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#she wasn’t like ‘mother’
thatrandomblogsays · 4 months
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Annabeth: I, a child, had to earn Thalia’s love, that’s how the world works! I have to earn my moms love. Love is transactional, you gotta be worthy of it first silly :)
Percy, listening to this on the train
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cosmosnout · 3 months
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The real reason Oda had to get rid of her was not for plot convenience, but bc she would have kicked everyone’s ass. (Source: trust me bro)
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kabutoden · 1 month
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i look at you and my eyes are so so so wet like with tears tears of pure emotion and extend out my closed fist and then I open up my hand and you see her. my troll oc. the greatest oc. from 2013. I brought her back and redesigned her and im insane about her again. i begin sobbing on the ground. she’s so small. itty bitty……….
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yearningsaphic · 7 months
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I think it would really advance society if we admitted that mothers can be just as toxic and abusive if not more than dads and stopped dismissing it as “they gave birth to you”
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cowboyslikedean · 11 months
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my mothers favourite story to tell people is the time she was sitting on the t-party couch between scott and andrea and she told andrea that The Best Day made her cry and andrea laughed and said it made her cry too and recounted the whole story of how taylor surprised her with it from her perspective and like anyway it’s been over twelve years and taylor just told the same story to a thrice sold out stadium and i’m the one crying now
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brookheimer · 1 year
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from strike sparks by sharon olds
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eugeniedanglars · 8 months
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if you ever feel like you’re bad at your job just remember that joe jonas’ own pr team managed to turn the internet’s view of him from completely neutral to public enemy number one in the span of 48 hours
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laxi0v0 · 11 months
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pataliemortman · 1 year
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throwing this here bc I am obsessed with this shirt made from a towel ??? can’t wait to wear it when it’s not below freezing outside
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kicktwine · 7 months
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alphinaud and alisaie are an example of siblings written by people who know siblings very well and choose to have them call each other brother and sister, proving that telling people not to write this quirk because it gives away that you’re an only child is just shorthand for how it’s a common warning indicator of thoughtless sibling writing and isn’t actually the problem itself
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nightly-ruse · 9 months
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Can I get uhhhhhh SpottedTiger hypokits :D
I’m in a SpottedTiger rabbit hole rn-
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Evil woman evil woman!
Lynx was born on accident after a fling between Spottedleaf and Tigerclaw resulted in her but she was slid into Goldenflower’s litter, done by Spotted who had just had the kit a few hours before Golden started kitting her sole surviving kit Swiftkit. No cat besides Spottedleaf and Tigerclaw knew of her true parentage.
She beside her brother and cousin Brightpaw went to prove themselves but was left brotherless and without a tail. Weak, shamed, and grieving Lynxpaw was taken by her now exiled father’s friend Darkstripe to meet her dad and she joined him. She became the devil’s daughter, his butcher and sole heir. She knew it was wrong. She hated the blood that stained her claws. But she couldn’t take it back, not now or ever. She died getting her younger sister Tawnypaw out of Tigerclan, being executed right beside her father. She saved one life. And that’s all that matters to her.
Eye strain version under the cut!
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even-disco-baby · 1 year
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SOLA — Her Innocence, Sola— the anti-innocence— turns to face you. In the distance, you hear the tattoo of propellers, turning, sucking all the air. A strong wind whips her long, dark hair around her face. Her simple black gown billows behind her. The same gown she wore the day she resigned.
She has your eyes.
“Hi, Kim,” she says simply. “You don’t look well.”
PAIN THRESHOLD — Her voice is so familiar, and yet the moment she stops speaking, you cannot recall its sound, no matter how hard you try. And you have tried. Innumerable times.
AUTHORITY — What makes her think she would even *know* the difference between you looking well or unwell? She’s being presumptuous. She doesn’t even know you.
INLAND EMPIRE — She never will.
“I’m doing great, actually. Never been better.”
“Hey, I’m trying my best.”
“I’m *not* well. I’m so fucking unwell. I can’t take it anymore. Please, help me…”
“I’ll live.”
SOLA — “Hm…” She smiles apologetically. “Well, that’s all we can really ask for anymore, isn’t it?”
EMPATHY — She wishes more than anything that this was not the case. That you could ask for the world and have it.
RHETORIC — She tried to give it to you, and this is how you repay her? You’re gonna be in *deep* shit trying to explain that insignia you stitched onto her jacket.
“Um, about the jacket. It’s not what it… well, no, it *is* what it looks like. But I don’t— it’s— there’s nuance.”
“Is that really all you have to say to me?”
“I don’t know what to say to you.”
“Where are you going?”
SOLA — Her Innocence looks away from you, toward the wind. “Away,” she says, her voice distant and strange. “Yes… I’m stepping down, you see. The world doesn’t need me. It never needed me, really. It’s best for humanity to think for itself. No… it already *does* think for itself.”
She turns back to you with a small smile. The thought brings her peace.
PAIN THRESHOLD — But what does it bring *you?* She’s leaving you forever. Abandoning you for lofty ideals.
AUTHORITY — Let her go. Let her see how little you care. Don’t give her any satisfaction.
HALF LIGHT — Stop her. You won’t be able to live without her.
VOLITION — You have already lived almost all your life without her. You don’t need her. You have *never* needed her.
“What if the world *does* need you? Who are you to make that decision for the entire world?”
“Fine. Go. It’s none of my business.”
“So you’re just going to leave me behind again.”
“Please, don’t go. *I* need you.”
SOLA — “What else is an Innocence appointed to do?” Her smile turns wry. “You see? This is why I’m stepping down.”
Distant propellers turn and turn in endless circles. She glances toward them.
YOU — “Fine. Go. It’s none of my business.”
SOLA — “I suppose not.” Her voice and her face betray nothing. No sign of remorse.
YOU — “So you’re just going to leave me behind again.”
SOLA — “That was never my intention,” she says softly. “Surely you know that.”
INLAND EMPIRE — You will never truly know. No one will.
SOLA — She stares out at the horizon through the tendrils of hair that almost seem to threaten to swallow her. Her expression is strange and ambiguous, shifting every time you try and look directly at it.
YOU — “Please, don’t go. *I* need you.”
SOLA — She looks at you, and her eyes are full of what might be genuine sadness. But they could also be full of anything else.
“Oh, Kim… You must make do with what you have. I don’t know what else you want me to say…”
RHETORIC — What?! There are a million other things she could say! Forty-one years worth of possibilities! She could say *anything!* Anything at all… Even if she’d only left you a single word, it would be better than this…
VOLITION — It’s pointless to wish. Please, no more of this. It’s too sad.
“You could say that you’re sorry.”
“Say that I turned out all right.”
“Say that you’re proud of me. That you love me.”
SOLA — “Then I’m sorry.” She closes her eyes. “It was terrible of us to leave you alone.”
Her voice is utterly calm and emotionless.
PAIN THRESHOLD — No… Wrong, all wrong…
YOU — “Say that I turned out all right.”
SOLA — “You’re a good man despite it all. That is all I ever hoped for you.”
Again, there is no warmth to her words. No conviction.
VOLITION — Lieutenant… Please, don’t do this to yourself.
YOU — “Say that you’re proud of me. That you love me.”
SOLA — “I’m so proud of you and everything you’ve accomplished. You wear that jacket well.”
Her eyes have nothing behind them. A pair of two millimeter holes in the world.
“I love you.”
PAIN THRESHOLD — Your lungs seem to constrict at her words. Your chest hurts more than it’s ever hurt. This wind is hard to breathe in.
YOU — “No! Don’t you fucking get it?! You don’t love me!”
SOLA — “Then I don’t love you.”
YOU — “You should be *ashamed* of me!”
SOLA — “Then I am ashamed.”
YOU — “I betrayed you! I betrayed everything you stood for! I’m a fucking cop!”
SOLA — “Then I am betrayed.”
She proclaims it as dispassionately as she proclaimed her love.
YOU — “For god’s sake, *say something real!*”
SOLA — She just looks at you. The propellers keep on turning.
DRAMA — She can’t speak for herself, sire…
LOGIC — Of course she can’t. Of course…
PAIN THRESHOLD — Your lungs feel like they could collapse. Empty, crumpled, dark. Hot tears prick your eyes for the first time in what feels like a long time.
SOLA — “Do you understand now?” she asks gently.
LOGIC — She cannot speak for herself because you do not know what she would say.
There are many memories that you have been slowly recovering, little by little. Your mother will never be one of them. Her, the revolution, the aerostatic brigade— they all died before you could even comprehend loss.
AUTHORITY — You did not become a detective so that you could find your lost mother. You became a police officer because you did not want to end up like her.
VOLITION — She can neither forgive you, nor condemn you. She is dead, Lieutenant. She can only be what you make her.
RHETORIC — You’re asking your own echo for answers…
SOLA — “Humanity must think for itself,” she says again, turning again toward the wind. “What point is there in asking me where to go from here? I’m a failure. We all failed…”
RHETORIC — The revolutionaries failed their children, and the children are failing their parents, and all of them are dying, dying, dead… What’s the point in any of this anymore? I cannot argue in favor of any of it.
VOLITION — There is a point. There is a way forward. But you won’t find it here, Lieutenant.
“I hate you. You made me everything I am and then you just *left.*”
“I miss you… How is it even possible to miss someone you never met? It’s like someone ripped a part of me out and all I can do is bleed.”
“I don’t know what I am. I need you to tell me what I am.”
SOLA — One last time, she turns back to you. She slowly bridges the gap between you and reaches out a hand to cup your cheek. Her fingers feel like your own.
“You are whatever kind of animal you choose to be,” she says, so quietly that you don’t know how you can hear it over the distant roar of engines. “I cannot make that choice for you.”
EMPATHY — She died hoping that you would grow up with the freedom to choose to be whatever you wanted. Instead, the world that raised you hardly let you dare to want anything.
VOLITION — But you can still make a choice. Humanity can still think for itself.
#disco elysium#kim kitsuragi#swap au#should i tag sola? i kinda doubt i’ll ever need to use that tag again LMAO#anyway um. yeah.#tbh as fun as the swap au stuff is i wasn’t all that interested in it until my brain was like. SWAP DREAM SEQUENCE#and now suddenly i have like. lore for swap kim.#his breakdown isn’t bc of a breakup it’s over a crisis of identity#at first when he wakes up and starts inspecting stuff like his jacket and his notes#he starts finding out things abt his mother (a revolutionary aerostatic pilot who died and passed down the jacket to him)#and at first he’s like ohh i see im investigating her disappearance!#but he’s not. she’s dead. she died when the moralintern crushed the commune#kim grew up resenting both his parents for dying in a failed revolution#leaving him to grow up alone as a gay disabled seolite orphan#he became a cop and drank the moralist koolaid bc he didn’t want to be like his parents#and also bc he wanted to not be so powerless (and to be able to take shit out on other ppl just like canon kim)#but also just like in canon his experience in the rcm was just more of the same shit#he felt constantly humiliated and like a hypocrite and just compartmentalized hardcore#then he came to martinaise and saw the scars of the failed revolution and finally just snapped and broke down#he doesn’t even know what kind of animal he is other than he doesn’t want to be it anymore#so he pulls harry’s epic mind wipe binge and etc etc#anyway. coughs
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shorthaltsjester · 9 months
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begging twitter to stop showing me tweets of people with no reading comprehension misrepresenting things I said but since i was going to make this more in-depth post Anyway .
when i say imogen is better read as a metaphor for generational trauma than she is a metaphor for queerness or chronic pain, i’m not talking about legitimate traits she has as a character. obviously she is queer. obviously she experiences some form of chronic pain (though i would argue her magic better suits chronic illness not pain because she states that it’s Not always painful, but it does always influence how she lives her life).
when i talk about how well she’s understood as a metaphor, i’m talking about when i’m looking at her as a part of a story, as an arc that i am witnessing rather than in the more typical fandom way of this is a fictional person who interacts with exandria as real people do. and that is a fun way to interact with characters, i enjoy it a lot! but when i say imogen (to me, as i for some reason have to clarify on my own blog which implies that these are my own opinions and not absolute fact that needs to be accepted by people on the internet with different experience and opinions than me) is best read as a metaphor for generational trauma, it isn’t a dismissal of her queerness or her illness, it’s just me thinking looking at her from that angle is more compelling.
imogen has been one of my favourite characters and least favourite characters in campaign 3 because i tend to analyse her through a lens of generational trauma and she ends up looking extremely familiar to me as someone with a family that carries their’s heavily which is as comforting as it is frustrating.
for me the main thing that looking at imogen through a queer lens of literary analysis fails to account for is harm. on the one hand - the harm that imogen experiences, not because of how people treat her for who she is, but that exists simply as a factor of her being ruidusborn. on the other hand a the harm that imogen causes. not to say that she is some malicious villain waiting for her chance to harm others, but that there are things about being ruidusborn that very much do incline her towards violence in a way that she might not otherwise be - i think about the conversation after she went nuclear and chet brought up people being scared of her connecting that to her father keeping distance. the only harm that queerness provides comes from society, and that isn’t the case in exandria. even metaphorically, the thing that society fears in ruidusborn people (while it has certainly been exacerbated by centuries of superstition and practices like we saw in zephrah) is a tangible threat. imogen’s magic when not controlled can wipe out a city block, but queerness poses no threat.
that’s why i’m not compelled by imogen’s backstory as a queer metaphor. not because i’m some imodna anti (i very emphatically am not but this fandom kinda makes me wish i was sometimes) or because i think exandria’s lack of homophobia/transphobia means that characters can’t be viewed through a queer lens or that critical role doesn’t contain some of the most compelling queer metaphor i’ve encountered. imogen just isn’t one of those characters, not because she isn’t queer, or because i think her story shouldn’t resonate with queer people, just because i find the generational trauma angle more consistent.
it’s similar with the chronic illness angle, which i will refer to as illness but you’re welcome to emphasise pain, we all have different vocabularies for the experiences we face. but just to give context i’m running off laura’s comparison of imogen’s powers to her own sensory issues and anxiety which while often Lead to pain, fall more into chronic illness in imogen’s context to me. and i do think there’s substantial comparison for imogen’s story as a metaphor for chronic illness, but i think that was much more true earlier in the campaign than it is looking at her from the current context. her beginning motivation being her search for knowledge about her powers really resonated with me as similar to someone experiencing symptoms of chronic illness but who could neither figure out how to treat them or what they were caused by.
but then imogen got more information, specifically about her mother, and her priority became not understanding her powers but understanding her current state as a person - how had she become the person she is, inclusive of her powers but very much emphasising her lack of a mother who became more and more present in the unweaving web of ruidusborn lore. that’s when i was less compelled by the chronic illness reading and more compelled by viewing her as a metaphor for generational trauma. had that not been enough on its own, imogen’s visit to relvin and her recent thoughts on her mother would be enough to convince me.
the part that makes me hesitant about this post is that generational trauma is so intensely linked to the contexts under which it is created and perpetuated. so i can’t really point to specific scenes as evidence of specific things that prove generational trauma is the most compelling and i don’t really want to unload that much of my own experience to clarify my thoughts on a character. but vaguely, i will say that imogen’s relationship with her parents is obviously the clearest source for my reading her as a metaphor for generational trauma. the fact that relvin, the only person in her family without the thing that draws society’s ire, is also the person that she has the most willing anger at is also indicative of this to me. in general, imogen’s rage that so easily transitions into sadness and vice versa comes out a lot in conversations about parents. most recently, i think about ashton’s lovely speech about found family and his distrust about parents and how as they were speaking, laura seemed to be playing imogen as sadly in thought versus months ago when fearnes parents showed up with striking similarities to liliana and imogen’s words of wisdom were let’s hurt them all.
and like. to me that angersadnessvengeancegrief is particularly evocative of the feelings that arise when you are in a family with generational trauma, especially when you are aware of it. because imogen can and has followed the logical steps that have led her and her family to where they are. early on when recounting her relationship with her dad she seemed wistful but understanding of the distance between them. in nearly every encountered with a parental figure imogen seems to be some level of distrusting for the most part, but she’s still holding out hope that her mother will see the good side. and further, there’s the complication of how dire her losing her powers seems to be, and how inextricable her powers are from every aspect of her life. she’s also southern and from a blue collar family. this means nothing except it also means a whole lot.
this is messy and not well organised but if you want a good essay you’re gonna have to pay me money for it but tldr: i say things i believe on my This Is My Opinion Blog and i don’t think i need to explain my thoughts to strangers on the internet but this was already half written in my drafts and if people are gonna shit on my opinions please at least do it in good faith and shit on my actual opinions not the ones you’ve decided i have.
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exmojoe · 1 year
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mormon parents signing you out of sex ed in school because “that’s something parents should teach you”:
mormon parents when it comes to teaching you about sex: 🦗🦗🦗🦗🦗🦗🦗🦗 sex = bad 🙅‍♀️🙅‍♂️🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗🦗
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itspileofgoodthings · 4 months
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#the thing is. and it doesn’t matter#but like. Ken’s love for Barbie was played as a joke but it also wasn’t#and I just think that his charisma and love should have been allowed to center her more and sort of …. I don’t know#sweep her up on the wave of his charm as she headed out of Barbieland into the real world#it didn’t even HAVE to make it full on romance#because I think the sort of splitting up of Barbie and Ken as this joined identity was good and necessary#and she had this journey to becoming human she had to take first#and tbh I think it would have worked if they had ended the movie as friends#with only the hint of something more#but the simple truth is that the most consistently human thing in the movie as far as SHE was concerned#was that he really loved her! and being loved that way. Is part of being human and even part of becoming human#it’s to feel that warmth and understand it#the Gloria thing didn’t really carry enough emotional weight for me. nor did the vague girlbossery. The creator was shoehorned in#or even the touching (in itself) montage of mothers and daughters at the end#but the realest relationship Barbie had the closest thing she had to it was being loved by Ken#and if they both became human? and she stepped into that space with that warmth of love supporting her#and making her step into this wider world? that would have been something#and the thing is yes yes. He’s basically the Michael Scott of Ken’s. He’s doing the things he shouldn’t be doing in reaction to it#and he has to learn and NOT do that and realize he’s kenough#but that stupid line at the end? Where Gloria’s like ‘honey he stole your house etc. don’t feel BAD for him’#rings hollow. especially because the General Public DID feel bad for him. He was the only one to feel bad for!!!!!!!!!#so Greta and co. Tried to make this Point about rejecting the guy who thinks you Owe him Something#But Ryan’s Ken was not really that guy! He just wasn’t! The core is too pure the love is too real! so the ending is just kinda mean#and it de-centralized her! Ironically enough!!!! Ken WANTED her to have the world. His best self did!#the movie should have let him give it to her. that is really it at the end of the day#barbie
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kiwisandpearls · 4 months
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not sure if this is a hot take but being honest I feel like people who say Cassandra’s villain arc was unrealistic have never dealt with a parent like Mother Gothel.
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