#worst by chance

[boydswan]

柄本 佑 || 偶然にも最悪な少年 (2003)

[soyochii]

Quick doodles before I evaporate.

[cptn-sulu]

i genuinely don’t think most of y’all realize how “i hate humanity, we’re inherently evil and irredeemable” is 1) some puritan bullshit and 2) actively damaging to literally any activism you partake in

[winchestergifs]

STACKEDNATURAL ⇉ 182.5/327 (part 5)

7.13 The Slice Girls Written by Eugenie Ross-Leming & Brad Buckner Directed by Jerry Wanek Original Air Date: February 3, 2012

[deathofherreputation]

I'm sorry but the way people are acting like Taylor cancelled because of a little rain or something and purposefully told all her fans to fuck off is just so baffling to me. There was a threat of a literal terrorist attack???? HELLO??? She and her band and dancers were also victims and could have been seriously hurt if it hadn't been discovered in time. What happened in Vienna was truly terrible and I am so truly sorry swifties going that weekend didn't get their shows and I understand how gut-wrenching that must feel. But it's not as simple as her just making a little statement on Instagram. If you're hearing radio silence from everyone on her team — Taylor, her dancers, her band, Paramore — there is very likely a good reason for that. Chances are she's been advised not to say anything to prevent the risk of copycat attacks. She doesn't need to log on and perform her emotions for you on social media to prove that they exist.

[seance]

EDWIN and CHARLES in THE CASE OF THE VERY LONG STAIRWAY

[1296-very-good-year]

Here are a few characters that Vi never spoke to ONCE all season:

Ekko

Sevika

The chembarons

ANYONE from Zaun except that one guy Cait wanted to beat. Hell, she doesn't even speak to ISHA

I wonder why that is?

(Cuz the writers would have had to write more dialogue for her justifying joining Cait as a chemical weapon wielding enforcer lmao)

No instead she ONLY talks to Beasty Vander (who can't really speak), Viktor (only about Vander), Jinx, Caitlyn, Ambessa once, and a couple of nobody enforcers. All season. She doesn't speak to Jayce. She doesn't speak to Mel. Even in scenes they share.

That's our main character everyone!!

[nocek]

they unionized 😱

(bigger version of first panel without speech bubbles is here as a treat ;)

[l3irdl3rain]

My coworker for the afternoon. I told him not to but he just scheduled 6 more appointments for this afternoon. All chickens.

[lilblucat]

Right person, wrong time.

Lifted off one of my fics.

[kendyroy]

i really wanna see worstie logan interact with logan from x1-x3. i see worstie absolutely destroying the baby cuz his insults are ten times harsher and he’s legally allowed to say the f word more than once.

like i think he’d find the younger logan pretty annoying and see right through his little bad boy act. not saying that worstie is any more mature or cool but he’s definitely been through a lot more and i’d love to see him react to the sassy “young” version of himself

[shorthaltsjester]

love (loath) this version of ‘empathy’ for characters that exists in fandoms that somehow means taking any articulation of the fact that x character is given responsibility and context by the story and that their poor choices lead to poor outcomes is actually a slight against the character (and implicitly somehow whatever oppressed group which they belong to or are alleged to belong to by sections of fandom)

to be clear this is something i’ve noticed in several fandoms which is why the beginning of this is general language but the pertinent example to my current frustration is liliana temult and the defence of her that lays on a claim that those who enjoy the narrative showing her poor actions leading to poor outcomes for her have somehow failed the empathy test is beyond incomprehensible to me. like even ignoring the very basic level understanding that fiction is a place to experience satisfaction in narratives that we cannot fulfil in non-narrative reality, it’s also like… holy fuck do I not want the kind of empathy that tells me it will all work out no matter what choice I make. it is actually imperative to human life that the choices we make have substance in the outcomes we arrive in, otherwise we would’ve long given up on the notion of free will. and to look at a narrative, particularly one built in the context of a ttrpg. a game notably influenced by the choices that players-as-characters make. and then see sections of an audience find it compelling and enjoyable that a character who has made categorically poor choices that have caused immeasurable harm to others is now dealing with the very obvious face-eating panthers consequences… idk man. if you see that as a lack of empathy i implore you to consider what role empathy is playing in your world.

like. if empathy to you is about comfort and stagnancy and not about growth and community, then sure i can understand how it might not be empathetic in your view to notice patterns and see their obvious outcome and acknowledge that . but as someone who has been in the position of making horrible choices with obvious outcomes, far more essential to my personhood was those who looked at me with careful but critical eyes than those who nearly babyed me into my grave. that’s actually why i love imogen’s choice to insist that liliana make her own choice and then quasi-encouraging her to stay, because it was a clear reminded to liliana that her choices have consequences, and one of those is that the terrible things she’s down in the name of her daughter have led to that daughter not being able to easily trust her.

and i think another thing that’s related that gets misconstrued with liliana (and as always unfortunately many such cases) is that the satisfaction of seeing her absorbed isn’t that it’s retributive harm done or some sort of punishment (at least not for me, skill issue if people in your fandom spaces are that cop-minded but, yknow, what can you expect from the thought-crimes capital of fandom spaces). the satisfaction is in the analogue (that i’ve seen well memed) to the face-eating panthers joke that liliana’s actions which have pushed an agenda that’s depended on the consumption and threat to her child and the children she specifically has aided in placing in danger via her choices, has led to situations where a) she’s ‘burdened’ by her care for imogen and the children (both of which she has played a hand in inviting into the context of danger) b) she is now the person in danger of being consumed after spending weeks simply shrugging off concerns about what might be consumed in the name of ludinus’ Just World™. like it’s not just ‘liliana does bad things, must be punished’ it’s ‘liliana has played a hand in creating a situation that is threatening to many including herself, it is narratively satisfying and engages in Common Narrative Tool: Irony to have that create situation negatively impact her directly.’

to that end that’s why the ‘if you’re like this about liliana you should also be like this about essek’ takes are beyond missing the point (without getting into the horribly built scarecrow that it is, understand that it’s actually undermining decades of feminist’s philosophical and political development to see a critique of a female character and go ‘well actually if she were a man you wouldn’t be saying that’ when it’s a provable fact that people Would be (and have been) saying that if she were a man. so not the feminist slay you think it is). like, as someone who Was just as interested in essek’s story having consequences as I am in liliana’s, there very much WERE consequences for essek that, just like liliana, were well contextualized and suited to the specific choices he made. they are ones that should be obvious even to the most surface read of the campaigns given that essek still appears in disguise years after the end of c2, should also probably be obvious in the rebuilding of relationships essek had to do with mn after they discovered his betrayal. like the notable difference between liliana and essek is not their gender, it’s that we’ve seen the end of essek’s story (in the sense of like. campaign containment, obviously his Story™ is ongoing) and have yet to see liliana’s— it’s entirely possible that liliana does get saved and goes on to repair her relationship with imogen (or goes on and is unable to repair it) or she just dies and part of imogen’s story is dealing with it; all of those are narratively satisfying. what wouldn’t have been satisfying, in the sense that would leave liliana feeling like a non-agent in a story dependent on her agency, is if her role was entirely dictated by imogen’s interest in reconciliation. because sure if you want to look very microscopically the current threat to liliana that exists is 1-to-1 caused by the fact that she’s been helping imogen, but taking seriously the story, the consequences bloom from all the choices that liliana has made leading to ludinus’ decision to trust her however far he does that made liliana’s choice a betrayal and affirmed ludinus’ strength and position so that he can do something like siphon someone’s life force away.

further the ‘why does liliana deserve to be funnelled and relvin gets off easy’ relvin doesn’t get off easy. once again the satisfaction of his narrative is that he did his best and it was insufficient and that cost him a relationship with imogen they both clearly wish for but neither can rectify. the consequence for relvin is that he’s in an empty house that is no longer home to the woman he loved or the daughter he was left to raise alone. surely i don’t need to unpack why i think someone who tried but wasn’t well equipped to raise a daughter with superpowers doesn’t need to evoke as ‘drastic’ consequences in their story as the stated right hand of the campaign’s bbeg for their story to feel complete.

and idk at least for me that’s the salient point; that the consequences that are happening feel like a plausible and suitable conclusion to the story we’ve seen of liliana even if she perishes at ludinus’ hand. it will be sad but it’ll be satisfying, and maybe i should have realized seeing the frequency with which parts of fandom have been campaigning to undo maybe the most weighty and narratively satisfying choices & consequence of vox machina’s story, but it’s truly confounding to me the amount of people treating the presence of any complex and non-traditional happy ending notion in a story set in a world defined by pyrrhic victories. like, empathy for vax isn’t saying he’s the puppet of a god that manipulated him into service, it’s acknowledging that he made a choice that he knew would have consequences and acknowledging that the consequences he demanded with that choice were pretty severe ones. that doesn’t mean i’m watching the end of cr1 seeing the characters destroyed by the loss of vax being like ‘dumbasses, they knew this was coming, vax chose this, these are his consequences’ it means that when i’m crying watching the end of cr1 it’s paired with my deep love for a story that takes seriously the weight of the character’s choices in the determination of their lives. idk man. maybe interrogate how much of your notion of empathy is dependent on individualism to the point of near complete alienation and get back to me on how empathetic it is to look at someone who has caused unarguable pain with their choices and say ‘no no it’s fine you didn’t mean to + you’re a woman :/‘ while the victims of those choices rot in their graves

[cable-salamdr]

Does it ever kill you that it wasn’t even Arin who ended up solving the whole mystery. Like that was the whole reason he even agreed to go to the tournament— he would be able to do something and something useful for once, but in the end that task was taken up by someone else again.

[mahi-does-some-art]

What if, instead of the Sorcerers' Society being just a small organization with a headquarters, it was instead a hidden city or capital where not only could sorcerers go to for assistance and to get their licenses, but could safely live and learn without having to put so much effort into hiding their magic from general human public? (Something similar to Witch Hat Atelier perhaps)

A hidden away capital with houses and apartments and magical shops selling everything a sorcerer would ever need. Where they can safely converse on the street and network and apprentices can talk to each other and swap tales of their lessons and masters.

Out in the expanse of the human world, it's hard to come by each other so having a place to live like that would be great.

But also it would make Solomon getting chased out by a dragon so much funnier (or sadder) since he and the mystery apprentice would have been the ones to found the Sorcerers' Society in the first place.

He would probably own his own house there and come back there whenever there was a meeting he had to attend or some urgent matter to discuss. Solomon wouldn't stay there longer than he usually had to and his property is usually empty.

But when sorcerers usually take in an apprentice, that apprentice lives with their master in order to make the most of learning opportunities and a lot of them tend to move back to the Sorcerers' Society for convenience.

If Solomon was able to convince MC to live with him for "educational purposes" completely separate from the brothers and Devildom, who's to say he wouldn't give living amongst his peers an honest try once more?

[allyriadayne]

okay most employed people in westeros pre agot

tyland: went from westerlands bureaucrat to master of ships to lord treasurer to getting tortured to hand of a boy king #goals

elaena: first ever pensioner in the history of the iron throne. ran the master of coin office like the navy AND got a boytoy out of it.

aegor: single-handedly created the most successful mercenary company in essos and was probably the architect of the blackfyre rebellions after daemon died (flop).

larys: only person to ever enjoy being a little office guy. loves his job as head torturer so much he doesn't even care they are probably not paying him.

[trashcompactorsewerrat]

Save me funny man