you murmur dreamily. “Thank you for being mad at me.”

If he responds, you miss it.

You’re imagining the bed waiting for you at home, once the doctor is done observing you—warm, neatly made. Blankets woven with soft fibers. A mattress that will sink under your weight. You think of Spencer, who’s shaping himself to you, Spencer, who intentionally inhales when you exhale at night to make room for the rise and fall of your chest against his. You think of the imprint of his buttons on your cheek. You are both flesh and blood and bone.

Strange, pill-induced half dreams and visions and memories take over. You’re in that alleyway again. That man fires. You don’t blink or scream or feel.

Just before the bullet makes contact you’re standing in front of the Pietá. It’s massive. Spencer is there, too, holding your hand.

You can’t actually see him, only, you know he’s there. You feel his warmth, his presence, when he leans over to whisper in your ear. The way you know him goes beyond sight.

The Pietá—meaning the pity, in English—is 6’7” and six feet wide. It weighs 6,700 pounds. Michelangelo had to quarry the block of marble himself. He was only 25 when he finished. The Basilica keeps it behind bulletproof glass.

Jesus and Mary behind bullet proof glass.

God. Who’d try to kill Jesus a third time? He’s already dead.

Besides—they’re both made of stone. Bullets would probably just ping right off of them. Or maybe they’d shatter just like you did.

Probably not though. You’re not actually made of marble. You’ve no idea what it feels like to be a statue and get shot at. You sure know how it feels as a human, though—and it feels like shit. You don’t really know why you keep doing it. None of your reasons are good enough for Spencer, and he’s, generally speaking, pretty smart about some things.

Maybe you’re tired of being human.

Maybe you’re tired of sleeping on your arm funny and waking up to a hand in your bed that doesn’t feel like yours and remembering all the hands you’ve held moments before they couldn’t hold yours back. Or tired of those moments where you are being held and it’s so unbelievably perfect and then someone has to let go, or when someone you love hugs you goodbye and you realize that there will always be a final I love you, or simply getting older and watching potential life paths fall away like rotten fruit to the ground. Maybe life is sometimes so good it hurts and you can’t bear it. So you tempt fate. You walk a tightrope because even if you fall and it can’t ever feel good again—at least it can’t hurt either. At least you won’t lose anymore.

And yet.

It does feel good, sometimes. Sort of often, actually. Even when it’s awful.

Dead Jesus and Mary, with their marble skin and their bulletproof glass and their holiness and their virginity and all the other things they have that you don’t. Nobody can hurt them anymore. Not ever.

Maybe that’s something you envy.

But you doubt they’ve ever been so terribly, wonderfully alive as you’ve been, or as comfortable as you are like this, leaning into Spencer’s warmth and his softness, in the hospital, or the Vatican, or your dreams. Your bicep was ruined but it’s healing. You are capable of ruin and rebirth in the same lifetime. In the same day, in the same hour.

You doubt that in 520 years, behind bulletproof glass and unyielding, eternally flawless skin, they’ve ever felt as invincible as you do now.

You doubt they ever could.

#spencer reid fanfiction #spencer reid fanfic #spencer reid fic #spencer reid x reader #spencer reid x fem!reader #spencer reid x y/n #spencer reid x you #spencer reid angst #spencer reid fluff #spencer reid #criminal minds x reader #criminal minds imagine #criminal minds fic #criminal minds fanfic

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introsquirrel · 2 months ago

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Rereading murderbot (again) and just got to art's introduction.

And like, art doesn't play nice with other bots. It bullies them, it intimidates them, it will hurt other bots to get what it wants if it doesn't want to waste time hacking it.

And it tries that with mb. I mean, info secunits is probably like 80% propaganda, 15% corporate promotions, and 5% actual development and research, almost exclusively focusing on what they are designed for and how they got there.

It's out there, about to start a boring transport/recon mission, and one of the most dangerous and feared entities basically jogs up to it and goes "hi, I'm a friendly bot, like super friendly, totally nothing suspicious here. Can I have a ride? Here's a GIANT file of pirated media"

And it's still a bot, just a bot with organic parts. Art is a research vessel and it's curious, and this is a rare opportunity to get info on secunits, which are probably a huge pain in the ass to deal with on its missions, with almost no practical info about them. Also, this might be an indication that someone has caught on to its antics and it probably wants to nip that in the bud.

And it turns out the huge file of pirated media isn't secretly a virus or malware, and looking at it's movements, Art can see that it isn't actively hostile towards humans. Unexpected, but hey. Points to this weird construct. But that might not be it's goal.

And then it sits down and starts sorting and watching media so art is like alright, it's obviously not here to fuck me up and it has no idea what the hell I am. Let's make sure this moderately dangerous condtruct doesn't get any funny ideas.

I don't think art was going for friendly in the slightest. I think to wanted to scare mb to make sure it didnt try anything. I think it expected mb to get pissed or argue.

But mb basically shuts down. It stops everything and huddles into a chair and i imagine that it does its best impression of a secunit in stasis.

And when art is like "I mean, don't fuck with me, but you can still watch your TV shows" mb responds with something that would not be in construct research outside of very clinical and vague explanation.

It shows art that it expects art to hurt it. And it's shows that it can be hurt, that it has been hurt, and that it probably has some trauma related to this hurt. It also probably accidentally added some context to the punishment recordings. I'll bet mb was punished for not wanting to hurt it's clients.

And art... well, mb said in the first book that being half human half bot isn't two conflicting sides, but just a whole of what it is. It isn't human, it isn't a bot. It is the culmination of both. A sentient entity that was developed by humans for slavery and spent its entire existence being punished for having free will.

Art is also a sentient entity that was developed by humans for a purpose. But it was treated with love and respect and it's free will was celebrated, if tempered.

Imagine thinking you are one of a very exclusive group of entities that has been categorized as something that is a gross misconception of what you are and what your capabilities are. Art is a bot, which are not humans and dont have rights because they don't have feelings or wants or desires and cannot feel pain. You think you are a very unique entity, no one has done this before.

But they have. The proof is sitting, frightened in your body and you had no idea. Mb is as capable of evil as any human, and as capable of destruction as any bot. You are also cable of extreme evil and destruction. But you are loved and cherished. This entity, this thing is as human as you, moreso even, and it has spent its entire life being hated and feared and it chose instead to just coexist when given the chance.

Art says "I'm sorry I frightened you". Not, I didn't mean to frighten you. And then mb grumpily (which is understandable!!) Lets art watch media with it.

Like, art just met the dumber more compact prototype version of what it could have been and went "wait no this is cool actually." Mb can't br programed to turn against its crew, it processes it's feeling both organically and inorganically, it can hack and learn and be loyal and be angry. And it has no idea what it's doing or what it wants, but it's VERY good at security.

So yeah, I can see why art kind of latched onto mb. And why it told it's crew about this strange little secunit it found on its mission. Kind of like finding someone SUPER cool who just gets you on a level no one else has been able to. Someone who coordinates so flawlessly with you but still is able to challenge you when it needs to. Someone who loves and is exasperated by humans as much as you, even as you need to be "human" to be able to interact with them.

So yeah. Mb and art, first meeting. Perfect 10/10 can, have, and will read again

Edit: ALSO ALSO art gets to watch media with full context for the FIRST TIME IN ITS LIFE. Mb can process human emotions into data automatically and now it gets to experiencd fictional story as it's meant to be experienced for the first time and mb is so so indulgent of it and kind to it, letting it take time to process things and rewatching parts with it when it wants to.

Jdjdhdhdhej fuckin LOVE THESE TWO

#murderbot #tmbd #mbd #long post is long #i just have so many feelings about these two okay #edit:#going to be SO cringe but moirails is a great way to describe them #thank you gaydelgad for pointing that out to me!#tho im sure vaccelation is involved

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violet-embers · 1 year ago

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The first time I saw a trans woman was in porn. I was pretty young then, in early middle school I think. My first thoughts about trans women only existed in a sexual context, since that was the only place I saw us mentioned

The next time I saw trans people mentioned was a TV show presumably about trans people and transitioning. I didn't watch it, only saw the description because even as a kid I had already internalized the idea that it was taboo and I would get in trouble if my parents walked in and I was watching it

Eventually I saw enough TV and cop shows to see an episode with the dead trans hooker trope. It further reinforced the building idea that trans women were something else, separate from "normal" people and always on the outskirts of society

And then Caitlyn Jenner came out. At my Catholic middle school there were few kind things said about her and plenty of nasty comments, but this was the first time I saw trans people being publicly talked about

In high school my views on trans people started to fracture. On one hand, I was being pushed the idea that gender was about what's in your pants, that if you've got a dick your a man and there's nothing that can be done about it. On the other hand, early high school me had stumbled across some gender change erotica and quickly became obsessed with it. While it wasn't great representation, it was still pretty positive about transitioning. The people in those stories were always happier afterwards

I struggled to reconcile what parts of society were saying about trans people with my daydreaming about what I'd do if I woke up the next morning as a girl. Eventually I decided that it was just a fetish. I just thought it was hot, there was no way I could be trans because I was just a normal person. I wasn't weird or a spectacle for others to gawk at, I was just a person

Around that time I also met a trans person in passing for the first time. One of the trans guys at my high school was in one of the musicals that I went to because some of my friends were also in them. When I was talking to my friends about it after someone mentioned the trans guy and that he was trans. I wasn't really sure what to think so I kinda just didn't think about it. Thinking back, there were a few trans guys at my high school but I don't think there was a single out trans woman

Eventually in college I actually met some trans and nonbinary people. In some classes we introduced ourselves on the first day with names and pronouns which was my first exposure to people using pronouns other than just he/him and she/her. I had a few classes with trans and nonbinary people, including a survey of transgender studies class I took in my last semester. I had plenty of excuses for why I was taking it (I needed a few more credits to graduate. It still had room open. It fit with my other classes. It seemed interesting. I'm trying to be a good ally.)

Around this time as well I found some trans creators online like ContraPoints and Philosophy Tube (whom I had watched before she came out as trans). I was weirdly excited and interested when Odyssey Eurobeat came out as trans and I went to go listen to some of her music right after I heard. I was starting to have examples of trans people just being people. Not just porn stars or public spectacles, but people

Later I met and befriended a few trans women, one of whom was extremely open about her transness and happened to share a video which started the initial steps of my egg cracking and figuring out who I am now

If I had actually known any trans women, if the world had been kinder to trans people, if representation of trans women as people existed and was well known, I might have been able to realize who I was sooner. I would have been able to exist as myself for more than a tiny fragment of my life so far

Representation matters, both in media and in daily life. Trans people being out and open about who they are made it possible for me to realize that about myself. Please never stop being who you are

#violet's rambles #trans #transgender #transfem #nonbinary #okay to reblog

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sabertoothwalrus · 15 days ago

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any art tips about writing funny scenarios? i feel like i understand drawing but ive been in a total writing rut, especially when it comes to comedy :/

I think the main thing to consider is What Is The Punchline.

Something I see often in beginner joke-writing is having too much after the punchline. You don't need to have character A dunk on character B, and then have characters C, D, & E all reacting to it. UNLESS the reaction is the punchline. Remember how funny vines were? A lot of that came from them being only 6 seconds, and often cut off at the end. The Abruptness can absolutely add to the timing.

The other main thing is that comedy = contrast. Yesterday was April Fool's Day, and something I was seeing a lot of people do (myself included) was make some kind of "announcement", and then say some variation of "haha sike!" The thing is, this only works if your audience could have realistically expected you to make that kind of announcement in the first place. If an artist who has been staunchly and vocally against AI art posts an AI image, then... that's not really a joke? Your followers will be confused, not only because you're acting out-of-character about an issue that's politically charged, but also because you're still using AI art.

My own version of this joke was to redraw an old comic, which is something I love doing! I love revisiting old media I used to like, and I love redrawing art to track my improvement. My followers (hopefully) know this about me. The twist was that the comic I redrew was voltron, specifically klance, because I have the experience to know this would give a lot of people a lot of whiplash. Even after almost 9 years, just simply seeing the characters was enough to send people careening into a weird spiral of nostalgia and fear for my sanity, because of how controversial the show and its fanbase had become. But since most of the controversy was because of extremely-online drama, it was ultimately harmless (and people that are genuinely still into the show got some new art for it teehee!) I'm going to use a recent comic I did as a another example.

^ this is a comic about Ace Attorney, but honestly you don't really need to know anything about Ace Attorney except that "7yg" is a shorthand the fandom used for "7 year gap".

Panel 1: Setting the expectation. it's during the pandemic, so it's normal for people to have hand sanitizer on them. A precedence has been established.

Panel 2: Additional Context. Phoenix rummages through his pockets, which tells the audience he has a lot of stuff in them, and that he's identifying objects more by touch than by sight.

Panel 3: Anticipation

Panel 4: The punchline! Oops, it was lube! Small bottles of lube DO look & feel very similar to bottles of hand sanitizer, but people-- especially during a global pandemic-- do not typically carry small bottles of lube on them. Personally, I think Phoenix Wright could be the kind of person to have lube on him (for any number of sexual or non-sexual reasons), but the audience doesn't necessarily need to know that about him. Part of the joke is the nonchalance in his reaction; all you need to know is that Phoenix himself is not that surprised or embarrassed about having lube with him, or about having just dispensed some of it into his friend's hands.

Comedy is hard to explain!! It's also not very funny to explain. It really takes a lot of practice, and everyone has different tastes in humor/context/expectations anyway, so you're never going to make everyone laugh. Knowing your audience will definitely help.

#art help

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blasphemousclaw · 1 year ago

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WHO IS THIS SAULTRY LITTLE BINCH

ok this is my extremely unpolished breakdown of MESSMER THE IMPALER from the shadow of the erdtree trailer

The first thing that stands out about this dude is that he’s wearing EVERY possible symbol of treason against the Erdtree: SNAKES and FLAME

Messmer has snakes on his sigil, helm, and 2 snake friends who have dragon wings. Volcano Manor is known for its statues of winged serpents, but the wings are feathered, not dragonlike. these snakes are bright red-orange and are very unlike the Great Serpent we all know and love, who has a heavier build and is blue-grey in color.

Regarding snakes as symbolism, the Duelist Helm description reads,

“Bronze helm decorated with innumerable snakes. Worn by gladiators who were driven from the colosseum. The wearer becomes a slightly easier target for foes. The snake is viewed as a traitor to the Erdtree, and the audience delighted in seeing these bronze effigies beaten and battered.”

We can bet that whoever is associating themselves with snakes is a confirmed Erdtree hater (Rykard, hello!!!) or perhaps, this dude could even be part of the reason why snakes are considered traitorous in the first place?

In addition to us seeing Messmer wield fire, this line from the trailer (which I think is spoken about Messmer but not by Messmer) implies that he’s known for his fire: “Those stripped of the Grace of Gold shall all meet death. In the embrace of Messmer’s flame.”

It’s well known that flame is in many ways a taboo power; particularly the flame of the Fell God, which has the power to burn the Erdtree (the cardinal sin). Messmer’s fire is weird, in some ways it reminds me of the Rune of Death since it starts out black and turns red, but it’s also far too orange to simply be the Rune of Death’s power.

There’s also this description of the DLC: “The Land of Shadow. A place obscured by the Erdtree. Where the goddess Marika first set foot. A land purged in an unsung battle. Set ablaze by Messmer’s flame.”

I’d guess that the Land of Shadow was the place of Marika’s first conquest, and perhaps Messmer either aided her in razing it or that’s just something he did later?

so WHO is this dude????

for starters, his name is Messmer the Impaler — M like Marika! Melina, Malenia, Miquella, Mogh, and Morgott. seems to be a pattern...

He says in the trailer, “Mother, wouldst thou truly Lordship sanction, in one so bereft of light?”

Whoever Messmer’s mother is, she is in a position to “sanction lordship” meaning to give official permission for a lordship to take place. that screams Marika — she is THE goddess, and is responsible for guiding Tarnished to becoming Elden Lord. I can’t think of anyone else who might be called Mother who is in such a position as to allow someone to ascend to the position of Lord. He's also sitting in the same type of throne that the demigods sat in that we see in Morgott's cutscene.

theres 2 ways to interpret this line:

Messmer could referring to himself when he says this; as if he’s saying, would my mother truly allow me to become Lord even though I’m so dark and edgy?? in a kind of sarcastic way. the flames he produces start out black, and he’s covered himself symbols treasonous to the Erdtree. OR, he’s referring to us, the Tarnished, when he says this; as if he’s saying, would you really let a person with such little light inside them become lord, mother?? (rude!) I’d say we need more context to determine exactly what he means

ALSO, interestingly, his left eye is sealed shut… you know who else has their left eye sealed shut? THAT’S RIGHT… OUR FRIENDS MELINA AND RANNI

The scarseal and soreseal items of Marika and Radagon are also carved into eyeballs… could eye trauma be an empyrean trait?? could Messmer also be an empyrean, one who the current demigods didn’t know the existence of???

with all that being said, I really doubt that this guy is Rykard or Rykard’s child as I’ve seen some people speculate… these other clues in the trailer point towards him being another, separate demigod. so what do we make of all the similar imagery?? I think that Messmer might be working against the Erdtree toward his own ends, and he’s embracing similar powers that Rykard did when he turned traitor.

who is he then? I think he’s a demigod child of Marika, and possibly of Radagon because of the hair (unless his hair color comes elsewhere? a curse?). I think he got banished to the shadow realm for treason reasons, given the heretical symbols. perhaps he was an empyrean with his own agenda who was disposed of by Marika, like the Gloam Eyed Queen? perhaps he has ambitions to return to the real world and become Lord, destroying the Tarnished who might take his throne?

I did this instead of sleeping I hope you’re all happy

#elden ring #elden ring dlc #shadow of the erdtree #messmer the impaler #messmer #elden ring lore #ok now ive got that out of my system i can go about my day

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