OKAY question
i wanna reread choices and edit it but i can never make myself do it cause im like "ugh wow so long i simply cannot"
but also, every time i do reread parts of it i have like *thoughts* like SO many thoughts about it and about what i was thinking at the time and how that has or hasn't changed and what i was trying to do and what i love and what i hate and blah blah blah
SO the question: if i did like a lil read-a-long with soph thing, would anyone be interested? like maybe in the form of small podcast episodes where i discuss the chapters as i edit them and you guys can like tell me the different stuff you want me to talk about etc etc and then i will have the motivation to actually do this and also somewhere to dump all of my *thoughts*
or is that like, a stupid idea that no one asked for? i cannot decide whether this is leaning more on the fun cute side or the annoying keep this to yourself side, Y'KNOW?????
so i ask
506 notes
·
View notes
i think the reason that a lot of people don’t recognize how fucked up sokka is is due to the fact that sokka himself refuses to acknowledge it. he is extremely repressed and operating on so many layers of cognitive dissonance that he doesn’t even realize that he is not in fact “normal” or “mentally stable” or “healthy.” part of sokka being extremely fucked up is also refusing to acknowledge or confront that he is remotely fucked up. so he generally presents like a well-functioning person who, despite being incredibly cerebral, doesn’t have a particularly rich inner life. but that’s only because he’s walled off every single aspect of his existence that causes him (real) pain or sadness or grief, put it in a vault and then buried it. and confronting any of it, even a little bit (like admitting that he felt abandoned by his father leaving, or that he misses his mother, or any other normal expression of pain that katara has no problem communicating) would mean confronting all the harmful logic he has internalized regarding his identity and denial of his own inherent humanity. so even though he seems like he has no filter and loves to complain, he is actually performing pretty much constantly. for the sake of those to whom he feels obligated, but mostly for himself.
492 notes
·
View notes
beelzebub who has obscure knowledge because he cares so much about his brothers' interests, they become his, too – or, a slight beelzebub character study at 3am because i need it and so do you.
beelzebub who can name every constellation in the night sky of all three realms, who knows both astrology and astronomy, who has read all of belphie's essays and research papers, who was there when they were written.
beelzebub who knows how to play (and cheat, and win) about every casino game, who knows how to do fast math even if he doesn't really care for it, who checks the fucking stock market every morning to see if mammon's mood will be affected by it or not.
beelzebub who knows the difference between the scent of white and red roses, who knows how to properly do your (and his) makeup, who has memorised which products are good for his complexion and how many times a day he needs to apply sunscreen, because asmo swears that the fridge light hits him as much as the sun would have in the human world.
beelzebub who can quote jane austen and poe and shakespeare and euripides from memory, who makes references from books that were destroyed with the library of alexandria, who knows about every breed of cat there is, who listens to satan explain whose fur is the thickest and whose the softest.
beelzebub who will rewatch tsl for hours, who will carry boxes upon boxes of games upstairs, who will (poorly) draw ruri from memory, who will know how to play most games levi hyperfixates on and the plot from most anime he has rambled about.
beelzebub who knows even the most bizzare of genres of music, who can taste the difference between a thousand year and a thousand and one year aged demonus, who immediately recognises the jazz song lucifer is playing when he wants to spend quality time with him but doesn't want to disturb him.
beelzebub who, if you ask him about his interests, will reply that he doesn't really have any, who will search within him for an ounce of self, who will give up after a while because he is six beings in one, and he doesn't know if there's room for one more.
beelzebub who decides that it's okay to be a mosaic of his favourite beings, who finds out that he has been carrying seven in him all along, who gazes in your – a human's – eyes and understands why she fought and why she fell and why she tried so much.
beelzebub who, in his spare time, will go in the human world to visit museums and archaeological sites and long abandoned villages, who will reminisce about when everything he just saw was once new and shining, who will retrace the steps he took aeons ago, alone this time.
beelzebub who often feels lost, who grieves and eats and grieves some more, who carries the memory of his sister because he once read that one truly stops existing when they are forgotten, yet smiles when he sees red roses and shiny coins and old books and video games and cursed records and the starry sky, who sighs into your neck right before he falls asleep and promises to never forget the way your skin feels under his.
beelzebub who, without you asking him, tells you he likes flowers and animals, who likes everything the sun touches, whose eyes glimmer when you ask him to tell you about yarrows and their meaning and their colours, who will explain in a heartbeat, just for you.
beelzebub whose self is a wounded one, a fighting one, whose self is a memory box he just keeps adding into, a scrapbook of eternity's erosion, who finds happiness in the little things, in the simple things, who binds his family together.
beelzebub who loved and loves and will love until there's nothing of him left, until he is the last one remembering, until the night sky is no longer a painting, but just an accumulation dead stars.
2K notes
·
View notes
I'm still not used to fully talking on here but I just have to talk for a minute about Sleep Token and Wembley.
They did fantastic. After touring so much this year, doing back-to-back shows, dealing with a band member having to take a leave of absence for most of their final tour, incorporating new changes to their routine and style, and with Vessel having hurt his voice during such a huge show, they did fantastic.
I watched along with Discord. Mostly lurked. And everything I saw from the effects on stage, the fun antics, the performances, the playing - guitars, bass, drums, the dancers, the choir - they did fantastic. And Vessel. I said it in chat that he doesn't need to hurt himself or his voice to earn the love of those who listen to his music, but he kept going. He sang, and pushed through when he had every right in the world to put a stop to the show and focus on his health. He kept on going while also giving to the crowd the chance to carry him through, and seeing everyone - from those on stage with him to the crowd to people in chat and what I saw on here - still loving him, loving them?
They did fucking fantastic, and I dare anyone tell me otherwise. As a community, we should be celebrating them despite any differences of opinion - being kinder and supportive of one another is literally everything they've shown with III's situation and in general. It's what so many of us showed back to them with the hand salutes for III and the marked ? on our hands during specific songs. Their new outfits have fan-made decals to them, for fuck's sake. They are absolutely, without a doubt, genuine about making everyone feel loved.
Look, I'm just a stranger on the internet at the end of the day but this band has come to mean so much to me since I found them, to the point where they've honestly kept me going some days - them and the wonderful people I've met through them - and I just need them to know that they did fantastic, their music still brings people together despite hiccups along the way, and regardless of any of those hiccups, they are so loved. Loved beyond belief.
The night didn't just belong to all of us at Wembley, but to them, too.
150 notes
·
View notes
Ellie’s memory of the golfing scene and what it tells us about her.
🚨spoilers for tlou2🚨
I think Ellie’s flashback to Joel’s death is very telling of how she internalized the event and the meaning she applied to his death. It’s also a good demonstration of her relationship to autonomy. Let’s break down the elements that were inconsistent with the actual event:
The stairs/hallway are much longer than they were. This suggests a sense of helplessness, an inability to get there fast enough. Joel is constantly out of reach.
There is blood on the floor outside of the door. Not entirely certain on this one but my hunch is that she blames herself for not seeing more obvious signs of violence/not knowing something was wrong sooner.
The door is locked, another roadblock in her path to Joel. She can’t access him, she can’t help, he needs her and she isn’t there.
Most importantly. Joel yells “Ellie, help me” (which he didn’t in the actual scene, he just screams. He doesn’t say a word in the actual scene)
Ellie hearing Joel scream for her help, calling for her while being horribly beaten, and her being repeatedly impeded on her way to him suggests that what she took away from his death is that she wasn’t enough. They always helped each other, always had each others backs, always got up. Ellie views his death as a failure. She was too slow, too weak, not smart enough to save him. She failed him when he needed her most. She is absolutely helpless to save him, just like she was helpless to save Riley, Tess, Sam, and Jessie (and Marlene, and humanity, and and and-).
Once again, Ellie makes a decision (staying with Riley, going to the fireflies, staying with Joel, being the cure, trying to forgive Joel) and once again her autonomy and ability to find closure is ripped from her.
This is the inciting incident of tlou pt2, this is the moment where Ellie’s whole world shatters the same way Joel’s did at the start of pt1. Ellie enters into the same cycle (which I like to call the “Joel cycle” because… yeah.) that he did, and throughout pt2 she stays in the “20 years later” phase of the cycle. She is changed, she has lost her light, lost what she fought for. She lost her chance to genuinely forgive Joel and rebuild their relationship. She is stuck in a gruelling and violent world that she has no anchor in, at least not anymore. His death is so sudden and so incredibly violent that it practically gave her (and me as well, tbh) whiplash. She’s in a state of total shock.
On another devastating note, this is one of the three times in tlou that we see Ellie beg (that I remember). The first is begging Joel to get up at the university of Eastern Colorado, the second is begging him to get up and for Abby to stop, and the third is begging Abby to not kill Dina because she’s pregnant. (Two times she begs Joel to get up, one time he doesn’t. Two times she begs Abby to spare her family and one time she does. What a beautifully haunting contrast)
To wrap up, every person creates an internal narrative, a story of their life that is crafted from their context and lived experiences. The meaning we derive from those experiences doesn’t always reflect the truth, and that can sometimes bite us in the ass majorly when we experience a traumatic event. We tend to want to find someone or something to assign blame to, some reason or rationale to why it happened. We tell stories. We write them in our minds about ourselves and what happens to us and what that says about us.
But Ellie is wrong. Joel’s death happened in response to a conscious and willing choice he made. It is in no way her fault, and there was absolutely no way for her to know or to stop what was happening. I think Ellie knows that much on an intellectual level, It just doesn’t change how devastated she is over the whole event. It can’t change the fact that she FEELS as though this was all her fault, that Joel did what he did to save her, that she could have saved him. That she should have.
305 notes
·
View notes