i think one of my least favorite troupes in tf2 fanfics has to be scout finds x and y are dating and freaks out/starts being openly homophobic towards them because "canon typical homophobia"
they are mercenaries. fucking contract killers. do you think anyone gives a flying fuck about homosexuality being illegal?
you see, they are ok with murder and gruesome violence, HOWEVER they draw the line at two men holding hands because the words on the paper say it's a no no
he would probably tease them because, that's normal that's what friends and annoying coworkers do. and sometimes he might step on a line.
but my dear friends. if scout was genuinely homophobic to any of the other mercs, im afraid he wouldn't survive the winter (irse a mimir). he would get snapped by a twig and it doesn't even have to be by the merc he was insulting. anyone in the vicinity would suplex his ass. son, we all suck dick here. get used to it
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So I'm confused about something. There was a cover story about Ms Goldenweek and other Baroque works agents breaking Crocodile out of prison but he just. Told them no? And stayed there with Mr 1 and Mr 2? I don't get why he wanted to go to Impel Down just to break out when he had the chance
I can't tell you 100% why Crocodile chose to stay in prison and go to Impel Down, but my best guess really is that he was just...
Taking the L with grace
More specifically. Crocodile had lost everything. I think deep inside he might've been literally too depressed to want to go free again.
Like he does literally say that. He gave up.
He had been building his reputation as "the Hero of Alabasta" for at least 10 years at this point. He had built not just a criminal organization that he had been running for four years, but also he had been running legal business stuff (like his casino) for probably longer than that.
A decade's worth of work and effort to take over a country, and most importantly, get away with it. The reason he had orchestrated that whole rebellion was so that the rebels and the royal family could "take each other out", leaving the country wide open for a World Government Official such as himself to take up. The reason Baroque Works was doing this all in secret was so that the WG never found out, otherwise they wouldn't have let him have Alabasta.
But indeed, his plans were foiled by a kid in flipflops in less than 24 hours, just at the final moment before Crocodile would win. He lost everything. And the World Government found out about what he had been planning.
So even if he escaped from that prison with his former agents, what was he going to do?
He wouldn't be able to take over Alabasta anymore because he did not have manpower (as he had lost all his goons), and having lost his financial empire he wouldn't be able to build a new army any time soon. And even if he did, now that they knew what he had done the people of Alabasta would not accept him as their new king, even if he personally assasinated Cobra and the entire family.
Not to mention, the WG finding out about his plans meant that they had every fucking reason to try and stop Crocodile if he did as much as set foot on that island again. By which I mean, they could launch a Buster Call on his ass. Send all the fucking Admirals after him.
And so, even if Crocodile still believed Pluton was somewhere in Alabasta and that he just had to comb through the entire desert to find it... Between the Alabastan people and the WG in the way, finding Pluton would not be easy. Especially when Robin wouldn't even be there to just point him directly to it. It could take years, if not decades, while fighting off the WG by himself.
And that's while assuming Pluton was somewhere in Alabasta. Like WE the readers now know Pluton is in Wano, but since Robin didn't tell him that. All Robin said was that the Poneglyph "didn't mention the weapon", and Cobra's reaction to the name merely proved the weapon's existence in Crocodile's mind. But surely, because Crocodile is a smart young man, he'd understand there was a risk that Pluton could exist, but just not be in Alabasta, right? Like that would be a possibility too, right?
I think this is why Crocodile has given up on Alabasta. He had one opportunity at seizing the country, and he failed. And without Robin, he could spend the rest of his life combing through a haystack for a needle when there's no needle, and he'd have no idea. I think is why he explicitly says in Impel Down he no longer has "interest in that country". He won't be able to pull off another stunt like this, ever.
And that leads us back to "why not escape earlier and avoid going to Impel Down to begin with".
Thanks to his status as a Shichibukai, Crocodile hasn't been on the run from the WG for like two decades. And the past 10 or so years he has seemingly lived a life of luxury in his funny little casino. But now, having lost everything, he'd be back on the run. And because he's a world famous former "hero of the people", there would be nowhere he'd be able to go where people would not recognize him and send the marines after him.
So he'd be on the run, for the rest of his life or until he'd get capture again. And mind you, the guy does not trust anyone, so he'd be on the run alone. Without any purpose or goal.
And you might be thinking, "Daz and the rest of BW was still there!", yeah, arguably true. But at this point Crocodile had no reason to trust any of them.
Like personally, I think the reason Crocodile ended up taking a liking to Daz was BECAUSE he chose to follow him to Impel Down when he really did not have to. Like Daz showed an unusual level of loyalty to Crocodile, and I think Crocodile recognized that. That's why Daz is still with Croc, post-timeskip.
But Miss Goldenweek and co? Crocodile had no reason to believe they wouldn't betray him if given a chance and a reason. And if the WG would come chasing his ass, they'd have plenty of reason to try and betray Croc (handing Crocodile over to spare their own lives).
Not to mention, when they come release their former boss from jail, what did Miss Goldenweek say?
"Let's do Baroque Works again"
As I've already explained in detail, I think we might know why Crocodile wasn't interested in being Baroque Works' "boss" again.
So. Yeah. If in Crocodile's mind he'd be on the run from the Government for the first time in two decades all alone, in a situation where rebuilding what he had before would be bloody hard if not downright impossible, and he wouldn't be able to obtain what he had spent the last decade working for regardless...
Taking the L and just going to prison might've been the easier option
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I want to talk about this moment between Lovelace and Minkowski immediately after Cutter dies:
Lovelace GASPS in relief. Both women COLLAPSE, wounded, at the end of their ropes.
LOVELACE
Nice... shot.
MINKOWSKI
Couldn't... have done it... without you, Captain. You all right?
LOVELACE
No. You?
MINKOWSKI
No, I... I... yeah...
LOVELACE
Stay with me, Minkowski.
MINKOWSKI
Yeah... We're almost through this. We just... need to... get Eiffel...
And off of their attempts to hold onto consciousness, we -
Firstly, the acting of this scene is incredible. (The timestamp is 1:42:26 if you want to listen back.) I'm in awe of the way Emma Sherr-Ziarko and Ceilia Lynn-Jacobs convey the sense of pain and exhaustion and relief and trying to hold onto consciousness. The kind of damage they've undergone has been very different - Minkowski bleeding out from her gunshot wound, Lovelace recovering from the external control that caused her to inflict that gunshot wound. But the way these experiences manifest in their breathless pained voices is pretty similar. There's almost a kind of unity in that.
I love that the first thing Minkowski and Lovelace do after Cutter dies, even as they are struggling to speak, is to acknowledge each other's contribution to this moment.
"Nice shot" feels like a comment more suited to congratulating someone on doing well at a shooting range than as a response to a friend successfully harpooning their evil boss. There's a casualness to it as a phrase that feels almost humourous in this context, but it also reflects the fact that there isn't really an established thing to say in a situation like this. (More below the cut)
Minkowski could have just taken full credit here - after all she's the one who fired the killing shot - but she doesn't. It reflects the ethos of this show that neither Cutter nor Pryce, the major antagonists, is defeated by a single protagonist alone, and that the protagonists themselves are aware of that.
This scene is an example of a kind of exchange we get a few times throughout the show, where a character asks another character if they are okay and the answer is a clear no. There's an conversation like this between Eiffel and Minkowski in Ep12 (EIFFEL: You okay, Commander? / MINKOWSKI : No, Eiffel. My second in command just betrayed me and tried really, really hard to murder both us. I’m pretty damn far from “okay.”), and between Hera and Minkowski in Ep29 (HERA: Commander? Are you okay? / MINKOWSKI: No. You? / HERA: No. But I will be.), and between Eiffel and Hera in Ep41 (EIFFEL: Are you okay now? / HERA: No, Officer Eiffel. I'm not. But... I'm going to be.) I think I've said this before in tags on a post, but there's something about that type of exchange that fits the tone of this show so well to me. Of course none of these characters are all right, not with what they've been through. But the asking is still important, because of the care these characters have for each other. And the honest answer is still important, because this is a show partly about communication and because sometimes the awful things need to be acknowledged.
I should probably also say that there are also plenty of instances in Wolf 359 where people falsely claim to be fine in response to questions like this. There's an awful lot of emotional repression and compartmentalising on that space station. Which makes it more significant when characters are honest about not being okay.
In this scene, Minkowski and Lovelace don't need to waste words on saying why they aren't all right. I picture them both looking down at Minkowski's wound as she speaks here. And they laugh, or as well as they can do in their current condition, at how absurdly obvious it is that they aren't okay. Maybe that attempt at laughter is a way to keep going. And they are both so determined to keep going.
Lovelace tells Minkowski "stay with me", even though Lovelace is struggling to remain conscious herself. There's something so tender about that to me, and it's particularly heart-wrenching given that Lovelace was forced against her will to fire the bullet that wounded Minkowski.
When Minkowski says "We're almost through this", it feels like a call back to her conversation with Eiffel earlier in this episode, when he said "We're almost through. Just one more day, and then we're done." The "this" in "almost through this" somehow holds everything that they've been through on the Hephaestus. The repeated sense that this is the last confrontation that they will face on that station is perfect for a finale. But there's also something very emotionally heavy about that finality, especially when spoken by a woman who is bleeding out from a gunshot wound. And yet through her exhaustion and her pain, Minkowski expresses hope that they will get "through this", that they are "almost" on the other side of the whole nightmare.
Neither Minkowski nor Lovelace even consider the option of not going to look for Eiffel (and Hera). It would have been perfectly reasonable for them to have gone back to the Urania to try to patch Minkowski up and to wait to see if Eiffel and Hera were able to join them. But these characters would never do that.
They go to look for Eiffel even though Minkowski has been shot and Lovelace has been subject to horrific external control. They go to look for Eiffel even though both of them are "at the end of their ropes" and struggling to hold onto consciousness. They go to look for Eiffel even though waiting on the Urania was the plan they'd agreed upon with Hera. They go to look for Eiffel even though, for all they know, Eiffel and Hera might have the situation completely handled, or might even already be safely on the Urania. They go to look for Eiffel (and Hera) because only once they are all together can they consider themselves "through this".
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I don't think some people realize how big of an impact ochako had on the war. Toga had hundreds of thousands of clones ready to kill anyone in their way, it would've been devastating. Ochako stopped that disaster and saved a villians heart in the process. She's so cool‼️‼️
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When Inigo Montoya experiences immeasurable loss and mental anguish that propels him to a path of vengeance that he temporarily gets lost on, becoming a worse version of himself, a roving mercenary who even inadvertently ends up furthering the goals of his sworn enemy until he meets an opponent who makes him stop take stock and recognise how lost he has become and how he doesn't have to be in this alone, swiftly followed by him killing the target of his revenge and riding off into the sunset with his new friends everyone is lining up around the block to applaud,
However when the Dragon in Damsel follows the same story beats in a font just different enough to keep from getting sued...
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regulus is the kind of person to buy a first class train ticket to sit in a carriage that is the exact same as the rest of the train only it says 'first class' on it
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sibling art pt 2!!!
second ask of the day and please do not feel obliged to answer either I just think you deserve to see this
they captioned this one "in honour of og Fairy being a dog"
The sensitive stomach of a dog girls VS the urge to eat whatever falls on the floor
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It's so wild to me that Seladon was almost cut from Age of Resistance because, hot take or not, she's the best written character on the show.
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Y'all do know you can't make Jason be NOT white without changing his whole character, right?
For other characters, yes, because their physical appearance are not that influential in their story, on how they are viewed by people, on their personality formation — you can have a black/asian/indigenous/arab/brown/latino/etc Nico and yes, the hate he gets will have a undertone of racism but at the same time nothing significant on his story, motivation or personality will need to change. This is also true for other characters: Clarisse risks repeating the "aggressive WoC" stereotype but the character itself doesn't change.
This isn't true for Jason, whose main character trait is how he is perceived by others and how he showcases himself to others based on that perception. (specially with how little effort Riordan put on him besides making him perfect-er Percy who's somehow also weaker and less important than him).
Let's not pretend a black, Arab, indigenous, Asian, Latin man, etc, in the USA would ever be treated with the universal reverence Jason gets from New Roma, you can't have the illusion of perfection and most of all, of invincibility they have about him when you see him suffering racism or xenophobia in the middle of a mission. Nothing in his life has ever gone wrong, that's his image, destined to be king, he is supposed to have no weakness on his peers eyes.
He is not trying to prove people wrong, he is trying to prove them right; he isn't worthy despite their prejudice, on the contrary, he only tried to make himself worthy to fulfill their expectations. He can't be a woman or an immigrant or have a visible disability or any other thing that strays him from a perfect ideal by western society standards, and be that same character.
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María is a bad bitch queen supreme with a simple dream of reclaiming her land Volturi-style after her human life was tragically cut short by a Texan who had invaded Mexico to create his own vampire Golden Corral. RESPECT HER OR PERISH
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person obsessed with Jack: "I'm getting big Jack vibes from this guy!"
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/takes a little breath amidst a quiet dash. Starter call!
Though I have threads/asks to get to, I'm curious if one of these would catch anyone's attention. I know sending in sentence starters isn't always up everyone's alley and it's a little harder when it comes to interacting with a character who's canonically dead in present day, like mine. Although (I need to write up the details for the first iteration of it) I do have her resurrected in a present timeline (see tags). If you're interested in me either coming to you, or fishing up something with a bit of a red line, give this a like and I'll see what I can do! Trust me when I say, if we're mutuals, I'm interested in writing with you. See this as a little cheat to grab my attention if you want it!
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Adrienette stans wanna gaslight Ladynoir stans who don’t like this plot point and act like Ladynoir was always meant to be platonic from the start and Adrienette was obviously always meant to be the side that would start dating .... No.
My dudes there is a reason Ladynoir has always been more popular than Adrienette among the online fandom. There is a reason the bulk of the fancontent when the show first came out focused on romantic Ladynoir. Hell there is a reason Zag chose for their expensive piece of ship merch to be a $300+ Ladynoir statue. They’re even using romantic Ladynoir scenes to advertise their movie now. Stormy Weather, the pilot episode, the episode meant to introduce us to and sell the show to us and networks, was 99% Ladynoir. Every “Valentine’s” episode (Dark Cupid/Glaciator) has been heavily Ladynoir-centric. Chat Blanc, despite starting with Ladrien followed by an Adrienette dating montage, was heavily Ladynoir centric. “Our love did this to the world" came through Ladynoir. We were shown Ladybug getting upset any time Chat Noir seemed to show interest in another girl. We were given “maybe if Adrien didn’t exist, I’d feel differently about Chat Noir...” in s1. We were given Ladybug explicitly dodging Chat Noir’s question of if things would be different between them if her “other boy” wasn’t a factor. We were given “maybe if I show Ladybug my true self, she’ll fall in love with me,” followed by that very thing happening. We were given a second coup de foudre in Strike Back. The first kiss in this show happened through Ladynoir. The first kiss they were both conscious of happened through Ladynoir in Jubilation. We were shown Ladybug blushing after Chat Noir kissed her cheek in Glaciator. We were shown Ladybug progressively learning that Chat Noir is more sensitive than she thought and not the kind of guy she thought he was and growing closer to and more fond of him over the course of the series -- the plot of like every good romance worth reading (Pride and Prejudice anyone??).
Everyone picked up on the romantic vibes and the depth of their relationship over the past 7 years and now y’all wanna pretend we were hallucinating all along just because your fav side is canon and y’all don’t want to acknowledge the fact that cutting out Ladybug’s feelings for Chat Noir after 4 seasons of development and literally /3 episodes/ of actual visible feelings is an insane choice because it gets in the way of said side being canon. We all picked up on the fact that Chat Blanc and Ephemeral both told us explicitly that Adrienette can’t safely be together as civilians because Gabriel can and will use it to his advantage even without knowing their identities and now y’all want to pretend we’re the ones who weren’t paying attention when even the show was telling us that Adrienette is the side that can’t happen. Apparently the payoff of the 7-year-buildup of Ladybug realizing her romantic feelings for Chat Noir was ... three whole episodes. Followed by her ditching him entirely. Y’all are okay with completely ignoring the insane choice of having Marinette and Adrien not at all worried about abandoning their partners and spitting on “I’ll never abandon you” and every time they’ve ever said “you and me against the entire world” because all you see is weee cute Adrienette scenes <3333.
Like I said I and many others did not watch this show for a generic school romance we watched this show for a Love Square with identity shenanigans because that’s what was being sold to us yet apparently it was never about the "falling in love twice” and the parallels between the two relationships and two loves even though that’s what the past 4 seasons told us it was because it was actually just “adrienette with some obstacles” all along and oBvIoUsLy it was always just meant to be about romantic Adrienette!!!1!!1 I did not watch 7 years worth of romantic development on the Ladynoir side just for Adrienette stans to decide to tell me that I was actually hallucinating that whole time and that Ladynoir was always meant to be platonic
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the other day I came across the acronym FAAFO, and immediately thought of your Fafo. Had to look it up because I was unfamiliar, and it's the phrase Fuck Around and Find Out. Sometimes it's abbreviated FAFO instead.
and I was wondering if you were familiar with it/were thinking about that phrase, when you gave Fafo her nickname?
(I know it's pulled from the first two letters of her first and last names, but in addition?)
I did know about it! I thought it was especially funny that her name could mean something like that, because when she raided Eureka she really did fuck around and find out. I even called it out in the post she was introduced in!
And to this very day, she continues to fuck around and find out as a mechanitor and one of my most beloved colonists <3 <3 <3
If I were to change her name now that she was married, she'd be called "Faka" (Farov Kaznove), which I think is also hilarious, but it would take too much getting used to. She remains Fafo.
It's so crazy to imagine people thinking about these characters I've drawn in their day-to-day lives, just out in the wild like that O.o
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I wonder why I straight up suppress and hide my more arrogant/better than thou/grandiose side of myself? I guess I get the feeling that it comes off as a very assholish way to act, nobody likes a self centered person right? but I also wonder if being more open with that side would just make me look more confident, which does attract people... my old friend was like that, toxic as hell but had that sort of confidence that drew people in
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