#yes I am still bitter about it

[xosnsd]

I’m still bitter that they didn’t think it was important enough for Jinx and Caitlyn to have a one on one conversation with each other and then have them fight it out.

Does Jinx know one of the councilors was Caitlyn’s mother? Are we suppose too assume she finds out during the time jump, off-screen? Is that not important enough address to ON-SCREEN????

Why establish this entire arc for Caitlyn that starts with Jinx, but you don’t see the importance of them interacting?

I know Jinx is a genius and in the game she gets away from being caught by Vi and Caitlyn numerous times, but isn’t Caitlyn supposed to have these super, amazing detective skills? That’s one of her defining traits in the lore.

I find it hard to believe that not once could she locate Jinx in the span of those months.

Also, Vi and Jinx don’t even speak about Caitlyn at all. Sometimes the writing for both of the sisters gives the impression that they don’t even remember what happened in season 1.

Yes, I know she chose “Jinx” and accepted that they both changed, but she went from being very obsessive to acting like Caitlyn doesn’t even exist really quickly. What happened to her very severe abandonment issues?

[unpretty]

why have they not posted the wondercon 2025 schedule yet, how am i supposed to get my hopes up for panels that will disappoint me

[jade-of-mourning]

would their music sound like mcr, paramore, deftones, slipknot, or evanescene? we may never know…

(og caption lol: ah it's a redraw of the a-band i drew some time back except i this time committed to the shiggy-hand-fries bit

lately i've been telling myself that cringe is dead a lot. idk how they got a chokehold on my brain again because allowing bnha to reclaim any space in my brain ever was not on my bingo card of life actually. but it happened)

check out the fries also i literally just realized i failed to draw the frets and all texture ummmmmmm anyway

[nymphoutofwater]

Netflix just had the audacity to recommend Julie and the phantoms to me as “new and hot”. Bestie. It is not new and if it’s so hot then why didn’t you approve a second season??

[nostalgic-soda]

Spike Chunsoft and Kazutaka Kodaka went and made the entire ending of the third Danganronpa game about how much they want Danganronpa to end and then every new game they make is just Danganronpa in a trenchcoat except one time they had a Pokémon character designer on board

[littleshysheep-at-da]

Okay so like… there’s a KumoDesu App Game coming out, Master of the Labyrinth, and… anyone else feel… iffy? About it? Like… I don’t think I trust any Adaptions of KumoDesu anymore… they just… take odd directions…

[ctrl-lupin]

Here we go agaaaaaaain

[immobiliter]

VEILGUARD ARCS: VARRIC

ALL of this is going under a cut because it includes big spoilers for the endgame, so click at your own risk !

okay so for those who didn't read my angry, rant-y thoughts after finishing the game ( here, and even after two weeks i stand by them, i'm still not a huge fan of the end part of the game ), when it comes to varric and veilguard i want to keep the essence of what bioware intended — namely that varric's death remains intact and, outside of very specific plotted threads/verses, i do not intend to really write varric as being still alive post-veilguard — however, i have big, big issues with how it was executed in the game and will be changing that as i see fit.

after much consideration, i've decided to give varric two veilguard arcs for the most flexibility in terms of interactions, because bioware making him dead from the start severely limits me as far as interactions go during veilguard lmao. the first is this one, which is the easier one to figure out, where varric does survive the ritual ( as most of us believed at the time ) and then dies later on in the lighthouse during the course of the game ( the specifics of which can be plotted with the relevant writing partner/muse, as well as the impact that this has on solas' plans to use rook's regret over varric's death to escape his prison which??? i still don't understand how this was ever actually meant to make sense but y'know. whatever. the point is, nothing is fixed aside from the fact that varric dies from the effects of solas' lyrium dagger at some point before the endgame ). this allows at least some interaction between varric and the companions during the veilguard timeline while still allowing his death to have the impact in the narrative that it does

the second is one that is more canon compliant in the sense that varric did perish at the ritual site and has been dead all along, but that this isn't something that rook only discovers at the very end of the game ( since i feel like that's an insult to rook's grief, to all of the companions and faction leaders who purport to care about them, an insult to varric's own impact on so many other characters aside from rook and solas and an insult to solas that he thought he could keep up the illusion for that long, blood magic or no ). again, this is not fixed and i am open to plotting depending on the partner and muse in question, but i do think the revelation regarding varric's death should come no later than late act 2, pre-endgame mission. varric has had too much of an impact on too many other characters in this game series for rook's illusion to reasonably hold after that point imo, especially as rook is supposed to have a support network of companions around them that would have been witness to their denial and grief for weeks, if not months, by then.

i am also toying with a veilguard arc for varric based on a lot of fan speculation prior to the game's release that would yeet varric into the second fade prison alongside solas so it's the two of them advising rook during the game ( and... honestly? at this point i would have preferred that for varric than what we got ). he's still dying though, apologies but i am still here to inflict varric-related grief on everyone :))

[gabichanwrites]

Imagine you have a character, a broken, vicious man who bites and spits venom even at a person he loves the most, who pushes the buttons of his love just because this toxic familiarity is all he knows, just because it's all he feels safe doing. And then his love finds another person who brings out such a different part of them, a part this character never could or maybe just long forgot how to do. He drowns in jealousy, in his bitternes, he hurts his love, he hurts his love's beloved, their crew... And finally gets what he wanted. Finally has his Blackbeard back, finally can forget about the part of Ed he can no longer reach... But suddenly Blackbeard is unpredictable even to this character.

And suddenly everything changes as he slips and can no longer even enjoy the familiar toxicity because he saw something better and kinder and selfishly wishes for it too, despite it all. And suddenly he understands people around him, people who never saw the evil in Edward, and suddenly he realizes it's his fault. All of it, just a part of it - doesn't matter. He caused this and nobody is happy, not even him.

And then, despite everything, others start to care for him. They tell him "We think you're in a toxic relationship" as if they didn't know it was him who brought Blackbeard back and they hug him tight as if he wasn't the once to sentence them to this horror and they hold his hand when he panics. They experience kindness and hope in a miserable place, maybe a glimpse of what made Blackbeard so soft for a moment there. And when everything falls apart, when he takes the final tumble in this horrible dance he has with Blackbeard, somebody is there to hold him up. Somebody is there to criticize his drinking and make him a new leg and call him their unicorn. The character is "their bastard", he is part of them. He is part of something kind and accepting and he shyly embraces the new familarity-that-might-be, even when he still insults and retreats and bottles stuff up because maybe if he seems fine he can help others, maybe in the end he can be loved in a way as kind as theirs. Maybe he can have a family.

So once they are again in danger he takes the chance and speaks boldly and captures the ominous attention of the enemy. He takes a risk for them. He takes a bullet for it. He rests in the arms of his love and tells him he's sorry even when he could never accept the other's apology. He never gets the chance to try more and forgive more and try to be forgiven more. He can only ever serve as a tool for another character, can never evolve to existing on his own, to healing on his own.

You are Izzy Hands. You are drowning in your mistakes and the toxic familiarity you're too afraid to get out of. And once you dare to try...

The show would rather have you die than give you a chance at healing and happiness.

Your death doesn't prove a point and it doesn't mean anything. It's just cruel.

[batfam-stuff-posts-0]

Bruce: How did you find me?

Jason: Oh, it was easy, really. I just listened to the sound of complete and utter betrayal and followed that.

[lesbiansluffy]

our flag means death got cancelled well that's the stucky karma babey

[sunshinechay]

15 Day BL Challenge!

Day 5: Biggest Flop

Original Post found here

Honestly it was both very hard and extremely easy to pick for today. I am notoriously easy on bls and often end up indifferent to bad ones rather than hating them, though not always. Because I end up indifferent I also don’t often end up actively disappointed with a bl at the end, usually just a shrug and I move on to something i enjoyed more. That being said, there is one bl that I could think of that easily fit this category for me in terms of my own personal standards and the standards of a good bl in general

For Him The Series

I cannot say I went into it with high expectations (I mean I don’t go into any bl with high expectations but I digress). I went in expecting a Thai bl pulp and I certainly got it, but it was not good pulp. I can’t even really place it in the so bad it good category like I can with like Unforgotten Night (which was made by the same company, which I side eye heavily forever).

It was just kind of bad. It had a bad script and bad editing. The acting was the only highlight for me with Dew and Tor being good to watch, especially Tor as he played two different people.

It was ultimately extremely forgettable and not very good. But that’s not why I picked it. I picked it for today for my own personal gripe with it. I made a post about it when it aired but I am still bitter about how much what I think is a good and unique (even if it shouldn’t be) message that it was putting out, whether the creators intended for it to be there or not. I absolutely love the shows message about mental health and getting help when you need it. Him struggles with his mental health in the wake of Blue’s death. It is something that he has already sought out help for though he continues to struggle with it. His friends and family keep checking in because they fear what might happen. It’s the whole reason his friends are worried about why Him started dating Nail in the first place, though their worries are ultimately put down when it becomes clear that Him wants to be with Nail because he is Nail, not because he looks like Blue. Him even ends up going back to therapy at the end, because of the events of the show. It’s a good message to be putting out there. However, this message is so bogged down and hidden behind convoluted plots and scenes that don’t matter and it makes me want to yell and curse very loudly.

Thanks I hate it.

[agnisleftpec]

the fun thing about being a nonshipper who's forcibly desensitized themself to romance so they can actually survive in fandom spaces is i am truly free. nothing can stop me. evryone is dating everyone and no one at once. and i get so much gorgeous art and fanfic

[sskk-manifesto]

\\

[wonder-worker]

The advent of English-born queens* challenged traditional power dynamics because their families, if they had them, were always present and always interested in English politics. A queen's natal family was an important part of her identity as a woman, a queen, and a mother to the king's heirs, and thus impacted upon the king's own identity. When these families were English, kings needed to learn to manage and reward them in order to strengthen their own kingship and to restrict the potential of their new relatives to destabilize the political community. But families also provided important networks of support and shared interest.

— J.L. Laynesmith, The Last Medieval Queens: English Queenship 1445-1503

*This began in 1464 with Elizabeth Woodville, who was the first post-Norman Englishwoman to be crowned queen. However, this did not represent a permanent "break" in the selection of queens, as foreign queens remained the default and ideal choice for almost all English kings (including Edward IV before his controversial marriage to Elizabeth).

[paparoach]

i have read so many less books this year than i did previous years and it sucks not going to lie.