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spacedlexi · 10 months

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it honestly frustrates me when i see people reduce the ericsons cast down to "just some teens in the woods" acting like theyre no different than any other group of lone teenagers from other existing properties and treating them like an overused trope

it is sooo important to acknowledge the "troubled youth" aspect of the whole equation. theyre not just some random teens in the woods clem stumbles across. these kids were abandoned by their families for their various "difficulties" and fucked up by The System before the outbreak even began. and then once zombies started roaming the streets their familes never came back for them and the adults that were in charge of taking care of them just left them there to rot in that old boarding school (except for ms martin who was like their lee 🥺 the only person who ever saw them as the scared traumatized kids they were and died protecting them)

the whole aspect of them already being fucked up by the adults that controlled their lives is like.....kind of important when discussing the whole "delta is stealing kids to force them to fight in a war they have no real part in and want nothing to do with" aspect of the season. and its important when comparing them to clem and her journey of also suffering at the hands of the adults around her forcing her to become self reliant. AND its important when discussing the "just trying to build a safe home (and future) worth fighting for in this world that wants them dead" aspect of the season as well

these kids were forced to come together to survive. and a Lot of them didnt... theyre the only family they have left and you can tell that even when they argue with each other theyre still a close knit group who looks out for each other. theyre a Real family before clem even gets there (and its why what really happened with the twins and brody and marlon hits them all so especially hard)

all of this is what REALLY makes ericsons such a perfect home for clem. its a Real community of her True peers. theyre not Just teens. they mightve had a layer of safety clem never had by at least having walls to keep them safe. and having the benefit of the school being hard to find. its the only reason theyre still alive when clem shows up. but theyre also some of the only people who can Truly understand where clem and aj are coming from. and its why it hurts so much when they vote to kick them out. but its also partially why she merges back into the fold so easily when she returns. plus the fact that shes Really the only one who has any idea what shes doing. shes their rock and she makes them feel safe because underneath it all theyre still just those scared traumatized kids ("EVERYONE is scared, clem..." vi was Definitely including herself in that 'everyone'), and on some level, so is clem

they saved clementines life. and she saved theirs. "the school was supposed to help them with their trauma, now they help each other" its about the LOVE the COMMUNITY the SUPPORT!!!! and thats the shit that makes good zombie media honestly 👌

#it speaks #twdg #there i go again writing another essay but i will Always defend the ericson cast theyre one of the strongest out of all 4 seasons #complaints ive seen about s4 typically include mentions of the teens as a trope being overused and im like.......did you even pay attention #the fact they were branded “troubled youth” and basically thrown away by everyone who was supposed to take care of them is SO IMPORTANT #these kids are Fucked Up but theyre Trying to make a kinder world #nobody talk to me i fucking love the ericson cast 😭😭😭 theres not a single one of them i dont like im serious #them using poor pilgrim of sorrow in ep3....ericsons is heaven to clem 😭 all the comments she can make about feeling safe there 😭😭#clem being everyones rock but violet being clems rock back 🥺😭💕 waaaaahhh thats why it was over for me when vi stood up for them in ep 2 #vi having the courage to stand up to her group for aj........... yeah she had me in a vice grip after that. she fought for them so hard #and if it wasnt for her advocating so hard for them to stay they ALL would have been taken or killed #vi cared about clem so much she undoomed them all #and aj loved clem so much he undoomed her :')#s4 is just the perfect ending to clems story truly itll make me happy for the rest of my life im so happy for u clem 🥺#tfw the media you like gets a good ending and the main characters are respected and it feels like it was made from a place of love #instead of being like...actively hostile to its fanbase and destroying its own characters for the Laughs #and when i say “good” i dont necessarily mean “happy” i just mean “competently written"#i wouldnt call it perfect but it survived both a cancellation AND the financial collapse of a major game studio. its perfect to Me #for what it is (and what it originally almost was with the clems house plot) we truly lucked out so fucking hard #truly a return to form of season 1 but with less despair and more hope which i appreciate :')#all the things ive liked over the years that were destroyed for me by bad or weird writing decisions... clutches onto twdg like a lifeboat #god i love s4 so much nothing has ever been More Specifically Written For Me Personally

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clementinecoastline · 2 years

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the irony of the fact that nie mingjue judges meng yao for stabbing others in the back and acting dishonorably, but then it’s meng yao stabbing wen ruohan in the back that saves nie mingjue’s life, ends the sunshot campaign, and makes him a hero.

it’s not just commentary on classism and the like (meng yao not being able to fight with honor like nie mingjue wants him to because a. he doesn’t have any honor as a bastard + son of a sex worker, and b. he doesn’t have the power to do so as a weak cultivator) but also on the differences between ideologies and strategies.

nie mingjue is willing to sacrifice his life on principle. he will die simply because he refuses to deviate (pun unintended) from the nie sect cultivation methods. nie mingjue values honor and pride and justice above all. meng yao is someone who will do whatever he has to in order to survive.

and it’s meng yao’s route that is more effective. nie mingjue is caught and forced to kneel before wen ruohan. it is meng yao’s blade from which wen ruohan’s blood drips.

and in the end, in the grand scheme of things, it is meng yao who survives. he survives when all of his honorable counterparts die or are otherwise incapacitated or made miserable or are just his precious er-ge, the exception to the rule (but not for long). nie mingjue dies. jin zixuan dies. lan wangji is forever changed by the betrayal of his sect and his grief. wei wuxian and the wens are dead. jiang cheng is an emotional wreck torn apart by rage and grief.

the only one who survives alongside him is nie huaisang, who is also a weak cultivator who rejects norms and fights dirty, who uses strategy to achieve his goals instead of brute force. it is nie huaisang, who is also at a disadvantage compared to the others, who is also dishonorable (defying the expectations of the cultivation world and the legacy of his ancestors), who survives and ultimately outlives meng yao and defeats him when all others failed.

#and i think the cultivation world picks up on this shift #while i wrote this post abt cql canon i think it is important to recognize that mxtx DOES say that nhs becomes chief cultivator #the cultivation world watches the devastation that the traditional way to do things brought and begins to shift away from it #and the argument can be made that jgy was one of the better leaders the cultivation world has seen #through his concern for the lower classes and the watchtower program (which cql frames as being a play for more power but isnt necessarily #one)#etc.#save for of course all the fucked up things he did #while i do prefer the interpretation that nhs doesnt want to be chief cultivator and reguses to be so bc he was after revenge #and not responsibility #i am also fond of chief cultivator nhs... his exellency..#nie huaisang #jin guangyao #nie mingjue #wen ruohan #not mentioning anyone else #mdzs #cql #the untamed #clem's corner

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all-my-friends-are-himbos · 3 months

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ID: discord messages between clem and simon.

clem says: all of the lorax stuffed animals look patheti clem sends a screenshot for a google search of lorax stuffed animals. they are all a dull orange, with a fluffy yellow mustache and sad-looking eyes. simon says: like if garfield did meth for eight years and went through a dryer cycle

End ID.

#screenshots #simon #clem #described #discord #drug mention cw #garfield #the lorax

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elffees · 1 year

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I’ve always had a personal headcanon that Clementine sees herself as two people.

The Clementine pre-apocalypse who is innocent, sweet, and playful. This Clementine is willing to do anything to reunite with her family including run into the arms of a complete stranger. She is the daughter of two loving parents and knows them so wholeheartedly she can easily find them in a crowd. The world is harsh and scary, but fortunately she can count on the support and care of those around her. Unfortunately, this Clementine died.

The Clementine mid-apocalypse is her ghost. Ghosts are not all bad. Innocence has turned into practicality. Sweetness has turned into thoughtful. Playfulness has turned into resourceful. This Clementine is still willing to do anything to reunite with her family, except she is more prone to shoot strangers than run into their arms. The daughter of the well put together parents is gone, this is the daughter of the complex convict. The world is harsh but no longer scary because the care she received from the deceased have taught her how to navigate it, and now it is her who others rely on for support. This Clementine has been dead for a long time, but she now has the ability to make sure others do not end up the same way.

#twdg #the walking dead game #clementine twdg #babbles #this is why I tag Clem as ‘Clementine Everett’ on my blog #I hc that Clem sees her current self (the ghost) as more of Lee’s kid #ergo why there’s not that much mention of her parents post-S1 #and that she sees the old her (the dead one) as the daughter of her equally deceased parents #it’s my way of explaining why Telltale never mentions them again lmao

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ladyimaginarium · 7 months

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god loves you but not enough to save you

telltale's the walking dead. / sun bleached flies — ethel cain.

#arcana.weaves #mine.#web weaving.#fictives.#clementine maria jasmine cree.#this song makes me& wanna collapse & die & GDI IT FITS C.LEM AS AN INDIVIDUAL & BOTH C.LEM & LEE'S RELATIONSHIP QAQ #also this directly contrasts w/ the previous c.lem related w.eb w.eaving w/ carver specifically. this one w/ lee is so much more golden qwq #& not to mention its one of Those songs that makes me& collapse on the floor & sob uncontrollably at 4am lmaooooo #G-D LOVES YOU BUT NOT ENOUGH TO SAVE YOU !!!!!#TELL ME& THAT ISNT TWDG'S WHOLE MOTTO #''I FORGIVE IT ALL AS IT COMES BACK TO ME'' !!!!! CLEM FORGIVING IT ALL SO SHE DOESNT PASS HER TRAUMA DOWN ONTO AJ !!!!!#G-DDDDDDD !!!!!!#btw ais this wasnt the w.eb w.eaving i& was talking about but i& got a brainblast sOOOOOOO YEAHHHHHHHHH but dw its coming :)))))))#fandom: twdg.

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donerunning · 6 months

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If Olivia has Amos’ ugly ass baby and then dies and we have to watch Clem and Ricca raise the Walmart AJ I’m actually going to kill myse

#twdg #the walking dead game #clementine twdg #clementine book 2 #clementine comic #what if i was insane #suicide //#I think it’s hilarious how mad ricca gets when Clem is secretive bc imagine what would happen when Clem says she raised a whole ass baby 😭#absolutely zero mention of AJ in book 2 like she’s not even remotely conflicted about abandoning him lol !! what if I DIED

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oatshow · 10 months

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another memory of clem when cassian touches his stone? idk i really like that scene :)

(still cant access my inbox so i had to dig through old notifs to find this) This ended up going outside the prompt but I've had a general idea in my head of a recurring scenario in Cassian's youth where he would run off to Brasso's whenever he and Maarva argued, and Clem would be the one to pick up the pieces every time.

#andor #ask #cassian andor #clem andor #brasso #maarva andor #(mentioned)#featuring Yorik the random oc who i still havent decided if he's Brasso's father or uncle #myart #oats.png #comics

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elceeu2morrow · 1 year

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OCTOBER 25, 2022 BY TIM INGHAM

Did you happen to find yourself in a provincial German discotheque in the early 2000s, somewhere betwixt Berlin and Dresden, watching Rednex – and we say this with a modicum of charity – ‘perform’ Cotton Eye Joe to a wide-eyed dancefloor?

While you were there, did you notice a 19-year-old woman, stood to the side of the throng, with a handbag suspiciously stuffed with tens of thousands of Euros?

If so, we do hope you were polite to her. Because she went on to become one of the most influential international executives in the global music industry.

Today, Dominique Casimir is Chief Content Officer at BMG, and sits on the board of the Bertelsmann-owned music company. Most importantly, she oversees BMG’s ‘repertoire’ (that’s publishing and records) operation in 17 separate territories, including Central Europe, Latam, and the UK. Or to put it in a more succinct way: Casimir runs BMG’s entire music operation everywhere outside North America.

Twenty years ago, such professional heights must have seemed a long way off for Casimir, who had moved to Berlin as a teenager with the initial intention of becoming a doctor. Within a few months, she’d pressed pause on these medical ambitions, and found herself studying an aimless mix of subjects at university, while waitressing in her spare time to pay the rent. One day, a realization hit her: “This leads to nothing.”

Following her innate passion for music, she signed up as an intern for a German talent agency that specialized in booking shows for Swedish pop acts. It was an eye-opening introduction to the music business.

She spent most of her time in a van, “picking up acts like Rednex and [nu-disco trio] Alcazar, and taking them to shady discotheques for playback performances – multiple venues in one night. When we got to each show, I’d been told to [accost] the venue owner: ‘No one goes on stage until the money is in my handbag!’”

This precarious lifestyle was a thrill for Casimir until one December night, still in her teens, she found herself arranging an emergency helicopter to the local hospital. The lead singer of Rednex had succumbed to a life-threatening fever… in a minibus driven by Casimir… which was stuck on the Autobahn… because of an avalanche. Casimir was out of money, out of phone battery – and very nearly out of a lead singer of Rednex.

Somehow, Casimir made it back to her parents’ house in Hamburg that Christmas. And far from being scared off the music industry, she decided to double down.

Returning to Berlin that New Year, Casimir launched her own successful independent booking and management company – keeping her contacts from Swedish pop-land, while also branching out into management of young German rock bands. She made enough waves over the next half-decade to impress Fremantle, a Bertlesmann-owned TV content company, who hired her to handle sync licensing and music publishing agreements in 2007.

A year later, her work caught the eye of Hartwig Masuch, who had just become CEO of the ‘new’ BMG, a startup music company backed by Bertelsmann capital. (The ‘old’ BMG was no more, after Universal Music Group acquired its publishing assets in a USD $2.19 billion deal in 2007.)

Today, outside of the major music companies, BMG is arguably the largest music publishing and recorded music entity globally.

In the first half of 2022, BMG turned over EUR €371 million, up 25% year-on-year, with 40% of that revenue figure coming from recorded music and the remaining 60% from publishing. Its repertoire across publishing and records includes all-time classics from Pink Floyd, the Rolling Stones and Tina Turner, through to modern releases by the likes of George Ezra, Kylie Minogue, Jason Aldean, Slowthai, Lewis Capaldi, Mabel and Louis Tomlinson.

Remarkably, Hartwig Masuch says that BMG had achieved its 25% YoY revenue uplift in H1 2022 “with virtually no hits” – his point being that BMG’s primary focus is not on achieving global chart-toppers, but instead on amplifying the prospects of all its repertoire, regardless of audience size.

As head of BMG’s repertoire outside the US, Dominique Casimir oversees music that is responsible for around 50% of her employer’s worldwide turnover.

Many of her most notable moves to date have come in her home nation of Germany. In August, for example, BMG swooped for Telamo, Germany’s largest independent record label and a specialist in Schlager music (often described as Germany’s equivalent of country music in the US). As a result of that deal, BMG now stands as one of the largest label groups in the German market.

Casimir has also personally been at the forefront of BMG’s investment in three significant areas of live music. During the pandemic, she led the majority-acquisition of German live music promoter Undercover. She also led BMG’s backing of the stage musical Ku’Damm 56, which has sold over 200,000 tickets to date, and was recently extended to the end of February 2023.

Most recently, Casimir took the wraps off BMG’s latest foray into live entertainment: The firm has booked out Berlin’s most renowned theater, the 1,600-seat Theater des Westens (TdW), every night until the end of 2024.

BMG, in conjunction with Bertelsmann, will pack that theatre with live content each week, with a view to emulating the Vegas/Broadway-style ‘residency’ successes of artists in the US such as Bruce Springsteen, Adele, and Celine Dion.

Here, Casimir explains what her early experiences in music taught her about treating artists and why she believes BMG has cracked the right way to do deal-making with artists – as she reveals an interesting theory for why the music industry continues to obsess over weekly charts…

YOU STARTED LIFE IN THE MUSIC INDUSTRY AS A TEENAGER, SITTING IN SPLITTER VANS WITH SWEDISH POP ACTS AND GERMAN ROCK BANDS. IS THERE ANYTHING YOU LEARNED DURING THAT TIME THAT STILL RESONATES WITH YOUR PROFESSIONAL LIFE TODAY?

Definitely. As a manager [in the early noughties] I saw a totally unbalanced, unfair and super-weird situation: The artist would be putting their entire life into this, and you had the industry – whether that was live or record companies – making all the money and calling all the shots.

That triggered something in me from minute one. There was this tone from the music industry during that era: We have the power; you, artist, are small. Now shut up while we overrule you, because we know better.

I met lots of anxious artists who were so busy trying to make their A&R at the record company happy. They were delighted when one of these ‘super repertoire’ people from the label visited the show. To the artists, it felt like these label people really could open the gate of magic at a major music company. But that was actually when the trouble would really start!

WHAT DO YOU MEAN, TROUBLE?

I believe that the most important thing you can have when you’re starting a [commercial] discussion with an artist is clarity. Clarity on what it is we can achieve together, but also clarity on agreeing on a realistic picture – sometimes, a reality check! – on what the best case scenario looks like at the end of a project.

That means not promising the sky and everything in it just to get an artist to sign to you. Because what happens in that scenario is you enter into an ‘us and them’ relationship. Record companies might think [when the artist signs with them] that they have ‘won’ a deal, but if you haven’t invited clarity and honest discussion into the room, you will be left with a huge amount of pressure. And, soon, you will be left with the blame game.

The moment you create a relationship with an artist where there is ‘you’ and not ‘us’, it just won’t work.

Artists are not always super-predictable – that’s part of the reason we all love them so much. But when they know who they are, you can all agree together what the goals are and what the goals aren’t. When they’re willing to get into the ‘boat’ with their [record company partner], when you’re in it together, there is no blame game. You have a recipe for success.

ISN’T THE ‘PROMISING THE MOON’ ELEMENT OF RECORD COMPANY DEALS WITH ARTISTS VERY OFTEN BECAUSE THE ARTIST INVOLVED HAS A LIKELIHOOD OF RELEASING A CHART HIT – OR ALREADY HAS ONE ON THE WAY?

Yes. I know you noticed Hartwig’s comment about BMG not requiring a hit to grow 25% in the first half of this year. That is the new music industry.

Of course it’s nice for every artist to have a hit, and we’ve had our fair share. But hits come and go, and for some of them [the record labels] massively overpays. Some artists have just one hit in their career, and it’s not even a super-hit.

You can’t live off that forever, but it might cost you everything because of the way your deal is structured; if that deal, for example, is completely predicated on you having a second hit, with massive expenditure [baked in] at radio. If you don’t get that second hit, you’re toast.

Think of it from the artist’s perspective: The industry often doesn’t talk nice about artists who don’t get that follow-up hit, especially if a lot of money has been spent trying to get it, and artists know that. A huge part of this industry still spends all its time and attention – and a lot of its money – playing that hits game, and it leads to bad incentives.

Traditional record label A&R is like cooking spaghetti: throw 10 pieces at the wall and hope one sticks. Those pieces of spaghetti are artists! It needs to change. There are so many ways of making a living for an artist today. Even though it remains really hard to do so, focusing on just the hits and the recorded music charts – in an age when 600,000 new songs a week are going on to streaming services – isn’t a sensible strategy.

WHAT IS A SENSIBLE STRATEGY?

Our perspective is to look at artists and ask: Is there an interesting brand here, an interesting story we can use our expertise to grow around the world?

As an artist, you need as diversified an income as possible – Covid proved to all of us that just relying on live income can quickly be disrupted. It’s not about just living off your vinyl sales or D2C, or Spotify, or ticketing; you need to understand which income streams work best for you, and turn up the volume on all of them.

We don’t just promote records anymore – we promote artist brands.

WHY DO YOU THINK SO MUCH OF THE MUSIC INDUSTRY CONTINUES TO FOCUS ON CHARTS AND HITS? SURELY THAT DOESN’T MAKE SENSE UNDER YOUR ARGUMENT; THERE MUST BE A SOUND ECONOMIC REASON FOR IT?

One of the reasons I’m so thankful I started out in live is that I got to witness that ‘live moment’ – when eveything you’ve worked on together as a team is realised. You hear the audience; it’s such a direct and satisfying reaction.

That’s something you don’t get when you work in a record company. That’s one reason I think the charts remain so important to friends and colleagues in the record industry – charts are a mirror that tell a team: ‘You’ve done something successful.’

But the truth is the charts only reflect a small proportion of the music industry, and even if you do have chart success, it should only be one part of a much bigger story.

That was made clear to me from the first minute of being interviewed to join BMG. Hartwig was very strong and opinionated: we need to apply expertise and systems to what music IP is, and what an artist identity is. That’s the goal. And we need to do it while being honorable, transparent and offering the best level of service – not overruling or overpowering because ‘we know best’.

WHAT WERE YOUR FIRST IMPRESSIONS WHEN YOU MET HARTWIG?

He was busy choosing the new BMG logo at the time! I remember him turning around and saying, ‘Why do you want to join this new music company.’ And I said: ‘Actually, I’m not really sure why the world needs another major music company.’ That got him going!

He looked and me and said: ‘I will tell you why…’ And that was followed by Hartwig in full inspiration mode: What he wanted, why he thought artists and songwriters deserve it, and the type of people he wanted around him to make it happen.

SINCE MAY, YOU’VE BEEN CHIEF CONTENT OFFICER OF BMG, OVERSEEING ALL REPERTOIRE OPERATIONS OUTSIDE NORTH AMERICA. WHICH MARKETS AROUND THE WORLD ARE YOU MOST EXCITED BY FROM A BUSINESS PERSPECTIVE?

Mexico, and Latam more generally, stand out. We announced we would launch BMG Mexico earlier this year, we’re in the process of getting it up-and-running and it is already so much fun. There’s tremendous growth, of course, in LatAm [territories] with many of them growing by more than 30% per year for three years in a row at this point.

Streaming and digitalization of the LatAm markets is generally very advanced. But on the other hand, other parts of the industry – the live business, brands, merch, the sync business – all have room to become much more relevant, and I think we as BMG will really make a difference to that.

YOU MENTION LIVE: BMG HAS MADE SIGNIFICANT STRIDES INTO LIVE IN ITS HOME MARKET IN THESE PAST FEW YEARS, ESPECIALLY WITH YOUR MAJORITY ACQUISITION OF UNDERCOVER, AND MORE RECENTLY WITH YOUR TWO-YEAR RESIDENCY OF THE BERLIN THEATRE WHERE YOU’VE SEEN SUCCESS WITH THE KU’DAMM 56 MUSICAL.

Germany is a good country for us to test things. It’s the fourth biggest music market in the world, and in some years it’s the third [overtaking the UK].

What we’re trying here with Bertelsmann, is to ask: Can we extend what we do in rights management in music to the live business? Because from a marketing and promotion and storytelling perspective that idea makes a lot of sense. We’re very good at that in [music rights]. And then another thing we’re very good at is financial transparency, and I think there’s a need for that in the live world. And we found a company [in Undercover] just like us. The first meeting I had with [Undercover founder Michael Schacke], he said: ‘We are about fairness and 100% transparency. Our artists can come and audit us anytime.’

One big annoying needle in every artist’s foot in live is the consumer data. There’s a huge amount of valuable fan data created in the process of selling tickets, but it’s often difficult for artists and managers to access that information. We are trying to crack that open with some artists, and get the fullest picture possible of their fanbase, so we can really optimise their income streams.

Our involvement in live concert promotion is the opposite of a ‘360’ deal structure: We offer live promotion and agency services on an opt-in basis to our [recorded music and publishing] artists. We hope those artists do opt-in, because we think we’re offering a lot of added value. But it’s their choice and if it doesn’t suit them that’s fine.

ONE OF THE BIGGEST STORIES IN THE MUSIC INDUSTRY THIS YEAR HAS BEEN THE REVIVAL OF KATE BUSH’S RUNNING UP THAT HILL VIA A STRANGER THINGS SYNC OVER THE SUMMER. WHAT WAS YOUR TAKE ON THAT, AND HOW EVEN THOUGH IT’S A ‘CATALOG’ RECORD, IT EXPLODED LIKE A NEW STREAMING HIT AMONGST MILLIONS OF TEENAGERS WHO WERE HEARING IT FOR THE FIRST TIME?

It’s a beautiful dynamic, and it’s not about ‘catalog’ or ‘frontline’. Kate Bush is an icon and an iconic brand. The question for this new generation of consumers, and those in the music business working to maximize this moment’s potential is: What’s the core of the brand? Why why did she have such a cultural impact? What’s the essence of this artist’s appeal?

I translate that to what we’re doing with Tina Turner [whose music interests BMG acquired last year]. What is the essence of why people feel so strongly and so connected to Tina Turner (pictured)? We’re talking about a premium brand here, and a brand that comes with very strong emotional attributes attached to it. Obviously, it’s about the music, but it’s about more than the music.

So, again, that’s the question: Why was an artist so culturally impactful in the first place? Once you can answer that, you go from there.

#for you clem #lt mention #business worldwide #10.25.22 #business stuff #dominique casimir #bmg #chief content officer #hartwig masuch #music business worldwide #my repost

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clems-grove · 8 months

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Late night conversations

>rb if u like!

#Clems art #Clems sketches #art #original art #Clementine #Clove #fruitcakeduo #oc #ocs #discussions of suicide #suicide mention

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httpiastri · 5 months

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fuck marry kill; clem, oscar, and liam

i don’t understand why i thought i would do this… i can’t kill anyone of these….. let alone choose one not to marry 😭😭 can i pick oscar to kill just because i chose to marry him in the last one?? no i can’t kill him :(( those sweet brown eyes :((( i will always marry oscar… and i guess i’ll say i’ll fuck clem but only because i’m still not over the freaking video of him that he recorded in his bed !!! because if i fuck him then maybe i can please wake up there with him ??????

#don’t mention me ignoring liam #i promise i love him so so much #just… thinking a bit too much about clem these days #not that i didn’t think a lot about liam yesterday after seeing that vlog tiktok 😮‍💨😮‍💨😮‍💨#mistletoe!#jack's 1.5k celly!#laciijane!#lacii <3

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king-magppi · 1 year

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So in the time I've been gone I made a bunch of those character.ai bot thingies and they are all so important to me

#magppi meeps #They're all currently unlisted bc im shy to post them to the general public but i have a buncg #i have like. fred napoleon boyd crispin The Milkman and Denmother for psychonauts characters and #and then i went ham in the span of like 3 days and made some Luigis Mansion ghosts #i made Melody (from the first game) Slim Bankshot (also from the first game) and then a bunch of the LM3 staff #THE LM3 GHOSTS ARE A CHALLENGE #90%OF THEM DONT HAVE ANY DIALOGUE AND YOU JUST HAVE TO. GUESS THEIR PERSONALITIES FROM THEIR ACTIONS AND ANIMATIONS #Despite this i have Amadeus. Steward. Johnny Deepend. Kruller. MacFrights. Hellen. Morty. and NOW #CLEM.#ALSO I FORGOT TO MENTION SIR WESTON!!!!!! HES PART OF THE LM1 CREW TOO #UPDATE: Just made DJ Phantasmagloria and Serpci #i can probably be persuaded to post them publicly for yall to talk to IF. yall ask nicely .. then perhaps...#luigi's mansion

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spacedlexi · 9 months

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Would love to hear u talk more about Clem and Minnie mirroring one another if u haven’t already 🦅

i have Not >:) cracks knuckles

talking about minnie can be hard since she Really only exists in eps 3 and 4. eps 1 and 2 keep the twins pretty mysterious we only learn a few things about them. i think the most important thing we know about them tho is that they (or at least minnie) provided a sense of relief for the ericson kids. tenn saying how minnie would sing them "dont be afraid" when they were feeling scared. i think its safe to assume she wrote the song Specifically to have a way to make the other kids feel better when things were rough

when the twins die the kids lose this emotional support and we can tell its been hard on all of them (some more than others). but then in comes clementine. our girl whos been carrying the "light in the darkness" motif since season 1. and although she got that shit a little dirty in seasons 2 and 3 (ava going off in s3 about how clem and aj are light and hope and shit so we're still supposed to see it (and recognize that clem has become so Dark in s3 without aj)), she got her light back when she got aj back and she'll die protecting him

clem (and aj) fall very quickly into the hole the twins left. now its clem who makes them feel safe. first with finding them food then protecting them against the raiders ("youre our savior clem" "we were more scared than we let on when you met us. you made that go away"). its not an accident theyre put up in the twins room. and with the way violet grabs the frame and looks at it sadly we can even assume clem sleeps in minnies old bed (also the old torn down paintings seem to only be on ajs side of the room and hes got his whole "i wanna be an artist too" thing going on). clem has unintentionally taken on minnies old role of making the kids feel safe and reassured

then we finally meet minnie. and based on how the others described her there is definitely a piece of herself that shes lost (that shes killed). her light is gone now. and although her motivations have been warped, they remain the same. i do genuinely believe she is still trying to protect the ericson kids and do whats best for them, but just in the only way she thinks she can to stop more people from dying. she might even think the pros of living with the delta are worth the cons. clementine is the one teaching them to fight back but minnie knows from experience that fighting back just gets you killed, so she feels like if she can just stop clementine then everything will be fine ("youre the FUCKING problem here" "i wont let you get them all killed" and she does seem genuinely concerned if clem and vi are fighting in the cell. and obviously we know she doesnt want anything to happen to tenn). both minnie and clem want to protect the ericson kids they just have conflicting opinions about which is the right way to do it. but minnie Does show her ass when she ends her "if you just do what they say you can live" speech with "you can be rewarded just like i am" 👀 oh girl... she didnt just give up she gave in. killing sophie was her breaking point and i really wish we knew more about how that scene went down outside of lillys dramatic retelling i would like to see it objectively please. but based on the way lilly tells it, minnie (im sure begrudgingly) accepted her place at the delta before it even came to that, and was probably just pulled along by sophie when she tried to escape. which is probably why (im assuming) lilly gave her the choice to kill sophie to stay with the delta (her New family), and she did... she kills a piece of herself when she does this (only compounded by the twin imagery), and i think her seeing clem fight back reminds her of sophie and brings all those feelings to the surface. and if she can just kill clem everything will be ok, cuz it worked last time....

minnie singing "dont be afraid" when attacking them on the bridge. a song that once brought them peace now being used to herald death. but since she approaches already singing it she was probably singing it to soothe herself as she succumbs to her bite, walking away from the wreckage she blames on clem, her delta family dead (she Did care about them in a fucked up way), using a herd of walkers against them the same way clem used a herd of walkers to attack the boat. all minnie cares about at this point is finding tenn, and she does, and shes gonna take him with her. just like clem looking for aj, finding him, and taking him. but where clem would die to protect aj, minnie wants to kill tenn to take him "home" with her. add to this ajs feelings about ending up alone without clem and wanting to be walkers together if it came to it. this is why tenn dying on the bridge feels narratively fulfilling to me even tho i hate it 😭 tenn wants to be with minnie (and sophie and their parents) and death doesnt scare him. it kinda comforts him. him and minnie dying together here is like the dark fate clem and aj barely avoid

and then vi fitting into this as she became tenns caretaker after the twins left. she also wants whats best for him so her and minerva fighting at the end for tenn is interesting. especially since violet (and louis but he wasnt tenns caretaker the way vi was) can die throwing him over the gap. i like the layers violet adds to being in the bridge scene, and it makes it even more sad when she cant protect him because thats all shes been trying to do since before clem and aj even showed up. plus aj shooting tenn puts violet in a similar position to louis in regards to marlons death

i really love the ways violets route adds to all the minnie and tenn stuff. and the way we can see clems influence change her. how a saved violet is ready to fight with clem but a kidnapped violet believes in minnies goals and thinks giving up is the safest plan for everyone. because regardless if you save her or not violet ALSO wants to keep the ericson kids safe and just doesnt know the best way to do it. clem encourages violet to step up and minnie encourages violet to give up (warping her character growth which is why i cant Not save her 😭 and the betrayal of it all). using violet as a common denominator is another way to differentiate between clem and minnie. then throw the romance on top of that.... you can see why i get a little...Sillay.. this is ALSO why i dont like vinerva in any romantic capacity post the events of ep3 and why i love seeing vi with clem. its what they each encourage in her. minnies weakness, clems strength.... why seeing vi and minnie fight clem makes me want to cry but seeing clem and vi fight minnie makes me jump off the walls LETS GOOO

and i havent even talked about lilly yet.... how if lee took lilly up on her offer in S1 about stealing the RV together clem couldve ended up in her custody.... i definitely believe clem looks at minnie and sees some broken scared part of herself in there. she is Fiercely Loyal and would do anything for her family so if she was raised (or broken) in that environment (and it seems very "ends justify the means" with the delta as it sounds like its actually pretty good over there if you can look past the intimidation and torture and kidnapping) i could definitely see her being the one standing behind lilly in some other universe. its what lilly still tries to do with her but its too late (and so lilly tries it with aj instead which is still a way to get to clem). but clems grown now and shes been making her own choices for a long time. shes already been through this with the new frontier (and hell even with carver at howes). she'd die before she gave in. and minnie made the choice to kill her sister to save herself

even with the little info we actually have on minnie she still works pretty well as a foil to clem. this is why i find it easier to talk about minnie when comparing her to clem like i feel like its her main purpose. i feel like theres still more i could say its just eluding me. its not a coincidence that minnie almost takes clem down with her in the end. why shes the reason clems able to get bit. minnie blames clem for her own demise and she's gonna get in one last fuck you. and minnies fate is one clem is desperately trying to avoid. kinda 👀 to be taken down by your narrative foil

#even visually they put clem and minnie as opposites with clem inheriting marlons bow and minnie using a crossbow (tlou pt2 also did this)#they even give minnie clems haircut given to her by javi in s3 lol which just makes it a clean version of clems currently growing cut #and i cant talk about minnie without also mentioning violet like i Have to they are pretty intertwined she really adds depth to it all #sorry to do this to your dashes but also im not 👁👁#twdg #anon i hope you didnt think i ignored your message i hope you thought 'oh shes writing an ESSAY essay'#pasting this into word just in case tumblr fucks it up...this is 1430 words 😭 bro why cant i be like this for like important things #replies with lexi #incognito #god i STILL feel like im forgetting shit which is WILD there should NOT be this much to say...yet here i am...

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