#who rolls i need to know

[muncedes]

besties🥹

[poorly-drawn-mdzs]

...Turns out gay sex actually was the solution.

(This is basically a redraw, come read the real deal over at Tiger Tiger)

[lightnersdream]

i've been thinking about exactly why people portraying one of the other crew members successfully killing Jimmy as a "for what you did to Anya" kind of thing rubs me the wrong way a bit and it's because like..... this is just another form of taking agency away from Anya, in a way. it's kind of framing her as some meek, shivery woman-thing who's entirely at the mercy of the men around her, either to hurt her or save her.

(i understand these are mostly for wish fulfillment on the audience's behalf because everyone would like to see Jimmy pay for his crimes. whether or not this is the intention of the person writing it isn't really relevant, characterization happens with or without intent. i feel like it misses the point by portraying it as an 'ideal ending'.)

because... Anya is a capable person. she takes things into her own hands when she can. it was partially(?) her idea to get into the cargo,

(before he interrupts her.. remember when she interrupted Curly in the dead pixel segment?)

it was her idea to get the code scanner from the cockpit,

it was her idea to get the medication from behind the foam.

(the chance to do these things herself is not given to her.)

she'd been keeping Curly alive for months in a critical state somehow, her psych evaluations at the start are only so useless because Jimmy refuses to take it/her seriously and Curly is obviously biased when he puts it into his own hands. he's known him a long time, like he said. "I'll just put good for that one."

there's not a lot of material to work with because of how the game is framed, but it's there. we are working with two very biased perspectives and neither one lends Anya what she deserves

there's significant changes in how she speaks post- and pre- crash, and depending on who she happens to be talking to. i recommend re-reading her dialogue, because the difference is drastic

she acts the way she does around Jimmy because he has tangibly done horrible things to her, is actively hostile, and physically could not escape him by any means. she can't take away Curly's agency herself, in my eyes. you have to remember that Especially in the post-crash segments of the game, it's entirely from Jimmy's POV, and he obviously does not (and has never) thought very highly of her or treated her with a shred of respect

i've seen a general idea that she can't bear to hurt other people for any reason, but that doesn't really track to me. this is the real point of the post by the way

it seems based on the parts where she says she struggles to give Curly medication. "It just hurts him so much, I can't stand the noise." "It makes me nauseous."

it's not really the same thing as, say, hurting someone in self defense

this sounds like she did want the gun itself. this never felt worded like someone who would refuse to, at very least, threaten Jimmy with a gun, with violence. if she had been given the agency to make that decision on her own. she wasn't though

she still tries to reclaim some of it even as she's denied it

by the end she's still trying to keep that gun out of his hands

i think some people overly soften her, for similar reasons the game itself is trying to comment on. she's not a tender victim who couldn't cause pain to another out of the softness of her soul, she's a person who's had every last bit of agency ripped from her repeatedly until she couldn't take it anymore. that's the point. that's why framing her that way, "needing" someone to save her, is odd to me

she didn't need Curly to save her, she needed him to take responsibility

she didn't want to escalate things, but she's not an idiot. self defense was absolutely on her mind

but who knows im just saying shit *smiles serenely*

[razberrypuck]

btw it is 100% possible that troy grew up surrounded by robot servants and the only Human Being he really interacted with was his father. in stories like troy's, the rich kid usually has like a nanny that's more of a parental figure than their absentee parents, but it is COMPLETELY possible that troy was raised in a lifeless house by machines of his father's design. made to take care of his every waking need, sure, but only so mister lougferd didn't have to. anyway.

[artandbrimstone]

First things first 

!!!! Riptide 115 spoilers !!!!!

And if im wrong about anything i am sorry :( also this might be nothing but i need to say this somewhere

Chip and his lack of control over his own fate is so interesting to me. The guy who tells gillion tidestrider “I didn’t believe in destiny before i met you” is somehow, out of the three of them, the one who is seemingly following a predetermined path set out for him. 

Gillion, whilst being the chosen one, struggles with this identity and was exiled, which may be in his destiny but was clearly not intended by the elders. 

Jay has her prophecy (type thing I know its not exactly a prophecy) but it has no clear path for her specifically to follow.

Chip, however, was destined to end up back at the hole in the sea, but barely remembers actually being there in the first place, and yet when he does return to the black sea, there is a message from Rose from a decade prior knowing not only that he would return, but that he would be there looking for them after their disappearance. (i dont have the brainpower to go into how insane that message makes me so just know i think about it at least once a day). Even chips search for arlin, which was originally his own, was used against him and taken advantage of by Niklaus (with whatever the fuck he is planning im not smart enough to figure that out im just insane) making what was originally a goal into an “incessant urge to not only find the other members but also do what you [chip] were told and return to the hole in the sea”.

Not only that, there is also the compass, which is further twisting and intensifying chips desire to find arlin and return to the hole in the sea (niklaus also told chip to stop using the compass but yknow) so not even his desires, his main motivations that have led him to where he is now, arent truly his own. ( interestingly despite rose knowing he would go back to the black sea, still urges him to leave behind the legacy of the black rose pirates and do something greater) 

Even his death he had no part in, no crucial mistake, nothing he could have done differently to avoid it, he was simply chosen and made an example of for the sake of making a point of how fucked they were against captain widow, yet again a pawn in something he had no control over.

And then, when they do finally reach the hole in the sea, chip is led by the compass (THE FUCKIGN COMPASSSSS) and (im getting into insane territory here) has strange parallels to captain rose. He is separated from his crew (namely the only other black rose pirate, drey), made a deal with niklaus regarding the hole in the sea has the hole in his chest (idc if its not there in canon its there to me) however what is he met with? “Welcome home”. Now what does that mean? I dont fuckign know but it makes me very insane and this is long enough already so i hope you enjoyed my incoherent chip just roll with it ramble :D

[starreyblueberry]

Every day is a day without new canon timmy turner content and everyday I repent

[natjennie]

I love that no matter how many fucking times alison gestures to exactly where the ghosts are mike will still look up in the air for them. the fact that he makes an attempt to interact directly with them instead of just always looking to alison is so charming. but also adhd king.

[toastcryptid]

Continuation of this

[poorly-drawn-mdzs]

Normal boy spotted.

[First] Prev <–-> Next

[ljubitelj-sonca]

From the guy that brought you girlfriends in skirts, let me introduce …

Wives in dresses! On todays episode: Guitar Wife

Once again based off of @eurovisijan ’s idea

(Ref and a photo of Jan I don’t have the source for anymore)

Slightly sluttier version:

[thelaurenshippen]

ah yes, the sweet sting of rejection from a billion dollar corporation who believes that "action stories don't appeal to romance audiences", welcome back my old familiar friend

[caligvlasaqvarivm]

Okay challenge mode. You are a therapist and Eridan Ampora from Homestuck has just walked right out of his intro page into your office. How do you fix him?

put him and karkat in a room with a pile of stuff and tell them they can't leave until they've jumped into it and talked about their feelings

[shotsofsalvation]

the best type of idkparx crumbs

[chaoticandsleepdeprived]

So if we use the formula established in previous episodes of having every other episode ends with a specific song

Episode 1- Season of the witch

Episode 3- Heads will roll

Episode 5- You should see me in a crown

If they keep the pattern up, what song could episode 7 possibly end with?

( I think the episode will end with some reveal about Rio, since it doesn’t really make sense to put it in episode 8, because that takes away the week of theorizing before the final two episodes. So some song related to that probably)

[madderruz]

more doodles

[anghraine]

I don't know if it's true for most (or any) others in fandom, but I've been thinking about how, despite being a nitpicky and opinionated person, the difficulty of accepting an obviously improbable AU fic premise often depends more on the framing than on the actual premise.

I mean, yeah, there are some premises that are so hard to buy for the characters or relationships that I can't wrap my brain around them enough to read or write the fic. But I've read and written plenty of AUs with premises I don't really find all that believable, and enjoyed them. What makes them typically work for me is a framing something like this:

Okay y'all, I know the premise of this one is out there, and there's a character who likely wouldn't actually do [Thing], but they have to for the story to happen and I tried to keep everyone in character otherwise! If you can't accept [Thing], that's fine, but then this fic probably isn't for you.

me, fairly often: hmm, intriguing situation for this particular cast to deal with! Let's see how it goes; it might be really interesting if it's done well.

There are different ways this can work more or less successfully for me personally (it can help if the break in plausibility is confined to a fairly minor figure to the fic/canon—but I have loved a few fics where my own blorbo is a main character in the fic and is the one who does something I find pretty wildly OOC to precipitate the plot). In general, though, "[Thing] wouldn't really happen but had to for the fic to exist" is something I can roll with as the price of entry. Sometimes it's an interesting challenge, even, to read or write something based on a concept that fundamentally beggars belief and think, "okay but if somehow it did happen, what could I believe of these particular characters?"

Basically, these AU scenarios exist in order to throw one or more characters into a specific situation that might well be vanishingly unlikely or impossible, and the fun is imagining what the cast might then do/think/evolve towards in this unfamiliar, improbable circumstance. Yes, there can come a point where I'm so puzzled or affronted by what's demanded for the proposed situation that I nope out immediately. But I can follow AU premises a fairly considerable ways before I hit that point.

On the other hand, a framing like this?

Okay y'all, I know the premise of this one might seem out there, and you might think [Character] would never, but he's just a man, after all/it's important not to stereotype women as one-dimensional ideals and let them have flaws/I actually see the character as less than perfect/etc, so that's why I made them a domestic abuser/sexual predator/murderer/whatever. It's not really out of character, just a different interpretation!

me, almost invariably: *backs away slowly*