He looks back down at the baby – Andy – with her lick of dark hair and her splotchy pink skin. Even though she can’t be more than a month old, probably not even, the resemblance to her father – to Hob’s friend – is already uncanny. She looks imperious, a little disapproving, like she’ll nap in his arms if she has to since she doesn’t want to be rude, but privately she thinks the conditions aren’t quite befitting an infant of her station.
Hob loves her instantly, instinctively, in a way that he thinks is going to be nearly impossible to get over.
real people by spqr (@andthepeople)
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@glowweek Day 5
FAMILY | FRIENDS
Peridot and specially Lapis do not trust the racoons.
Specifically chose this angle so I don't draw feet. _(:,3」∠)_
Mi own connverse kids Ebony and Rohini are there! And technically Sakura and Zachary. (Please until now I don't know what else to name them. 😭)
And sorry the older Maheswarans aren't there. I don't know where to put them and I already had character overload. 😞
Hibiscus print on Bismuth's shirt is from ManMadeOfGold!
Speaking of shirt, another thing I avoided was thinking of their outfit designs. 😅 It's somewhere a little over a decade of timeskip since SU:Future and I'm sure at least one or two would've reformed during the time. So I'm gonna say they wanted to keep the vibe of a casual outdoors picnic-type event so they wore the casual themes.
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Can I say in light of Charlie joking about killing Sunny, it's become so apparent who are new fans to the qsmp and who's been here since the beginning.
There are so many posts like "How could Charlie even suggest being mean to Sunny, that's horrible!" Meanwhile I'm sitting here like "Finally, been waiting for Slime to go on another egg killing spree. It's been months."
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Congrats to everyone at @re-dracula on such a masterpiece of an episode. It was emotionally harrowing in the best way possible. Special shout out to everyone involved in the ending song for making such a lovely sounding song with lyrics that made me want to crawl out of my skin in visceral discomfort
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OK HEAR ME OUT ... *nothing comes out of my mouth*
This is where the viewer tries to figure out if that was just a ploy or he was really actually into it *throws hands up and walks away backwards*
cant remember which post i pulled that flashback from... it's somewhere in this blog lol i died when i remembered i drew that and didnt know why
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Another bit from the Salewicz book, snipped off the last post for length:
If he had been given an opportunity to really get to know Ivan Vaughan, Jim McCartney would have known not to worry that the direction of Paul’s interests in clothes and music would lead to his son becoming a ne’er-do-well. For despite his elaborate, tangled DA and skintight drainies, whose tightness was accentuated even more by his gangling, lanky frame, Ivan Vaughan was also a brilliant classical scholar, a boy who would one day make his mark as an academic. Vaughan was, moreover, “a complete original,” in the words of Peter Sissons, an Institute classmate who was himself to later enjoy a most distinguished career as a top anchorman and penetrating interviewer for ITN News.
From a similar council house background and area of Liverpool as Paul, Sissons would often travel in to the Institute on the same bus. His recollections are clear: “Paul stood out as a bright lad, but a cheeky lad. It was much more than just the proverbial Liverpudlian wit, though. I mean, George Harrison,” he said of another Institute boy in one of the classes two years behind them, “had the wit, but not the brain: George was in one of the lower classes when I was head boy of the Institute — I remember George giving cheek, and my hitting him over the head with a rolled-up newspaper, which the prefects were allowed to do to the cheeky lads in the yard.
But intellectually, Paul was in a completely different world. I’ve never talked to him about it, but I wouldn’t mind betting he might be a little tinged with regret that he missed going on to further education, because he was a phenomenally bright lad. And still is: just so alert and sharp. In fact, whenever I bump into him now it’s as if time has stood still, because he’s just the same guy. He really hasn’t become what I would call more sophisticated as a result of everything he’s experienced. He’s still the same boy one knew.”
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Jacobi and Eiffel both externalize all their problems, but Jacobi projects his own flaws and failures to be other people's fault, while Eiffel thinks his redemption/solution is only in other people's opinions and out of his control, discuss.
i've said before i think the most interesting thing about jacobi is that the finale is the start of a character arc for him, not the culmination of one. and i think this is a big part of that. in things that break other things, he says, "it wasn't anybody's fault. everyone was doing their jobs right, but it just... two guys died. good guys." and i think that line makes a lot of sense if he actually was at fault, or at least feels that he was and can't admit it to himself. in dirty work, he realizes he blames himself for maxwell's death. and then: "i was wrong and people died. and the only thing i can do is not be wrong again."
it creates a perfect loop from his recruitment to where he's at in the finale: two people are dead, but he survived. he's out of a job. what now? i think that's an interesting set up for how jacobi's storyline post-canon could mirror and intersect with lovelace's - they're both people who have been blinded by hurt and anger and desire for revenge, and have had to step back from that ledge. they've both lost "their" people - the only survivors of their respective missions. i don't believe jacobi will ever willingly stay in contact with the rest of the hephaestus crew, but lovelace...? narratively, it could work. "i've got this friend" about lovelace in the finale is an opening. if jacobi's arc so far is a loop, and he's finally open to change, then he and lovelace could also share a thematic link re: breaking cycles.
as for eiffel, i would go so far as to say he completely removes himself from the equation. he projects his desire for redemption onto other people - people like hilbert, who absolutely don't share that desire - but he doesn't want to be in the story. it wouldn't matter if someone told eiffel he was a good person - he wouldn't believe them - and when people do call him out, like in shut up and listen, he takes that as confirmation he's irredeemable and everyone is better off without him. both jacobi and eiffel are treating themselves as passive actors to avoid accountability, in some way, but what eiffel really needs to accept is that he's the only one who can live his life. he isn't a uniquely bad person doomed to harm and failure; he's just like everyone else.
(maybe worth noting in eiffel's view of himself as a bad person vs. the antagonists of the show, including jacobi, is how eiffel sees it as an inherent character flaw that he doesn't want but can't escape, while "let's go be monsters" etc. is an active choice and rationalization from someone who signed up to be the bad guy, who decided he could compartmentalize and live with that.)
another kinda interesting place i'd say jacobi's worldview clashes with eiffel's is that they are both centered on people first. unlike maxwell and kepler, i don't think jacobi really believes in his own version of The Big Picture - he just believes in people who believe. it's progress for the sake of progress, but the nature of that progress isn't his to define; he's not even pretending it is. "because people like me - and people like him - make it possible for people like maxwell to do their jobs." and where eiffel's perspective necessitates recognizing the humanity in everyone, jacobi rationalizes his actions through a strict us-versus-them mentality. so much of how he operates is explained by that line: "there aren't sides. there are just people you'd do things for and people you'd do things to."
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