#literally if he killed me then that's on me
after learning that Wilbur had been lying to Phil in his letters as early as the Manburg Election, i decided to rewatch the Festival from his POV to see if i could puzzle out a bit of his motivations and -
he told Tubbo to stay strong when getting executed, but ultimately did nothing to save him. he told Tommy that things would be fine, yet made sure the kid would not intervene. Techno stalled Tubbo's execution for as long as he could, lightening the mood, trying to deescalate in the only way he knew how - all while waiting for an order from Wilbur. Wilbur whispered Tubbo, Wilbur whispered Tommy, but the one who was in the position to enact Pogtopia's mission, and needed his command more than anyone? Left in the open with no one to tell him what to do! Yet...we already knew this. Now, with this new insight we have into who Wilbur was as a person during the time, we have to be wondering, what is the deeper reason why the Leader of Pogtopia decided not to intervene in the execution?
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cas is the nicest person ever and if his thoughtful but poorly executed ideas resulted in my untimely death i would actually apologize for making him feel bad about it
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So like. I really like when I go absolutely ham filling in a characters story and then I notice something after I burn myself out on them for a while and every so often it comes to mind that Lawrence was more of a tool than PB has been in a long time and it 100% pointed that out to him. Like, in a universe where Geryon got the sword (and oops signed his life away to Erellise) he was a stubborn ass about it until his boyfriend got killed. Which sort of says something about the both of them. But my point is that Lawrence got really good at being a weapon. And then he died and stayed down for a while and when he came back he couldn’t remember any of that and he rebuilt himself without that as something new and when he did remember it he felt bad because like... he wasn’t nearly as helpless as he’d thought, right? And Sean offering him his body back (his whole body) he was still (very rapidly, in comparison to the Entire Rest of his in-life) remembering like... all of Lawrence Nighy and he kind of missed having flesh and then as soon as he had it he was like ‘oh fuck all this form has done is be a weapon and my family is going to Know’ and anyway I’m just thinking about this very messy man
… Show: This new Izu is different from original Izu!
“New” Izu: Is exactly the same.
Show: Izu was super special and could not be backed up ever! Her original memory is lost forever!
Izu: Repeatedly appears in the 02 Key.
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☆ mod souda (ranmaru shift)
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@pluresque said : “ knowing you is like…coming home. like i’ve finally found something that’s been missing all this time. ” fjord to jester sob emoji
she blinks away tears & she thinks she’s never wanted to kiss him more than right now after such a beautiful confession , not even when she was dying & needed it to live - literally . she’s known , for a long time , that he was more , even before she knew knew it . that her heart lives wherever he is . she thinks she knows , now , how her mama felt when babenon left , when she left . like a piece of her was missing because he has it . it’s scary , it scares her to let him have it , scares her in ways no novel ever prepared her for . it scared her when they were taken by the iron shepherds , it scared her when the laughing hand almost killed him & it terrified her when he died on the ship . she can’t describe it , the absolutely reckless feeling ( & she’s used to feeling reckless in a different way but this is just as good ) of letting her heart be so vulnerable but she’d gladly feel it for the rest of her life as long as he’s in it . how lucky she is that he feels the same . ❝ fjord , you’re - you are my home . ❞ she says , tripping over words for feelings that have been stuck inside for so long like the butterflies in her stomach . ❝ & i’ll always be that for you , if you’ll let me . ❞
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I'll admit there's a few reasons I'm not into the 'Winter Soldier killed Riley' angle. But some people are so I'll just put this under a cut.
1. Having Bucky literally have assassinated/killed everyone gets...old. Real old. The dude already canonically killed Tony's parents, JFK, one of Natasha's protection details, Jasper Sitwell, tried to kill Nick Fury... Adding Riley into it is just salting salt. We get it! We get it, he killed a lot of people, left a wake of pain and horror which would do the Ever Given proud.
2. It re-positions the narrative about Sam and Riley to involve Bucky. I actually like that this is an aspect of Sam's history which has literally nothing to do with Bucky. The less involved their histories are, the more they have to learn about one another which is novel and new. The more their relationship--romantic or not--is about moving forward, not looking back.
3. Tangential to #2: if Bucky's not involved, it lets Bucky help Sam the way Sam has helped him. How on Earth does Bucky 'help' Sam get over the Winter Soldier killing Riley? He literally can't. Giving Bucky fewer ways to help Sam isn't really what I'm here for. But Bucky helping Sam grapple with the loss of Riley mirrors Bucky grappling with all the things he's lost and Sam helping him with that. The Winter Soldier killing Riley makes that sort of parallel close to impossible.
4. Tangential to #3: entangling every aspect of Sam and Bucky's stories the same way Bucky tends to be entangled with Nat or Steve isn't a selling point for me. The fact that prior to Bucky landing on the roof of Sam's car, they had nothing to do with one another is what I like. I like that their story is about two people who have so little in common save for Steve come together on their own terms, without Steve. Bucky being the one to shoot down Riley just undoes all of that, reframes it in a context of 'Bucky is responsible for everyone's pain'. That's...not interesting, frankly.
5. It yet again calls up the idea of '<someone> needing to forgive Bucky'. Forgive him for what--falling off a train and being tortured for 70 years? That's just...not good. It's really not good. In the very literal sense Bucky had no control or choice in what he did.
6. Even if a narrative about the Winter Soldier killing Riley doesn't make it a question of Sam forgiving Bucky, merely sticks with Sam coming to terms with it, this isn't the kind of thing someone just 'gets over' and 'moves on from'. It can be written however someone wants, but I'd be dubious of anything other than 'no offense but don't ever talk to me again'. Put another way, this is like when the AKA JJ writers had Jess kill Luke's wife under Kilgrave's control. How was Luke/Jess ever coming back from that? Pro-tip, it wasn't. Not ever. They destroyed an interracial couple and their child for some drama, and worse yet, fridged a black woman to do it. At least Riley wasn't (that we know of) an MoC but... Yeah, so--not here for it.
So yeah. Just--I know people love the omg heavy angst, but...
There's nothing I can find in 'the WS killed Riley' headcanon which doesn't produce a narrative that isn't depressing and awful. It turns something unique to Sam into something about Bucky, it cuts Bucky off from being there for Sam in a meaningful way and reinforces all the bad shit Bucky feels about himself. It cuts him off from one of the only people who's tried to reach out to/be there for him after becoming unmoored in a new millennia.
(Also why does everyone go for 'WS killed Riley' and not 'WS was there when the PJs were coming in, watched one be shot down but had no part in it'. That's nice and terrible without the added 'and now Sam will never look at him the same'.)
So yeah I hope to God they NEVER, EVER go with that in canon.
Hey, listen. This moment, let’s talk about this moment. It’s almost a throwaway line in the last scene of the series, right before Michael and George Michael take to the road to distance themselves from the family.
Gob tries and fails to catch Michael’s attention on their way out here, but in a way that’s not typical of his personality. There’s a real earnestness about him. Nothing boisterous, played up for laughs or manic. Whatever he’d been trying to tell him it seems as though it would’ve been genuine. Maybe even heartfelt. Maybe even apologetic for an action he took against him many episodes before.
You see, this would’ve been the first time Gob had the opportunity to really talk to Michael after the big courtroom scene, and this moment in particular:
It’s here that Gob is made aware that Michael knows -- Gob drugged him. A lot earlier in the season, Gob had been trying to gauge if Michael did in fact remember what had happened the night of Cuatro.
“Quick, what’s the last thing you remember us doing?” he asks him during their very first scene. This established that it had been on his mind for awhile, that it was something that had been causing him anxiety. And when Michael doesn’t give any indication that he knows, Gob just decides to roll with it, because thank god, right? What a freebie.
He suddenly thinks he won’t have to explain himself, or talk about the scenario that had caused him to roofie Michael in the first place. He could just proceed through the rest of the season acting like everything between them is fine.
At least until he realizes that he can’t anymore.
The guy literally gets outed in public. It’s not his orientation here -- it’s the quality of his character. It’s how he treated a member of his own family, and arguably the one member whom he actually, sincerely loves. Michael has always been the sibling that Gob shows genuine affection for despite all their squabbles and upsets.
And that’s why he tries to talk to him at the end, I think. To set things right. To tell him he’s sorry. It kind of kills me that he never gets the chance to before the series ends, but I can appreciate the attempt in any case. It shows that he’s not stuck in COMPLETE arrested development. He absolutely wanted to move that needle.
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Time for more Clone Wars commentary.
Grevious: "What secrets do you carry, my little friend?" | R2: Beep beep boop (probably calling him a bitch).
Obi-Wan, don't you know better by this point that telling Anakin not to do something means he's going to do it? Of course he's going to rescue R2.
GOLDY, YOU TRAITOR.
Droid: *picks up an object that literally just electrocuted other droids* | Me: For the third time, how the FUCK did your army succeed at anything?!
THIS IS THE FOURTH TIME GREVIOUS HAS JUST FUCKED OFF WHEN THE SHIP HE'S ON IS GETTING FUCKED UP. THE FOURTH!
Oh for fucks sake, Jar Jar.
Threepio: Trouble? Me? | Me: Oh, don't even, you gold bucket of bolts.
Jar Jar: "Hmm, whose Jedi robe?" | Threepio: *knowing gottdamn well it's Anakin's* "I...uh...well, I don't know."
Threepio: "I regret the ship has been destroyed." | Padme: "Battle droids?." | Threepio: "...no." | Padme: "...Jar Jar?" | Big fucking mood, Padme and Threepio.
Ventress, WHAT ARE THOSE SHORTS.
If the Troopers and guards are sometimes fighting against Sith, why does no one think to carry around a slugthrower? It certainly worked for the Mandalorians when they fought the Jedi.
You know...I like how the clones all call everyone in a leadership role "sir".
Everyone, this is SEVERE OVERUSE of "I have a bad feeling about this."
Also...did Grevious only kill like padawans? Those were padawan braids on display in his lair, right?
'𝐓𝐈𝐋𝐋 𝐃𝐄𝐀𝐓𝐇 𝐃𝐎 𝐖𝐄 𝐏𝐀𝐑𝐓, 𝗌𝗍𝗂𝗅𝖾𝗌
synopsis: as an angel of death, you’re used to making difficult decisions all the time. however, seeing his face complicates things
word count: 0.9k
note: i have no idea how to write summaries, apparently. BUT feedback and constructive criticism are vv appreciated
Beacon Hills — the place you frequented about as much as your own bed chambers — wept out your name like a disturbing ballad.
When it came to your job, you'd decide impulsively, wanting to finish before you could torment yourself over it. Besides one particular instance, it was successful enough. You were able to get in and get out with little-to-no hesitation.
Of course your job was grim — you were quite literally picking and choosing who lives and who dies based on first impression, alone. But there were only so many ways you could cope. You'd almost gotten used to the daunting task, until now.
You watched intently as the two boys struggled to get a hold on the other, studying the way their arms flailed. Screams and grunts echoed through the night air as elbows met jaws, blood spattered against concrete. Eventually, one of the boys got free and ran into the building, leaving the other to slowly follow behind him.
You paused for a moment to take a breath and calm your nerves. "It's just like always," you thought to yourself, "just pick one and get out."
Finally, you followed the path into a library and spotted one of them walking about while the other was out of sight. You walked around the towering contraption until you finally found the other boy, out of breath and fidgety.
"Did he tell you that he was too scared, too much of a frightened little bitch to go in after him?! Or do scared little bitches not tell their little bitch sons about their failures?"
Hidden behind a bookshelf, his grip on the bloody wrench tightened in an effort to restrain himself from charging at the chimera.
There was a clear winner of this battle in your mind, and it wasn't the human. So, like always, you impulsively chose the soul that you'd be taking with you.
Only, as the boy slowly walked out of his hiding place, your habit of impulsivity was faltering. You were met with his terror-stricken face and you suddenly felt something bubbling in the pit of your stomach; guilt and familiarity.
A wave of nausea washed over you once you realized where you recognized him from. Or rather, once you realized who his mother was. The woman with frontotemporal dementia and a little boy — Stiles — who hoped, prayed, begged for his mother to be okay. And the battle of the mind and body wasn't any easier than that between two able bodies.
You were supposed to save her. But she saw you. She wasn't supposed to see you, no one was ever able to see you. But she did. And she spoke to you.
"Please...he's trying to kill me. I can't do—he's going to kill me. Please, take me."
Your heart ached for the woman, for her husband, for her son. So, hesitantly, you fulfilled the woman's wish. Unknowingly, you also killed a little part of Stiles and his father, something they would never get back.
"You?" A faint whisper pulled you out of your thoughts and your attention was suddenly on the boy in front of you. His eyebrows were furrowed and he pointed the wrench in your direction.
He could see you. He'd seen you that day.
Before you could even react, a hand reached out from behind the shelf to wrap tightly around his throat and yanked him to the other side. It was like you were glued to the ground, paralyzed. You were drowning in confusion and remorse as Stiles was fighting for his life, much like his mother was.
Stiles fought him off enough to run to construction apparatus and attempted to climb to the top. However, he didn't get very far before the chimera was at his heels again with hands wrapped around his ankles. No matter how hard he tried, Stiles couldn't seem to shake him off.
For the first time in a long time, your legs felt weak and your palms were sweaty. You had already made your decision — Stiles was supposed to die here.
But Fate worked funnily, that way. As easily as you could follow Fate, you could rewrite it, too. If you so much as willed it to be so, the result would spin in your favor.
He cried out, desperately reaching for something, anything. His eyes finally zeroed in on a bolt that held the apparatus together. Using all the strength he had left, he threw his arm out to land on the metal piece, and he wiggled it until it finally came free, sending the beams clattering to the ground.
He shielded his face from the debris and felt a moment of relief when all he heard was sweet silence. But it was quickly replaced with terror once more as he peered down below.
There was the chimera, a pole protruding from his abdomen and blood spewing from his lips.
Then it was eerily quiet. Stiles didn't dare utter a word — not even a whisper would escape his trembling lips in fear of breaking the silence. Shallow breaths mingled with slow footsteps. You couldn't quite tell from where you stood, but he appeared misty-eyed. His mouth was parted in shock and denial.
After a few moments, he dialed 9-1-1 to report the incident, but still, no words came out of his mouth. You watched quietly as he retrieved his phone from the body and jogged out without so much as a glance back.
You sighed shakingly and surveyed the scene before you. He deserved to live and you gave him that option — that same option that his mother deserved. You made the right choice. So you left Beacon Hills, once again, unknowingly killing a part of him that he would never get back.
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The Building Black of Indian Culture.
New Post has been published on https://cookwarerecipes.pro/the-building-black-of-indian-culture/
The Building Black of Indian Culture.
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So growing up with that culinary heritage, learned by his mother in Calcutta, but transported back to Rotherham in England, Majumdar’s dal was an ever-present dish in his household. When he found himself in crisis, he turned to cooking, and to making the dal of his youth.
“It’s actually the dish that saved my life, literally,” he says. “I was in my apartment in London, getting ready to throw myself off the balcony. My mother had recently died and all kinds of other things were happening in work, I was a book publisher at the time… A Lebanese family in the flat below were cooking and the smell was so amazing I thought that before I kill myself I should go and cook. I always say I was more hungry than suicidal.
“I cooked this dal, and so much of cooking dal is the process and enjoying the process. When my grandmother taught me to make dal, she showed me how to toast the red lentils first and when they become too hot to touch, you decant them and then they are ready to cook with. So I was doing that and I think there was a connection with a continuum.”
There are certain actions that connect us with thousands of years of history and in doing them we connect with the past, with a sense of the context in which we live. Cooking is a manifestation of that cultural self-expression, a learned sense of being that goes back thousands, even hundreds of thousands of years. It’s what draws children to the stove to stir with their mothers, it’s in the fascination of watching a fire burn or a stew simmer.
“I call it ‘LSD’ – Life Saving Dal,” says Majumdar. “It really did save my life, because when I was cooking it I found in this notebook I had written all the things I wanted to do when I turned forty. It included, having my teeth straightened, having a suit made, that kind of thing, and at the bottom I had written ‘go everywhere, eat everything’ and that was the beginning of this journey that I’m on now. It really did save my life because cooking it made me stop at that point where I thought I would jump from the balcony of my flat in London.
“When I was hungry and in need of nourishment of body and soul, the dish that I decided to make was dal. I knew it would be like putting on the most comfortable pair of slippers. I knew that making it, the process of making it in would way or another it would save me.”
There as many different recipes for dal as there are families in India, probably billions of them around the world. But for Majumdar, like anyone else, the best is his own family recipe. It’s a red lentil dal that doesn’t require cooking the lentils first (just roasting them), and the process is relatively straight forward. He puts whole chopped lemons in his version, which is something he hasn’t seen any other family do, it’s peculiar to his. Majumdar says that he always has the ingredients for dal in his house, and he can have the dish on the table in about half an hour. That’s not to say that the process is not important. In fact, it is everything.
“I do this dish at demos a lot,” he says. “I make it on stage and serve it to 150 people at a time and the notion is that it’s an act of service. This dish, I sometimes explain it to people as a kind of soup, but it’s really so much more than that. It’s probably the most important thing that I cook. Usually, when I do a demo, I do it on stage, but the kitchen of the hotel, or wherever the demo is being held, will make up the dish to supply a hundred or two hundred people or so. But when I do dal, I insist that I go into the kitchen and make it, no one else. Me and my sous chef will go and cook for the attendees because it’s an act of service. It’s so personal to every Indian family, that it’s an act of service.”
Indians eat food differently, there’s a technique to eating wit your hands, of using naan and roti for dipping and scooping rice with the fingers. It’s a fundamental part of eating this kind of food which engages more of the senses.
“The thing I try to do at demos when eating dal is to get people to use their hands. It can be something quite new for people, say in America, to put down the spoon and eat the naan and roti with their hands, but they get into it very quickly. There’s something very comforting about it when you do it.
“I don’t think anyone makes dal without thinking about what they are doing, it’s a very conscious dish. I’ve made it thousands of times in my life but for me, the process is still as important as eating it. Also serving it to people and seeing them taste it for the first time, it’s wonderful.”
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The Timeline of the Spymaster; a hc/theory? Plot fill, if you must.
SPOILERS FOR SERIES 11 AND 12 OF DOCTOR WHO.
Everyone is really pressed about??? Where the Spymaster is in the Master’s timeline??? And I really hate the idea that he’s pre-Missy??? So I present to you what I say happened and everyone better listen to me /j
Missy is dead. She dies. We see it happen. But this is Doctor Who! And the showrunner, Steven Moffat, literally has mentioned that he loves the Classic Who kind of “there is no way the Master got out of this but guess what? They’re back!”.
So, Missy regenerates.
The Master isn’t held to the numbered regeneration cycle like the Doctor is, so this would be fairly easy to disregard.
The Master regenerates (using they/them bc we don’t know) ready to find the Doctor and be his friend again. They can’t find him, so after getting off the ship somehow they make their way back to Gallifrey. But instead of finding the Doctor, they find it destroyed, and in trying to figure out how decide to hop into the Matrix.
If every Time Lord has died, they will presumably be there. I don’t know if the Master knows about the upload process, but even if they do they don’t know why Gallifrey is gone and therefore think they may have at least some indication of its fall inside the Matrix. They go in and stumble/hack their way to the Timeless Child.
This tenderly optimistic Master, abandoned by the Doctor, is now filled with rage. But they know 2 things: 1. This cannot stand, and 2.: they are too weak in this regeneration to do what they need to. But they can fix that.*
They implant a bit of their consciousness into the Matrix and find MI6. This part always confused me in canon, since Missy couldn’t have found O and the Spymaster already has his face**, so it seems fairly obvious that a regeneration is in order here. They find O, ambush him, shrink him, and commit suicide in order to regenerate. Freshly regenerated by his own hand, full of bloodlust and rage from his discovery on Gallifrey, the Spymaster continues as we know him in canon, explaining his change of heart from Missy***. It wasn’t gradual, but an evolution.
*Note that any amount of regenerations can take place here. Maybe they found Gallifrey as it was falling and died a few times, further filling themselves with hatred.
**This may take several tries, again making them more bitter.
***It seems that in the Doctor Who universe that Time Lords are greatly influenced by their desires when they regenerate. 9 is born in bloodshed and battle, since he doesn’t remember any of the adventures of the War Doctor, and is cold and withdrawn, lashing out when the pressure of that gets to be too much.
Note: It also makes this a neat little loop-y tie in to how Missy has the Cybermen. The Master wakes up, freshly regenerated, in the middle of a spaceship full of them. Of course, they want to kill her, but tbh that’s only a mild issue. She doesn’t remember the details of how she got there, but knows where her TARDIS is and can use that to her advantage. She only remembers that she must hurt the Doctor, and perhaps even more importantly, that she cannot let herself love and/or help him.
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(im a diff anon) i'll try my luck at this too and say that the only good thing about js: wwii was that jay garrick was in it and he saved the film from being a wonder woman soap opera
bud there’s no trying your luck about this, i was only half joking in my reply to the other anon. there’s nothing good about js: wwii!
alan’s absence as a founding member is obvious homophobia when it came the same year as him becoming canonically gay and more so when the excuse given was some flimsy pretext of being “overpowered” despite replacing him with superman but that’s barely scratching the surface of a badly written movie with a nonsense plot scraped together from the kinda comics knowledge that seems to be exclusively a ‘friend of a friend of a friend told me’ situation
it’s a justice league movie more than it’ll ever be a jsa one and an even worse crime, it’s a flash movie. besides diana/steve, there’s the inexplicable inclusion of another straight couple in the form of dinah/carter, which makes less than zero sense. the literal nazi villain is wildly gaycoded in the worst way imaginable. the animation is horrendous. the writers think a couple of chemists (rex & jay) know anything about paradoxes and time travel. the helmet of fate somehow controls kent without needing to be worn. there’s no climax to the story because the villain just mysteriously gets away after killing two members of the main cast. it’s complete nonsense!!!
jay, who should’ve been in his very early twenties at the time if the correct timeline had been respected, is not in any way shape or form its saving grace. there isn’t one.
Tenya...(hope you don’t mind me calling you that) I have a question. Why do people insist that you are a bad boy because you almost committed murder on bling anger. Meanwhile Bakugo has literally told deku to go kill himself + bullied him for the most part of his life + almost committed murder a bunch of times, yet people think HES the good guy?
Of course you can call me that :) I know some may view me as, as you put it, a “bad boy” but I don’t find that to be true. People go to great lengths to get “revenge” or act ways they wouldn’t usually when they are emotionally unstable or blinded by anger.
That being said I don’t agree with people’s view of my classmate. People always say “he is so angry all the time” and that it “is his only personality trait” but may I remind you that anger is always a product of another emotion. No one is ever just angry. Anger comes from other strong emotions being dealt with through anger. If that makes sense. There is more to him then you all think
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Differences between the anime and the manga and how it affects my portrayal [Hakudoshi]
As probably everyone who has been following me for a while knows, my Hakudoshi is canon-divergent and headcanon based while cherry-picking certain stuff from the anime and manga.
But today I was going around several manga chapters where he appears to make new manga icons and I have noticed, once again, how there are a couple of things -like every other adaptation- that differ from the source material and I decided to make a post about this so that my followers know what I take from either the anime or the manga, mostly I follow the anime but let's dwell on it (might be a rather big post)
The first differences come right after his "birth", while it doesn't directly affect Hakudoshi's character it does change the way he and Entei met.
In the anime Sunrise introduced a second demon, Rengokuki, that along with Entei had been sealed by the priest the Infant and Kagura killed, his death leads to the seal on both demons break and Rengokuki is the one who possesses the naginata that later becomes Hakudoshi's signature weapon:
In the manga, Rengokuki doesn't exist and Entei is immediately drawn to Hakudoshi choosing him as its new master/rider due to him having broken the seal. Thus their bond is not about Entei having seen Hakudoshi as a strong demon, worth ride on his back, but more as a returning favor, Hakudoshi even says so:
This makes Entei's and Hakudoshi's "bond" even more unreal, colder than in the anime, although in the anime Hakudoshi could care less about Entei when it died (much like in the manga), the anime added Entei backing up Hakudoshi's escape. While I like the way both anime and manga portrayed their bond and I understand that Hakudoshi is a character not meant to form any sort of bond, I tend to prefer the anime's version because I like the idea of Naraku's incarnations forming at least one bond with someone. I even have made headcanons about Hakudoshi's and Entei's bond and stuff they did together when literally no one was looking, not even Kagura. Thus this is my first canon divergent piece in my portrayal albeit not used in his main verse but rather in the other ones: Hakudoshi can and will form bonds with someone if he spends enough time around them, he will be cold, distant, rude, and very unfriendly at the beginning but eventually comes to see them in another light.
Another difference I noted between the manga and the anime was Hakudoshi's introduction, I am not sure how much that changes things, probably nothing at all and it's even more probable that it's just a case of different translations for the same topic. In the manga, Hakudoshi introduces himself as "the discarded white child of Naraku" whereas in the anime he introduces himself merely as a "Naraku incarnation". Doesn't affect my portrayal but I thought it would be interesting to note.
In the manga, also regarding his weapon, Hakudoshi obtains his naginata by having Entei kill a boar demon that had that weapon. He took it from Rengokuki after he killed him with the naginata in the anime. Fun fact, in the anime a boar demon named Chokyukai had exactly the same design as the boar demon Entei killed in the manga, he even appears in the episode following Hakudoshi's introduction with a naginata exactly like Hakudoshi's with the exception that it has a sapphire in it instead of a ruby. Again, doesn't affect my portrayal but I thought it would be interesting to mention.
The following change is related to Hakudoshi's abilities, most of his abilities are kept on par between the manga and the anime (barrier creator, miasma production, regeneration, and teleportation), however, episode 144 gave two more abilities on the very same scene above: telepathy, he already somewhat possessed this ability in the manga as well as he is able to read other's minds by touching them much like his counterpart (I feel like the minimal difference between Hakudoshi and the Infant is that Hakudoshi reads minds while the Infant reads the hearts), however, the anime adds more to it and he is capable of reading other's minds without touching them. Regarding this ability, I have decided to keep it in both ways though he will not be using the non-touching mind reading one unless it's necessary or if he feels like it. This means that it works essentially like a switch button that he can control at will and helps me explain why he didn't hear or even comment further on Kagura's thoughts about killing him/betraying Naraku or even when Kohaku was right next to him thinking about Sango as his sister and about his plan to get closer to the Infant after the Zushi Nezumi incident.
The second ability introduced is 100% anime-only and it's telekinesis which means he can move objects using his mind. I am also keeping this ability of his, however, with some restrictions. In the scene above we see Hakudoshi throwing several small rocks at Kagura, more with the intention of annoying and giving her a warning. Now, those small rocks don't have big weight and thus are easy to manipulate and control. This is where my headcanon and second canon divergent happens in my portrayal: Hakudoshi is not able to use telekinesis on objects that weigh more than him, in my post-canon verse this changes as he trains harder to be able to lift heavier weights but in his main verse he cannot do it. He would not be able to, for example, levitate Tessaiga in its transformed form considering it's much heavier than himself but he would be able to use the telekinesis to move his own weapon in case, for some reason, it was driven away from him.
The third difference between the anime and the manga is, for me, one of the most important scenes considering that it shows more of Hakudoshi's methodical and strategical side. Once more this scene is anime-only, possibly more to fill in the content of the episode than anything else but I still find it interesting.
This scene makes it Hakudoshi's second direct interaction with Inuyasha (and his group, although in this specific scene it's only Inuyasha) set in between Inuyasha visiting Totosai and learning about Hosenki and Inuyasha actually finding Hosenki. In the manga such scene never happened, it was immediately shown Inuyasha finding Hosenki's lake.
In the anime, they added that Hakudoshi was spying on the group through Samiyosho thus leading to the scenario above where Hakudoshi shows that he is always a step ahead. Not only that but he reveals that he knows about Hosenki's existence and even that Hosenki I is already dead (it's even implied at first that he had something to do with it only to be debunked by Hosenki's son).
Of course with the manga not having this scene they couldn't really change the plot behind it, however, I still find this scene interesting because not only shows Hakudoshi's childish behavior where he sees all this as a game (like a chess game) and Inuyasha's group are mere pawns in it but also that he could have easily killed Hosenki II, leaving Inuyasha's group without that resource and also, at the very least, injure Inuyasha seeing that he caught him by surprise but simply choose not to. He chooses not to kill his number one enemy with the mere exchange to see how Inuyasha would work around the problem, I think this is where it shows the differences between Naraku and Hakudoshi, while they are extremely similar in many ways and Naraku himself has been shown to be able to manipulate the odds in his favor, I feel like Naraku wouldn't have missed the chance to try and kill Inuyasha had he been this close to him like Hakudoshi was.
This is yet another change the anime made that I keep within my portrayal of Hakudoshi, not only it gave more interactions between Inuyasha and Hakudoshi but also showed more to Hakudoshi's strategic side.
The following scene is not different in either the manga or the anime however it's something I would still like to point out as it's one of my headcanons regarding Hakudoshi's betrayal plot towards Naraku.
While I believe that Hakudoshi and the Infant had already been plotting for a while (if not from the beginning) their plan to eventually overthrow Naraku I mostly think that this scene above might have triggered it to start working, this and also once Naraku gave the Infant the Fuyoheki which kept hidden the Infant's demonic aura.
Back to this specific scene, however, until then Hakudoshi had always been relying on the fact his heart (and Naraku's) was somewhere else as his "lucky charm", he could not be killed and could be doing whatever he wanted. He even hid behind Naraku's "protection" when it came to Kagura as he would punish her. This also made Hakudoshi extremely cocky regarding his status as a superior incarnation of Naraku, made him believe he was not a tool like Kagura was.
This specific moment, however, I headcanon it finally clicked in Hakudoshi's mind that he was not that different from the other incarnations, at least not to Naraku (in his mind he still was it) as he would use him as a shield just like he did with the other incarnations without hesitation, this made him realize that he is a tool just like Kagura and he absolutely refused to be it.
This would also lead to his state of rage, craziness, and denial we see in the moments before he dies.
The major change comes next, this time it was cut from the anime and I actually would have liked to have seen this animated. Unlike in episode 165 where Hakudoshi tested the newly created Moryomaru on Inuyasha, he actually tests it on both Inuyasha and Koga. This was the first and only direct interaction that Hakudoshi has with another enemy of his (and Naraku's) aside from those in Inuyasha's group.
Therefor while until now I've mostly maintained what the anime added to Hakudoshi's role, this time it's the other way around and I will be keeping this manga scene in my portrayal. It helps me give a better sight in how Hakudoshi would act around other enemies of his that are not Inuyasha and his group or around Naraku and Kagura. The anime pretty much reduced Hakudoshi's interactions to these three and I don't like it, just like I didn't like that pretty much all of Hakudoshi's personality traits in the entire series (both manga and anime) were being evil and a brat.
From here on until the parts that were animated in the original anime are pretty much all on par with the manga. Which brings the next big change to the first episode of the Final Act (and Hakudoshi's only appearance in the 2010 anime since he dies right in the first one).
His first appearance in the new anime remains the same as in the manga, meaning he goes to the dungeons to speak to Kagura who is in charge of watching the revived Goryomaru, however the major change is in his speech towards Kagura:
" Yes, freedom. If you truly desire liberation from Naraku you have no choice but to kill him." followed by " How about it Kagura? When the time comes I can retrieve your heart before I obliterate Naraku. "
In the anime, Hakudoshi attempts to make a deal with Kagura, tries to make her join forces with him, Goryomaru/Moryomaru and the Infant even tempts her with her so desired freedom and with the chance of retrieving Naraku. I confess when I first saw this I was confused, even when I hadn't read the manga yet, because until this point Hakudoshi has not once shown to care about Kagura's desire for freedom (something that to an extent he also desires but with another kind of end) nor had he ever tried to make a deal with her since he had always looked down on her. Granted this could very well just be a manipulation, most likely was, but still didn't explain his sudden need for her help when he never minded getting his hands dirty.
However, in the manga the speech goes extremely different, there is no temptation, there is no attempt to make a deal, he just plants a seed of doubt in Kagura:
" You want to know...just who Goryomaru is, don't you Kagura...? I'll tell you one thing. Even if you follow Naraku's orders...and protect Goryomarum, it won't benefit you. "
Still a manipulation however far different from that of the anime, he literally plants a seed of doubt in her, doesn't tempt her with a pact, he lets her make the decision on whether she should betray Naraku or not. And above all doesn't make such a promise to retrieve her heart.
In all honesty, I love both versions a lot, the anime's version fits a little better with my first point of canon divergent in which I wrote Hakudoshi is capable of creating a bond even if it takes a lot of time (and again not in his main verse, I refer this part to the post-canon verse and AU verses). It also gives me food for thought for an eventual AU where he actually succeeded in overthrowing Naraku (granted I never truly understood how he and the Infant intended to do so aside from absorbing Naraku into Moryomaru's body).
The manga's version is far more consistent with his relationship until now with Kagura: indifference, mutual despise, etc. But again, I did mention I didn't like how being evil and a brat was basically Hakudoshi's canon personality traits, I prefer to build my Muse with several character layers.
With this said, I made the decision to keep both versions in my portrayal and it will vary according to the kind of thread I am making.
A lot more was changed with the content of the following manga chapters when they were turned into anime but I won't dwell on it since they don't affect my portrayal of Hakudoshi.
Until his death though, all the rest is much the same and in his main verse, it remains so.
But this brings me to my Post-Canon Verses which serve for interactions post-Kagome's return to the Feudal Era in which Hakudoshi is brought back to life in a similar way to Kikyo except that instead of a body made of clay, it's a body made of yokai flesh (fox yokai) with a human heart thus making Hakudoshi a half-demon.
Upon being brought back to life, however, Hakudoshi has no memory of who he used to be. Forcing him to start over in an attempt to both move forward with his (new) life and at the same time try to discover who he used to be (when it happens though, it will cause heavy conflict in his now human heart).
He will also deal with human night every 9th day of the month.
I made these post canon verses with the idea of creating new interactions with other Inuyasha characters outside the whole "evil incarnation kid" (it gets repetitive and tiring to me to only use his main verse in every thread, I guess) and it also helps me build a more solid personality for Hakudoshi like other characters have.
The post became much bigger than I thought but I think I pretty much wrote down everything I wanted to write about the differences between the anime and the manga regarding Hakudoshi and how I use these interpretations in my threads.
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hey it's undertale theory time!
this is heavily thanks to @drundertalescum for giving me brain food with the idea that when toriel mentions how asgore could've crossed the barrier with one soul she wasn't talking about the first of the 6 humans he killed, she was talking about Chara. here's the massive stream of thought that came from that.
what this theory centers around is actually not specifically that, but a question i've had for the 5 years i've been in this fandom, which is Why asgore and toriel decided to have asriel when they did? as we all know boss monsters only age when they have a child, so asgore and toriel having asriel meant that they were going to die sometime after asriel grew up. but why Then? why 1000-ish years after monsters were sealed underground and not any point before or after?
(part 1: the prophecy)
what we know is that at the time the monsters all lived in Home aka what's now the Ruins, sealed behind a door that can't be opened from the outside. this was to protect themselves from any possible human who decided to cross the barrier and kill them all. we also know about the deltarune prophecy, that the Angel, the one who has seen the surface, will make the underground go empty. we Also only know of three monsters who were mentioned to have seen the surface; asgore, toriel, and gerson.
And Another Thing, gerson mentions that lately people have started seeing the prophecy as being about an angel of death who will kill them all. but the thing is, the dude's Old. he's literally older than monsterkind's time underground. "Lately" to him could very easily be within the last few hundred years.
what i'm getting at is, i think the belief was that asgore, toriel, or gerson (or all three) were going to be the angel who would free them, but sometime during their stay in the ruins that belief shifted to the angel being a human who would go into the ruins and kill them all.
what i think happened was, gerson began to age. he's not immortal like asgore and toriel, he wouldn't live forever. i imagine when that realization hit asgore and toriel they had a long talk about the future. if the angel really was about a human who would kill them all, then asgore and toriel staying alive on the basis that maybe they were the angel who would free monsters was just giving them false hope.
they weren't going to do anything drastic, but taking away their own immortality, while giving monsterkind a new ruler without any expectation of freeing them, would mark a new era. for almost a thousand years they had hope that they would be free, but maybe it was better to just accept that this is their permanent home now and make the best of it. yes the prophecy likely said a human was going to kill them all but humans had left them alone for all this time and possibly forgotten all about them, they were behind a door that couldn't even be opened from the outside, staying in Home meant they were safe from humanity.
and then chara fell and everything went upside down.
(part 2: One Soul)
people have theorized that chara and asriel's friendship is the entire reason monsters lost their fear, left the ruins and went to live in the rest of the underground in the first place and i think that's most likely true, but what if before then asgore and toriel had a discussion? after all chara was a child but so was asriel, so was every child living underground, doomed to die without ever seeing the sun. chara was a human with a human soul. would killing chara be worth a chance at freedom?
we don't know if they had that conversation but we know the result; Absolutely Not. it's not worth it. it's not worth it to kill an innocent child for their freedom.
but i think they still saw within chara a chance for monsterkind to live on the surface. after all, toriel and asgore were aging, and when they died their soul would remain long enough for a human to take it and leave the barrier. i think they were hoping this would allow for chara to leave and find souls outside to bring back and break the barrier while a now fully-grown asriel would be able to lead the monsters on the surface to coexist with humanity, using his friendship with chara as an example to all.
of course this didn't end up happening because everything went wrong. monsterkind's hopes for freedom and an era of peace on the surface were all dashed, the prince of monsters was killed by the humans of chara's village, all the wounds from the monster-human war that were thought healed were torn open.
both asgore and toriel were understandably traumatized by this and both their reactions were completely understandable; asgore saw this as evidence that peace with humans was impossible and declared war, toriel saw asgore and monsterkind turning their backs on her children's legacy and decided to leave them behind. but it's what happened afterwards where i think they lost their way.
asgore lost his way because he decided to give monsterkind false hope. you walk through the underground and hear monsters talking about their lives; they're not happy. there are so many problems in the underground and it seems like few people are working to fix them; any time the problems are brought up they're either laughed off or amended with a "but it's ok because soon we will be free".
toriel also lost her way, by looking at the scenario where the humans went to asgore and fought him, which could only end in either of them dying, and choosing to not intervene.
the pacifist ending results in, among other things, toriel realizing (likely after facing frisk and finding their determination to not kill her) that she was wrong and that she couldn't let this fight happen.
i used to think this bit of the game was the one part i disliked, bc it didn't make sense for me for toriel to lecture asgore for not taking the first soul that dropped, but it never occurred to me until drundertalescum pointed it out that she very likely was talking about Chara.
toriel came here after realizing it wasn't worth it to let asgore die even if it meant the human could go free. and she reminds asgore what he seemed to have forgot, that it wasn't worth sacrificing anyone for their freedom. it wasn't worth it when the child in question was chara, it's not worth it when the child in question is frisk. and it's especially not worth it when asgore clearly doesn't want to hurt anyone, when he doesn't really want freedom, and is only doing this for a thin veneer of hope for monsterkind.
and asgore, who in the neutral run decides it would be better for him to die and for the human to take his soul, realizes that she's right. that it wasn't right to sacrifice anyone for their freedom, that it wasn't right to keep monsters barely going with this empty tragic "hope", and that it wasn't right to give up his own life even if it meant freeing frisk and through them potentially monsterkind as well.
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You know, it’s funny (not really) how reading the asks people send you and your answers too make me think how we’re all here sort of trying to make sense of stupid mistakes a male writer made, and in this very weird way ended up affecting us too.
This is comforting because it’s almost like a group therapy for people that can’t get over how their favorite characters got screwed, but also I feel deeply sad about it sometimes.
That we can’t actually change stuff or at least make people realize how toxic it is to have Joshes writing most tv shows for an entire generation.
I know there have been better shows, and I know things are changing more and more with time but I still feel like it’s still not enough. Even nowadays there are shows that mistreat female characters I adore and it leaves me devastated. The fact that they need to ruin characters thinking the audience will only keep watching if there’s drama happening. We want wholesome stories, we want to watch the characters we love evolve.
I wish I could see all the Marissas that grew up and overcame their problems writing and directing shows, I wish that they were written by people like us that know how much a fictional character can matter to others, how they can literally change lives at times, how they keep company to people that are depressed or sick... I wish they knew how crafting a story should be something done with responsibility and not only thinking of numbers and $$$. I know this is me romanticizing an industry but I wish it was possible.
This message made me tear up a little, not gonna lie. I very much agree with everything you said. To have writers and show runners shit on characters we've come to be so intimate with is so cruel. I know the rebuttal is easy: "it's just a tv show, move on". But these people in the entertainment industry market their products to us because of the personal attachment we'll make. Our involvement, watching on tv/streaming/whatever, is literally vital to their success. It's gross to me that people involved always react to deeply felt criticism so harshly. It's like, YOU'RE the one who enabled us to get so deep.
Making ~edgy~ decisions for beloved characters is not it. Every show wants to be Breaking Bad, keep fans on their toes, but guess what... it fucking takes work. It takes meticulous planning. (I'm rewatching BrBa right now so excuse this tangent but it's the greatest show of all time for a fucking reason.) Vince Gilligan couldn't just go about willy nilly with storylines and 'see where it goes' !
I don't watch a ton of current tv, but I'm sorry that it's still happening. I won't get into this because it truly makes my blood boil but the way my favorite character on GoT was shafted is unforgivable. Female characters are always the first to be turned upside down, whether for manpain, to drive the plot forward no matter what, or for manic pixie dream girl content.
My relationship to The OC is very complicated. That's partly why listening to the podcast is difficult for me, especially if they start talking about s4 which readers of this blog should know I try to avoid as much as possible. Something you get so emotionally invested in can absolutely break your heart, and I wish more people were sensitive about that.
One last thing, the choices that writers make are so often not just about narrative decision. There's appeasing networks, studio heads, what demographic is tracking, etc. In Josh's choice, he was catering to trolls on TWoP who hated Marissa. What a cowardly reason. *to Josh* How about you do the work to make Marissa's life easier so she's not the drama magnet you always had wet dreams about. And it's not always the women treated terribly. Look at Veronica Mars. They killed a character so they could have a noir procedural that'll likely never happen. So fucking dumb.
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Tate is literally the worst🙊
I’d care how you speak about Tate around me, anon.
I’d KILL for Tate.
He’s my world.
CONTENT WARNING MENTIONS OF SUICIDE AND ABUSE
I have a really bad rash on the side of my face and I generally don’t feel well so I called my doctor. She said if it gets worse to go to the urgent care to get it looked at, so I talked to my mom (narcissist, can’t take care of her own children) and she literally only complained about me and that she can’t take me. So I asked my uncle cause he really the only one that cares.
My grandma yelled at me for doing so. I ended up having an argument with her and then walking out. I walked down the street to my neighbors house all the way at the end of the street and picked flowers and cried and listen to music. I picked flowers instead of hiding in my room.
On the way back I left my future up to flowers. Kill myself or dont. My last flower was to do it. As I walked up the street I dropped the last flower and decided I shouldn’t let my trauma win. I shouldn’t let the abuse kill me. My mothers inability to raise her own children is not my fault. It’s hers. And I shouldn’t kill myself because she’s not the mother I need her to be. If I were to go through with suicide my cat would miss me and my boyfriend would miss me. The abuse is repetitive, but I have to be strong. The abuse is constant, it’s more trauma to add to the ever growing list I already have. But I have to get through this.
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i truly believe that you and sebastian stan would go well together. all that chaotic energy? wow. i would literally die to have a drink with both of you.
jdksjdkdjd we would literally share a single thought and sing a lot of songs really terribly together lmao
(but tbh I really think he is a drinker of respects women juice and would be very open to taking suggestions/directions in bed, so we would probably get along???)
also @divine-mistake is gonna kill us bc she has already laid claim over him as her man jdsdnskdb
tell me who u ship me with (celebrity, character, fellow tumblr user, etc)
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