Percy's reassuring "It's okay, I’m okay" to Annabeth when she's freaking out at the prospect of losing him.
It's Thalia all over again, it's the arch all over again. It's someone she cares for sacrificing themselves for her, so she can keep going. And he knows what he has to do, but he's been here before with his mom sacrificing herself for him; so he knows how hard it is, and he's doing his best to make it easier for her, and that makes my heart break for them.
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people bitching and moaning about fob "turning mainstream" as if that was never the entire point of fall out boy. that's In the goddamn dna of the band, it's baked into the ethos of why the band started in the first damn place. to be accessible to kids and especially to girls, who were often ridiculed and shunted out of the hardcore community. to be a gateway to bands that aren't as mainstream. to comment on the society they live in, as they live in it. people act like fall out boy "turning mainstream" was some kind of "betrayal" when from the start they were seizing on the trends of the time, putting their unique, unhinged fall out boy spin on them, and shooting them back out as a funhouse mirror. take this to your grave capitalized on the pop-punk zeitgeist that was big in the late 90s and early aughts and put their own spin on it: enmeshed catchy choruses with high-dexterity lyrical & linguistic skewerwork. infinity on high was basically a massive critique of the scene they were in - this ain't a scene it's a goddamn arm's race is a fucking thesis statement on what it is to be catapulted into fame in an industry that wants nothing more than a thousand cookie-cutter copycat acts of a successful formula, and fall out boy WAS the formula everyone desperately wanted to emulate. american beauty / american psycho blended sampling and modern hip-hop stylings with polished pop-rock and pointed those songs back at the snapshot of the 2010s we all lived in: commenting on racial injustice and the freeze-frame nature of relevancy. but even then they weren't doing it quite right - because fall out boy never does things quite right, they're never quite conventional, whether it's wentz's darkly confessional lyrics double-bagged in metaphor or stump's distinctive clear tenor or trohman's inescapable rock 'n roll edge or hurley's thunderous hardcore-punk-rock soul.
this band has always been too clever for its own critics, is the thing. but then, they always knew that. they knew they had a thriving fanbase of largely female fans so they were going to be mocked and belittled and ridiculed. they weren't quite right. they weren't quite so easy to market. pete wentz had to have all his hard edges filed off and cut down to size, skin lightened, literally whitewashed ("i feel like a photo that's been overexposed") to hell and back, even as he was marketed as the pretty boy of the band. and the other three members never even bothered with the spotlight: the soft-spoken vegan straightedge anarchist drummer and the wry, wisecracking, whip-clever guitarist who was more concerned with being the connective tissue than anything and the reticent vocalist who sang the words and wrote an awful lot of music but wasn't really the guy fronting the band. wentz's charisma carried the band, because the rest of them were really just some guys and never aspired to be anything else.
fall out boy is too pop. fall out boy is too mainstream. fall out boy isn't the real poster child of the emo movement. other bands are better. even within fall out boy's own narrative, they are repeatedly ignored, sidelined, and belittled, as though they weren't one of the only acts from the big 00s emo-pop movement to successfully not just survive the transition from the aughts to the '10s, and then later from the '10s to the '20s, but to thrive in it without banking on nostalgia. this band was supposed to be a flash in the pan. they weren't supposed to last and they weren't supposed to get big. they started off in joe's parents' attic because joe and pete were sick of how exclusionary and homophobic the hardcore scene was.
i think it's high time that people acknowledge how fall out boy has repeatedly succeeded where most of their other peers failed. cunning, clever, capable, and hyper-aware of the space they occupy in the culture surrounding them. that they are just as powerful, important, and artistic as any of the other bands in the scene that others might deify at their expense. that they deserve a hell of a lot more respect than they get from critics or hardcore punks who think they sold out. i hope one day they get that recognition. because they've earned it, time and time again, and the more i see people pushing back against that, the more certain i become of its inevitability.
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need more chaggie wing fics where charlie is just absolutely obsessed w vaggie's wings like look at her face
she's obsessed and with good reason too
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Oh
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CR3 E35 SPOILERS || cw: blood
so…ashton lore got weird and angsty, huh
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yes i'm rooting for m*leven breakup because byler is neat but mostly? i'm rooting for m*leven breakup for the sake of el and mike.
to me, their romance was always a puppy love born out of a combination of social pressures, naïve curiosity, and a lack of true understanding regarding intimacy and romantic love and what it really is. it was real in that they do truly, deeply care about each other and they are close friends, maybe even shared an attraction, but a maturing romance is so much more than that. they've grown up and out of being boyfriend/girlfriend, and that's okay! i think television/film needs to show more often that most of us don't have definite "soulmates" or first childhood loves that we spend our whole lives with. it doesn't mean these relationships meant nothing and didn't impact us, it just means they've run their course and that something else is in the cards, and this is part of life!
i've always felt el was at her best and most confident self when broken up with mike, discovering who she was and what she liked alongside another girl her age instead of just relying on mike for mentorship on how to live in the real world. she deserves more of an opportunity to find herself, her autonomy, and her independence, and to love who she is, and she's made it clear she's felt insecure in the relationship with mike because she isn't being loved and understood the way she wants, needs, and deserves from someone who is her partner.
also, it's okay if mike doesn't love her in "the way he should". he is not obligated to love her romantically and stay in a relationship with her just because she's a girl, because she "needed someone", or because he cares about her a lot. he shouldn't be pressured into a romance if it's not truly coming from his heart. he deserves freedom to find out and honour who he is, too, instead of just staying in his non-functional first relationship — one he got into as a child, essentially — and defining himself that way because it's what's expected when a boy and a girl are close. he loves her in some way, yes, but it's okay if he doesn't feel comfortable or secure being her boyfriend anymore, for whatever reason that is. he's felt insecure too, and that's valid and it matters.
they are their own people and are steadily growing and changing every day. they need time to figure out who those people are, and it's become clear (at least in my opinion) that those people aren't meant to be a couple at this stage.
they deserve freedom. they deserve to grow up and be authentic to themselves and not feel like they need to lie for the sake of a relationship. they deserve to move on from this version of their relationship that isn't making them happy and rekindle the best part of their bond: their strong, beautiful friendship. they don't have to be a couple if it doesn't make them stronger and better and happier people.
i think it would be healthy and wonderful for a show, especially one consumed frequently by young adults, to show a relationship starting, progressing, and ending on good terms in this way. sometimes things don't work out, and that is okay.
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SAY IT WITH ME:
A MINERAL IS A SOLID NATURALLY OCCURRING INORGANIC COMPOUND WITH AN ORDERLY CRYSTAL STRUCTURE THAT IS DEFINITE BUT NOT FIXED
A ROCK IS A NATURALLY OCCURRING MIXTURE OF MINERALS WITH A NON-UNIFORM COMPOSITION
THEY ARE NOT INTERCHANGEABLE!
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I'm fascinated by how this arc of The Wizard the Witch and the Wild One has really flipped the narrative on who's in the right and wrong compared to the first arc, because the key thing is NONE OF THEM are acting differently than they did then--they're all acting incredibly true to character traits that were established from the get go--the only thing that's changed is the surroundings and the context of the backdrop around them.
Out in the world, among ordinary people, Suvi often came across as imperial-minded, deeply indoctrinated, and carrying a feeling of being superior to those who weren't of the citadel. Her feelings and actions were understandable, but the reaction of the audience was often to read her as being overly hostile to the other two and determined to cleave to the Citadel and the beliefs of her upbringing to a degree that was detrimental to their task.
Ame and Eursulon showed a willingness to go off half-cocked and act impulsively based on their feelings in the first arc just as they did in this latest episode, but in the context of the wider world this often came across as deep empathy with ordinary people and spirits and a sense of responsibility to deeper matters beyond the politics of humans. Sure, their actions were a bit reckless and had some negative consequences, but they were acting with their hearts and for the right reasons and everyone was down for Quest Fever!
And then last night we see exactly the same dynamic play out once again--Suvi trying to balance the needs of her adoptive mother and her home and the entire institution in which she grew up against the needs of her friends, while her friends run off and literally blow up the Citadel's shit in absolute defiance of everything Suvi was raised to believe. Now, standing there alone and reeling from a curse as her friends tear off leaving destruction in their wake, she seems understandably hurt, as well as obedient, measured, restrained, sensible, if perhaps a little too blindly trusting in Citadel processes*. And likewise, amidst the context of seeing how the Citadel runs and how generally well it's treated Ame and Eursulon, the two of them seemed reckless, ungrateful, disrespectful, and short-sighted with an unwillingness to play along with the realpolitik of going through the proper channels. Instead they (quite literally) burned important bridges and damaged Suvi's life in the process (though it's also understandable that in light of the revelations about Eursulon's sister they rightly felt unsafe even if Steel was understanding).
It's fascinating how incredibly similar the climactic sequences from these two arcs have been. The characters have followed their natures and it's led them down exactly the same path twice in a row. But the context surrounding their actions is VERY different this time, and each mirrors and recontextualizes the OTHER occurrence. People were largely on Ame and Eursulon's side last time, and they're largely seeing Suvi's side this time. It's been a really complex ethical and practical tangle to navigate both times (and good on Brennan for setting it up that way), but I feel like seeing the two together helps us understand and respond to ALL of the characters in a better way than just having one of these situations would have. It's been really cool to watch, and I've been absolutely loving reading all the thoughts and opinions from people on every side of it. It's already been some of the best fandom discussion I've seen about a TTRPG show.
*I read an interesting perspective from someone who believed they would have had to escape even if they'd trusted Steel, as she already went from "meet me at this time" to "give me more time to talk to the diviners" and they thought she would have continued to delay and delay in order to check all of the Citadel's bureaucratic boxes--I'm not sure whether that's what would have happened but it's an interesting possibility, and one that prevents Steel being used as basically a deus ex machina powerful ally any time they're in trouble.
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Almost 10 years later and we still FEASTIN.
I remember when this page dropped on Tuesday, July 16, 2013, and Blackenloin/Goldenheart/Goldheart/w/e shippers all collectively lost our minds. Yes, Ballister and Ambrosius are very shippable from the get-go (their hand placement on p.13, Ambrosius on p.21 to Ballister "Are you trying to make me jealous" and his otherwise flirty dialogue, Ambrosius holding Ballister's hand at the bar on p.102, plus little hints and things by Nate on Nate's tumblr), but p.126 was an outright confirmation that it wasn't just angsty and close platonic stuff (with very clingy Ambrosius) that's fun to ship but not exactly canon in the text itself (like you can read it as "oh these two had something" from the get-go but it's not exactly explicit up until this point, and it's a different experience reading the completed comic all in one go versus reading it page by page over the course of a couple years as pages release). The Director's wording, Ambrosius' little blush. Ahh, these beans.
So excited to see the movieeeee
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trophy hunting
[ID: a digital drawing of maki harukawa from danganronpa v3: killing harmony. maki is standing dead center, with a blank, almost thousand yard stare, and a neutral expression. she is holding a black and white checkered piece of fabric, with a splash of bright pink blood on it.
behind her are three panels. the first panel, towards the left shows a crossbow, the strike-9 poison bottle, the antidote covered in blood, and a bloody handprint. all of the panels are in greyscale, except for the bright pink blood. the second panel, in the middle, shows kokichi oumas clothing with blood running down the back. the final panel shows kaito momotas jacket, with blood running down the sleeve. END ID/]
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my brainrot is brainroting and it demands to be fed, so. i was watching some different hoa endings (,,,,,again, yes) and. wow. jason and salim fr are, well, not gayer, they're gay enough when they have their little enemies to friends arc, but when they hate each other?? i mean it's just,,,, different kind of gay, like
oh, i'm sure he's gonna keep his eyes on you. i'm sure he's yours. i'm sure
okay, salim 'height difference, enemies to lovers, banter, 50k words, wip' othman, we get it. we do
this one is genuinely insane. i still can't believe this is not only a canon dialogue they have, this is a canon dialogue they have on a LOW RELATIONSHIP. and i understand that they're clearly mean to each other, one wants to humiliate the other, but why do they look like they wanna make out here, huh. why does it sound like flirting. you talk to your enemy like that??
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Vasco and Machete are absolutely adorable, your style is so lovely and you draw the softest beds I’ve ever seen in any art ever
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