there's something i need to say and yall can boo me for it but deep in my heart i'll always know i'm correct: crowley already forgave aziraphale. like already would take him back at one flutter of his eyelashes. that's all.
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I jokingly thought before that reading Junie B. Jones as a kid turned me into a feminist, but unironically, it kind of did.
I honestly think it comes down to the fact that Junie B. was not only allowed to be "weird," but her character arc never concluded like other girl characters would. In other media featuring "weird girls," the girl always ended her arc tamed - by force or convince, she would be prettied up, she would smile and be polite, and she would never speak out of turn. She would be perfect then, and would shed her veneer of individuality with the freedom that is conformity. As a kid, I noticed that girls weren't permitted to be "weird" like boys were. So when I read Junie B. Jones, I loved that she was frankly just fucking weird. She said things out of turn, she was rambunctious and imaginative and she was a realistic portrayal of a little girl. I loved reading those books because the narrative taught her lessons without punishing her for being weird, if that makes sense. So often, narratives punished weird girls for the crime of being a socially unacceptable girl, not for any true wrongdoing like lying.
Anyway, I just think it's interesting, because I watched and read a ton of books and shows and movies featuring girls and women, but none of them truly empathized with (or even tried to empathize with) weird girls on their own merits and capabilities and terms, or embraced the idea of a "socially inept/unacceptable" girl without punishing her in some way for her supposed ineptitude.
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if we're talking about Lyra, here's my hot take
I think she and Galen both failed Jyn. I don't think Lyra was a shitty mother, she clearly loved Jyn a lot and did her best in difficult circumstances, but at the same time, Jyn was eight years old, she needed her parents. she wasn't an adult or a teen or even a young tween who may be able to look out for herself, she was entirely reliant on her parents who failed to put her safety first.
the situation is obviously nuanced, so again, I don't think this makes Lyra a terrible parent by any means, but I'd be lying if I said that I thought she did right by Jyn in that moment. killing Krennic was never a plan that was going to work. say she got a lucky shot and managed to end him, what then? the troopers still kill her, and they either still take Galen or kill him too. Jyn still ends up alone and vulnerable.
I'm not putting the blame solely on Lyra, but I think she did have a responsibility towards Jyn the same as Galen, and imo they both failed her in this aspect
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unsure how to word this but there is something about having ocs with unsavory events happening in their past where it's like. talking about it, even when asked, seems almost gratuitous and inappropriate. and i'd much rather describe it through the oc themself and/or draw Them saying it. which is like. fitting for the subject matter? like of course its weird to talk about somebody else's business...!
and falls back into humanizing em/exploratory writing and development where u consider the impact of words said/words unsaid/HOW those words are said etc etc
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On one hand, I want a final fantasy 6 remake, because the game is criminally underrated and the amount of fan content (which is all absolutely fantastic btw) is Not Enough for my neurodivergent, hyperfixating brain.
On the other hand, that would inevitably encourage more people to join the fandom, which would be great, except it seems these days the bigger a fandom gets the more toxic it becomes, and I really like what we have going on over here in our little corner. We all just love the game and its characters and nobody fights about who should and shouldn't date who or who you shouldn't like because they're ~problematique~. Nobody's trying to make one ship morally better than another, nobody's calling anyone names or threatening to doxx people who don't agree with their opinions. It's so peaceful and I love that for us. We're just vibing. Moisturized. Unbothered. In our lane. Flourishing.
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nasty little creature
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just a thought but like. if akiyama, who’s established as being a bizarrely talented investigator in y5, suspected kiryu’s death to have been faked (or at least “fishy” in his own words) basically on the fucking Spot, i feel like it just makes sense that majima would’ve been just as quick, if not quicker to see where shit wasn’t adding up and become skeptical that the whole thing was a coverup. reason being, in y5 he put shit together and figured out the grand scheme going on so damn early most people didn’t even suspect yet that there was any scheme going on. he then faked his own death well enough to get it in the papers and had masterminded himself all the way to the final boss (with some help of course) before things backfired on him. so he’s got some crazy good skills when it comes to reading people, figuring out their intentions, putting puzzle pieces together, etc– way better than he wants people knowing, generally– and he knows the hallmark signs of a faked death because he’s literally done it before. all that on top of knowing kiryu like the back of his hand and knowing damn well how hard this man is to kill, and how prone to running away from shit for the sake of the safety of people he cares about (for better or for worse) he is. he could absolutely put together that, if given the opportunity by some faction or powerful individual, kiryu would sacrifice his identity and status as a legit living person for the assured safety of others, or for yakuza tensions to diminish, or maybe even as an act of self-flagellation.
tldr: I think the reasons majima didn’t go rogue/apeshit after kiryu’s alleged death are that A) for once he has saejima around to reign him in and make it feel less like Everything has been lost, B) I think he’s legitimately known pretty much all along that kiryu didn’t die that day; nor would he believe it unless he saw it with his own eye.
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im like obsessed with tim’s stimulant dependency because you’re the only one brave enough to be blunt about it. That guy is on something
YOU GET IT TOO!
tim drake grew up rich with infinite access to pocket money and a lot of friends who are older than him. there is no way he hasnt had very easy access to drugs. i reckon jack drake was a richboy cokehead in his twenties (and probably still does it at parties) so it's in the family. plus tim has SUCH an addictive personality. he doesn't do anything in moderation. he basically invented tunnel vision. and if he constantly needs to be wide eyed and awake and alert for 40 hours at a time then he's not exactly going to be getting that from coffee is he...
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Capcom should hire me to write Ashley because I understand her more than anyone in that entire company
(read tags for more context)
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I know multiple of these are likely important to people, but I'm asking in terms of like - which of these do you tend to focus on the MOST, enjoy the most, that is most essential for you to actually care about the media, etc.?
(For example: someone finding "Relatability" most important would likely not enjoy a show much if they have trouble empathizing with the characters/relating to it, even if it were good otherwise. Or, someone might be able to overlook bad acting and ugly costumes, as long as the Character Dynamics are fun to them, because they value that more than Aesthetics- while for others, bad costumes would be a dealbreaker.)
Also feel free to reblog and explain your answer or more information in the tags- I've always been curious about people's relationships to media, how they conceptualize it/what they get out of it, how some people value some parts more than others, how that informs their overall taste and genres they may be more inclined towards, etc. :0c
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Wait no continuing from my tags on my previous reblog, Veronica and her relationship with Scary I think explains a lot of why Scary has such a bad grasp on her emotions.
Like Veronica doesn’t seem like a very emotionally open person to begin with, in addition to the fact that she was a single mom lawyer who wouldn’t have the time to spend with Scary if she wanted to keep a roof over their heads.
Scary mostly grew up with a single parent who worked a job with very long hours. She probably didn’t get to have those emotional talks with her mom when something was bothering her, maybe bc if it wasn’t big enough than she couldn’t justify talking to her busy mom about it, or maybe Veronica just didn’t pick up on it. That’s just a natural part of being a single parent, you miss things, and sometimes those are important things, even if you try your best and you love your kid.
It could also in part play into Scary’s want for attention? Like that’s naturally a very teenage want, but like add on the fact that her mom is generally a very busy woman and her limited free time is suddenly being taken up by this loser cringe guy that she started dating instead of spending time with her cool daughter.
Like I think this is all SO interesting when contrasted with Taylor’s relationship with Cassandra. Cass is very very rich. In all honesty, she doesn’t really NEED to work. She can easily take time to spend with her kid, and I think it really shows in how close she and Taylor are.
Just, comparing the two teens and their relationship with their single parent moms in relation to their jobs and their class is just very interesting to me
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writing fluff is so hard esp for a character you haven’t written for before + other characters in the fic 😭
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Poll adventure (paventure? lol) Day 3: read the small story tidbit below the poll for more details, OR just vote based on initial impression
(✦ see past poll results + further information HERE (link) ✦)
The winning option of yesterday's poll was that the adventurer should throw a coin into the mysterious well ….
"After nearly ten minutes rummaging through the disorganization at the bottom of his backpack, he finally approaches the well once again, meager coin pouch in hand. He meticulously balances a little golden coin on the tip of his thumb, positioning it just so for an elegant coin flip… With a flick of his hand, the coin wobbles off, anticlimactically dropping into the darkness.. He pouts, leaning in to listen for a plonk as the coin hits the water but… nothing…. silence..
A few minutes pass and he shrugs, moving to pick up his bag and just continue his journey elsewhere, when suddenly a faint noise echoes from the well.. an almost cartoonish plopping sound, like wet feet slapping against stone..? The pitter patter grows closer and closer…then stops abruptly. The adventurer cautiously slinks over to the well, only to find.. a creature of some sort, clinging to the walls, staring up at him blankly. - What should he do next?"
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Something something Ed seeks out or is confronted by his own reflections three times in ascending order of violent emotions (the hand mirror, the salver, the knife)--
And we see Stede being painted twice in his old life, not looking at the painter or the painting but at some distant other thing, and then finally seeking to see himself in the third appearance of his portraiture-- only to find he's been painted out.
I wonder if Stede will someday ask to be drawn, and how, and whether he will look at the artist while they work, or the other people in it (if any), and seek out the finished work and be happy to see himself reflected in it.
...and I wonder if Ed will avoid reflections now (remove the mirrors, avert the eyes, but sometimes he'll catch himself in still water and flinch away--) because he knows what he is, he made himself this way, he knows how others see him and he can see it in their eyes without needing any further proof (except what he sees in Stede's eyes doesn't seem to match, so better not look there, fuck, fuck--)
Stede will look so, so hard now, and Ed will look at anything but-- a switch now, from their season 1 selves, lasting, perhaps, until they can finally see themselves -- and each other -- fully.
(And maybe, after that, they'll be able to see themselves together.)
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stupid orthography ideas: use <ë> and <ä> for /ə/ and /ɐ/ respectively, where the double dot is essentially saying, "this vowel but the neutral tone one"
( and yes I know [ə] & [e] and [a] and [ɐ] are different heights. realistically it's probably more like /ə ~ ɘ/ for <ë> at the very least while /ɐ/ is just any open central-ish vowel. shh. its fine. I built this three-way a-ɐ-ɑ distinction and I'm NOT changing it even if it'll make the orthography easier. fuck you, me )
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