so much happened in this whole episode but i’m still on fig infiltrating ruben’s dream, making it look like the place where his friend was murdered, and then disguising herself as kipperlilly & repeatedly saying different variants of “somebody needs to take the fall for this, and it’s not going to be me. it’s going to be you.” while adaine as the elven oracle shows up next to her. can you imagine waking up from that, the idea of a horrible truth being pinned on you by your friend to save her own skin while the personification of fate and destiny stands there, almost as a promise that this is GOING to happen to you. we don’t even know if this kid is guilty. my god.
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*gives you a gay little kiss that feels like home*
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I get why the 358/2 bonus missons exist from a gameplay perspective but from an immersion perspective i feel so bad for roxas.
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There's just something so inherently beautiful about the way Luffy loves Sanji. Because his perception of Sanji, at the end of the day, is always "he's a good person". Plain. Simple. Easy like that. "You're just like that" is what Luffy tells him. He's just, basically, a kindhearted soul. And he could quite literally list all of his qualities, but he doesn't because he doesn't need to. Why would he do that when the best description for his cook is just saying he has a good heart? The way Luffy perceives Sanji is just so beautiful to me because, while Sanji sees himself as somebody unworthy of love and easily dispensable, Luffy sees him as the representation of kindness itself. For Luffy, food is the epitome of happiness and love. Hunger means wanting something. Eating means taking something you want. And food as a concept means being full. Hunger itself is a need your body asks for, and Luffy has never been shy about it and he takes and takes and enjoys himself until he's completely full. Sanji has been hungry his whole life but has never, not even once, thought about eating out of pleasure, but only need. His job is to cook and to serve and not to eat. And Luffy sees that as the most selfless act of kindness. To create and give food to the ones who need it and want it. Sanji makes others happy, and Luffy can't understand why he keeps depriving himself of the food (happiness) he makes. He does these things out of plain, simple kindness and without expecting anything in return, and Luffy sees that. Luffy sees Sanji's heart served on a silver platter because that's what Sanji offers him every time. And Luffy doesn't want Sanji's heart or selfless acts of kindness. He wants Sanji to be kind without harming himself in the process and actually take what he wants for once (eating). Luffy doesn't get why he keeps torturing himself and giving his everything to others when he could just share it. Sanji has so much frustration and rage and pain and sadness he won't let himself feel, and Luffy is quite literally the definition of "If you need to be mean, be mean to me" (from the song 'I don't smoke' by Mitski) and "If you gave me all the anger you can't swallow I would eat it gladly for you, just don't choke" (I just thought about this thing I'm such a poet).
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Pining, pining…
Ladies, you ever gaze longingly at the wanted posters of pretty girls? One specific pretty girl? No..? Well.
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I’m playing TotK again because I don’t have TP available to me yet but can we talk about how the “Great Central Mine” is this close to the Gerudo border and how it is the only mine under central Hyrule, while there are two additional mines under Gerudo valley, both underneath the desert’s only natural water sources 🫠
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the thing about kon's relationships is that, despite how much posturing he does about being a flirt and a ladies' man, he has only ever had three (3) relationships, two of which were with adult women who groomed and preyed on him, and the third was with a closeted lesbian who mistook her gender envy as attraction to him.
(to cassie, kon is literally the boy from the posters on her bedroom wall. she sets up that crush before she ever meets him, and by the time the two of them get together, he's already got the idea that relationships = a woman gives him a box to fit into and he does his very best to stay in it so he can prove he's good enough for her. this isn't cassie's fault by any means, but like, it's no wonder they break up and both immediately seem relieved about it, yknow?)
even when other people flirt with him, like when serling tries to ask him out, he turns her down because he's not in a space where he feels like he can be in a relationship. he's not actually the horndog and total flirt he pretends he is. i would posit that he just learned "this is how teenage boys are supposed to act" from all the media and pop culture downloaded into his head. that was the only standard or cultural context he had. it's how he tried to socialize in hawaii when he went to high school, too. he didn't know how to act beyond being a tv personality.
anyways, what i'm getting at is that i will never be convinced this guy has ever actually experienced attraction to a woman. it's posturing and comp het all the way down, babey. kon-el is a demisexual gay man, and in this essay i will
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Listen, I'm sorry to the people who draw Veils in torn/bloody robes because of the whole Vake thing but you're simply wrong. Do you think Veils would Ever go out like that. Do you think it doesn't have fifteen changes of clothes ready immediately, with options depending on the day and occasion, to climb into when it comes back from killing things. Of course it does. Veils is getting home, taking a shower in the Bazaar, putting on a new perfectly clean robe with accent panels and silk trim, and then dabbing 1 (one) tasteful bloodstain on the hem of it with a claw because it's arrogant and it thinks it can get away with it. What is a Veils if it's not serving cunt. Of course it is.
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always thought this line was funny considering there’s Plenty of instances of kim calling harry his partner, and harry of course refers to kim as his partner all the time.
most of these i’d interpret as kim referring to him in a case-partner sense— i imagine that it’s a pretty common occurrence for non-partnered officers to pair up with each other on big cases considering kim mentioning that certain procedures (field autopsies, death notifications, etc) require two officers by RCM protocol.
but there’s a couple examples where it feels more… deliberate?
it intrigues me that the best example i could find of kim asserting him and harry’s partnership is from apologizing to him after the most egregious way you can fuck up your relationship to him in the game.
kim never ‘corrects’ harry anywhere else other than that convo with jean. kim seems to already be falling into viewing him and harry as official partners— only becoming self-conscious of it when suddenly faced with harry’s “actual” partner. his protest in front of jean feels like he’s correcting himself just as much as harry.
i dunno if i have any big conclusion i was trying to reach here, i just always found the line funny and even more telling when i looked up just how much he contradicts it everywhere else in-game. spongebob meme vc you likeee me don’t you lieutenant.
bonus result that doesn’t have anything to do with the rest really but i didn’t know you could tie at suzerainty and i’ve never seen this dialogue before. kim.
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Some thoughts on Asra's route...
Replaying Asra's route after having played Muriel's really hits different...
In one of the other routes Asra and Muriel appear to start a romantic relationship, and in Asra's route it's very clear that Muriel cares very deeply for Asra and dislikes the Apprentice. He mentions in one of the paid? dream scenes that he's worried about Asra and the Apprentice fading into their own world and leaving everyone else behind (again, apparently), and that he's determined to stop this from happening. His concern for Asra and initial hostility toward the Apprentice may be rooted in jealousy, not only because his oldest (and only) friend was more or less taken from him, but perhaps with romantic connotations as well.
In Book XI: Justice, Asra and Julian stage a mock trial by combat against Muriel. Though he apparently agreed to participate and is implied to have returned to the Coliseum of his own volition, presumably out of concern for Asra, who has been accused of being Julian's accomplice... he is still more or less backed into a corner and forced to play along with Asra and Julian's plan to stage a fight.
Now, to be fair to Asra, he states after everything goes wrong that it wasn't supposed to end this way, and it appeared that he was attempting to not only exonerate himself and Julian from their charges but somehow help Muriel overcome his past (he does disintegrate Muriel's chains during the fight no matter what choices you make). There was a point during this that I thought I could guess what Asra's plan was regarding Muriel's past, but being refreshed on how it actually pans out, I can't remember it now. Something about making the people of Vesuvia realize how barbaric the Coliseum was under Lucio.
The thing that stands out to me throughout this whole ordeal is that Asra knows about Muriel's trauma. He knows he was enslaved to Lucio and forced to fight and execute people in the Coliseum. He knows that Muriel is terrified of hurting other people, especially those he cares about. In Asra's route, the only person Muriel cares about is Asra, so hurting him is triggering for him. He literally is in a stupor after the board he was using as a weapon splinters off and hits Asra in the mouth, making him bleed. This is clearly meant to make the reader worried about Asra, but Muriel reacts as well, and appears hypnotized by the blood. I remember the first time I read this I thought he was going to have some crazy berserker-Hulk sort of reaction, but having read his route, it's way more tragic.
Though Muriel did seem to return to the Coliseum of his own volition, it does seem that Asra took this as a sign that he was coming to terms with his trauma. He was willing to exploit Muriel's care for him in order to save his own skin so he can be with the Apprentice. Though I recognize Asra's other toxic traits to some degree, I also have similar ones myself so they don't really stand out to me. This, however, where he more or less disregards Muriel's feelings on the matter, is actually really crushing. In Muriel's route, his whole thing is that he DOES NOT want to fight, he DOES NOT want to even spar with the Apprentice with blunt sticks out of fear of hurting them, so why would he willingly go along with this unless he was more or less in the same position Lucio put him in? Fight in the arena, or something bad will happen to Asra.
Asra knows this, and puts him through it regardless. During the whole fight, Julian's actions are written so as to make it seem like he's the one messing things up--he takes the "finishing blow" that Muriel was going to deal to Asra and gets knocked unconscious. Asra spends most of the entire time doing flashy, dramatic magic tricks that get the crowd cheering for him. After he "wins", he and the Apprentice are carried out of the Coliseum like heroes. Though Asra will try to soothe Muriel if the Apprentice so chooses right before the end, and he does look for Muriel in the crowd, he seems otherwise unbothered or unaware of the impact this may be having on his oldest friend. Which is pretty shitty.
Of course, Asra, Julian, and Muriel are all playing characters during their fight--Asra is the flashy magician, Julian is the rogueish BDSM dagger guy, and Muriel is the Scourge. Asra obviously can't show his concern even if he wanted to because he's supposed to be fighting Muriel. But putting his bro into this situation in the first place says a lot about his character. Though Julian is the one whose route is based around self-loathing because he believes he hurts everyone around him, Asra is the only one who gets what he wants out of this ordeal, and he even says so right before the chapter ends. Muriel was forced to relive his trauma and didn't get the resolution that was intended, and Julian gets KOed by a punch that literally sent him flying across the arena (though he probably enjoyed it tbh, he's a nasty little man like that lmao).
I wonder if this dynamic between Asra and Muriel was intentionally written this way in order to further amplify his tunnel vision when it comes to the Apprentice. Is this is how he acted in the past, causing Muriel to hate the Apprentice as he does and remark that he won't allow it to happen again? Maybe (probably) I'm reading too much into it, but as a survivor of abuse and trauma it rubs me the wrong way much more than Asra's obsessive, clingy nature. Of all of the reversed ends, Asra's is the one that actually scared me and kind of haunted me, because it hits a little too close to home.
These are all just thoughts that I wanted to spill out because I thought it was interesting and I wasn't sure if anyone else has talked about it before.
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Been a fan of your fics for YEARS. I was just telling my friend how despite how much I read fics I never actually love them, with some of your fics (especially TMA) as the exception. Felt the need to reread some of them and saw you reblogged some ISAT fanart. So. Any thoughts on ISAT you'd like to share?
Hope you have a wonderful day!! So happy I found your fics again!!
I avoided answering this for a while because I was trying to think of a way to cohesively and coherently vocalize my thoughts on In Stars and Time. I have given up because I don't want to hold everybody here all day and I have accepted that my thoughts are just pterodactyl screeching.
I love it so much. I have so much to say on it. It drove me bonkers for like a week straight. I have AUs. It's absolute Megbait. They're just a little Snufkin and they're having the worst experience of anybody's life. Ludonarratives my fucking beloved.
I am going to talk about the prologue.
The prologue is such a fascinating experience. You crack open the game and immediately begin checking off all of the little genre boxes: mage, warrior, researcher, you're the rogue...some little kid who's there for some reason...alright, you know the score. You're in yet another indie Earthbound RPG, these are your generic characters, let's get the ball rolling.
Except then you realize that these characters are people. You feel instantly how you've entered the game at its last dungeon, at the end of the adventure. They have their own in-jokes, histories, backgrounds, adventures. They get along well and they're obviously close, but not in a twee or unrealistic way. They have so much chemistry and spirit and life. I fell in love with them so quickly.
But Sif doesn't. Sif kind of hates them, because they will not stop saying the same damn thing. They walk the same paths, do the same things, make the same jokes, expect Sif to say the same lines. They keep referencing a Sif we do not see, with jokes we never see him make and heroic personality he never shows - they reference a Sif who is dead - and Sif can't handle that, so he kills them too.
They become only an exercise in tedious frustration. Sif button mashes through their dialogue, Sif mindlessly clicks the same dialogue options, Sif skips through the tutorial, Sif blows through the puzzles. Sif turns their world into a video game. Sif is playing a generic RPG. Sif forgets their names. They are no longer people with in-jokes, histories, backgrounds, adventures. They're the mage, the warrior, the researcher, and...some random kid.
I did not understand the Kid's presence at first. I had no idea what they contributed to the game. They didn't do anything. As a party member in a video game, they're a bit useless. Why is the Kid there?
Because Sif's life isn't a video game. Because the kid isn't 'the kid'. They're Bonnie. Bonnie, who the party loves. Why is Bonnie there? Because they love them. There is no room for Bonnie in the boring RPG that Sif is playing. And then you realize that Sif is wrong, and that they've lost something extremely important, and that they'll never escape without it.
Watching the prologue before watching ISAT gave ISAT the most unique air of dread and horror, because you crack open ISAT and you see the person Sif used to be. You realize that Sif used to be a person. Sif used to be the person who made jokes, who gave real smiles, who interacted with the world as if they are a part of it. And you know you are sitting down to watch Sif lose everything that made them a person, to lose everything that made them a member of this world, and turn them into a character in a video game who doesn't understand the point of Bonnie at all.
At the climax of the game, when the others realize that something is deeply wrong and that Sif physically cannot tell them, they realize that there is nothing they can do. So Bonnie declares snacktime. And for the first time they have snacktime.
What is snacktime? Classic JRPGs don't have snacktime. There's literally no point to a snacktime - not in a video game, and not in Sif's terrible life. It's not fixing this, because nothing can fix this. But Bonnie gives Sif a cookie and Sif eats it.
It's meaningless. It's a cutscene. It didn't save Sif and it didn't change a thing. It will make no difference in the end.
But it did make the difference. It made all of the difference in the world. Bonnie is a character who you really don't understand the point of before you realize that Bonnie was the entire point.
ISAT is about comfort media. Why do we play the same video games over and over again? Why do we avoid watching the finale of our favorite shows? What is truly comforting: a story with no conflict, or a story where you always know what is about to happen? Do you want to live in a scary, uncontrollable world, or do you want to play Stardew Valley? Do you want a person or a character?
When I beat Earthbound for the first time (and if you don't know, the prologue/ISAT battle system is just Mother) and watched the ending cutscene where the characters part ways and say goodbye...I felt a little bit sad. I wanted them to be together forever. But that's something only characters could ever be.
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not to be true crime posting on main but i think i'm falling down the wm3 rabbit hole again
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my father loves my mother. it infuriates me.
howard nemerov the collected poems of howard nemerov: “the vacuum” \\ rosa linn snap \\ @sunmotifs \\ lindsay bird
kofi
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i love when whumpees have nightmares that are so vivid and feel so long and real that when they wake up they can't help but just lay in their bed feeling the huge amounts of relief that none of it was real
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I don’t think I could ever really pick a favorite thing about Helena, but something I think I’ve loved since the beginning of my love for her, - starting with cry for blood and going on to reading her other stuff - something I love is that she’s not really ever a character who gets fixed. Basically all of her connections in the heroism community (except for like. Dinah and Renee) have at one point or another viewed her as a problem, as someone who needs their solution, as someone who needs to be managed or manipulated. So many other characters look at her and see something that needs to be controlled, and at times the individual comics’ narratives agree with this and uphold it. But when you look at the whole of her character history, you see someone who never has the exact answer, who is never sure if she is actually a hero or still that scared little girl whose family was murdered. She’s always throwing away her costume only to pick it up again a few days later. She isn’t static, but her problems run deeper than ones that can be given a simple fix.
where was I? Oh right - she’s not a character who gets fixed. Because every person who thinks they can fix her, or control her, or agrees with people who try, or anything like that? It fails, in any way that matters. Think about max lord, think about batman, think about nightwing, think about oracle. Even if their plans succeeded in the short term, did they have any lasting effect on her or who she is? No - they all ended badly for someone, and only someone who recognized the harm of treating someone like this and apologized was able to get anywhere close to a healthy, meaningful relationship with Helena (that would be Barbara, by the way). So the thing that i love is that even when the people around her are all trying to shove her into a box and then fix the person they’ve imagined her to be, she is allowed to exist as this multifaceted person who has failures and flaws and struggles yes, but ones outside of the two dimensional person the people around her see her as.
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