#Freedom's theme

[neostellarjpg]

i like ralsei hes so regular and nothings going on with him

[carlyraejepsans]

Screen recording of the band segment from chapter 3 so I can read the full lyrics without eating shit too badly

[opbackgrounds]

Thematically, this is one of the most important things Luffy says in the entire series, and Oda emphasizes it by having the panel take up a full third of the page and being entirely focused on Luffy and no one else.

[dykedvonte]

I think depictions of Anya being cruel to Curly or drawing out his suffering are artful and chilling but completely miss the point of the story and her character.

I'm not saying she doesn't deserve to have that "I told you so" moment with him but not in something callous or cold. Even if that is how it happened, she'd immediately feel guilty cause at that point she's not tormenting her tormenter or even the person truly at fault. She's doing something cathartic, similar to how Jimmy likely hits Curly to release rage he can't against the rest of the crew. She'd see herself as no different when she'd come back from the moment and see Curly cowering at her. She wants someone to take responsibility but how does being cruel to the defenseless help? Why would she want the power Jimmy has over her over Curly?

The idea of her extending someone else's pain is just so against the struggles she already faces and how she can't even bring herself to cause someone pain even to help them. Her very desire is to release herself from her own suffering and I doubt she'd even fine some sort of guilty release in being cruel to another.

[dykealloy]

i really hate recommending things on the grounds of "yeah just put 1000 hours into it and it'll start getting crazy good" but you should watch one piece

[beaulesbian]

"The world should have protected you, but you have been asked to protect it. What an honor. What an injustice." - NADDPOD, Bahumia campaign ep. 97 (x)

[tidetower]

The Prince of the Hightower and the Heir to High Tide

Artist: erchitos

[imminent-danger-came]

"Well, it was nice seeing you bud, just run off like you always do-"

"-No that's YOU!"

"You're the one always running off!"

[aventurineswife]

So idk how to make a request. So I hope this is ok??

https://vm.tiktok.com/ZNeT75Hpt/

Hear me out a fic about this Aventurine with mermaid reader , and he captures her. I’ll leave the rest to you, so you have your freedom when writing 🫶

Don’t fell pressured :)

Beneath the Waves, Beyond the Game

Summary: Aventurine, a flamboyant and cunning pirate, thrives on risk and games of chance, but his life takes an unexpected turn when he captures you—a mysterious, defiant being of the sea—after your haunting song lures his ship to wreckage. What begins as a clash of wills slowly evolves into a fragile bond, as shared vulnerabilities and unspoken understanding unravel the masks you both wear. Amid storms, trust, and bittersweet goodbyes, the game between the gambler and the mermaid changes them both in ways neither anticipated.

Tags: Pirate!Aventurine x Mermaid!Reader, Enemies to Lovers, Slow Burn Romance, Captivity & Freedom, Pirate/Mermaid Dynamic, Forbidden Connection, Emotional Vulnerability, Found Family Themes, Bittersweet Ending.

Warnings: Themes of Captivity and Loss of Autonomy, Emotional Manipulation (Light), Storm/Peril Scenes, Brief Mentions of Betrayal and Guilt, Melancholy/Bittersweet Tones.

A/N: Y'ALL ARE FAST AFF!! 😭😭

[Part 2]

Aventurine had always thrived on risk, gambling with lives, fortunes, and fate itself. The sea, for all its temperamental fury, had always been his ally—a rolling canvas of danger and opportunity. Yet nothing in his decades of games and gambles had prepared him for you.

You were sprawled across the floor of his private quarters, your tail shimmering with iridescent hues as seawater pooled beneath you. The moment he'd heard your song—a haunting melody that echoed through the mists and lured his ship to the wreckage of a treasure-laden galleon—he knew he couldn’t let you slip back into the ocean’s embrace.

You glared at him now, your once-melodic voice reduced to silence, replaced by a defiant scowl. Aventurine lounged in his throne-like chair, one leg crossed over the other, his flamboyant coat draped behind him like a cape.

"Do you make it a habit to lure ships to their doom, or am I just special?" he drawled, adjusting his jeweled eyepatch with deliberate flair.

You said nothing, your shimmering tail flicking once against the wooden floor, splashing droplets onto his polished boots.

He chuckled, leaning forward, the feather in his hat catching the low lamplight. "Silent treatment, is it? Fair enough. I've always enjoyed a challenge."

You clenched your fists, your lips pressed into a thin line. Your freedom was gone, and this man—this gaudy, insufferable pirate—seemed to delight in your captivity.

Weeks passed aboard the ship, and the game between you and Aventurine began in earnest.

He spoke to you daily, spinning tales of his exploits, offering you trinkets from his plunder, and even playing games of chance where the stakes were your freedom. You refused every gamble, your pride unyielding even as your curiosity grew.

In turn, you sang only when you thought he couldn’t hear—a mournful tune carried by the waves. But Aventurine always listened, his sharp mind piecing together fragments of your story.

"You sing of loss," he said one night, his voice unusually soft. He stood at the door to your makeshift prison, his silhouette framed by moonlight. "Of betrayal. You’ve felt it too, haven’t you?"

You flinched at his words but said nothing.

He stepped closer, his voice dropping to a near whisper. "You think I don’t know what it’s like to be trapped, to have your fate decided by others?" He tilted his head, his eyes glinting like twin flames. "But I broke free. And so will you—if you’re clever enough to play the game."

For the first time, you spoke. "You don’t understand the sea’s bindings, pirate. My freedom isn’t yours to give."

The slow burn of trust began with small acts. Aventurine loosened your chains, allowing you to roam the deck under guard. You, in turn, offered him warnings of treacherous waters ahead, saving his ship from disaster more than once.

"You’re not like the stories," you admitted one evening, your voice hesitant.

"Flattered," he replied, grinning. "But you’d be wise to keep your guard up. I play to win, and I always do."

"Always?" you challenged, meeting his gaze.

His grin faltered for the briefest moment, but he recovered quickly. "Luck’s been kind to me so far."

Yet you saw through his bravado. Behind the jewels and theatrics was a man haunted by choices, a survivor who carried his guilt like a hidden scar.

The breaking point came during a storm. The ship was battered by relentless waves, its crew scrambling to secure the sails. Aventurine himself took the wheel, his usual calm replaced by a rare intensity.

When a rogue wave threatened to sweep you overboard, he abandoned his post to pull you to safety, his hand gripping yours with a desperation that surprised you both.

"Don’t you dare die on me." he hissed, his voice cracking.

For the first time, you saw him without his mask—a man terrified of loss.

The aftermath of the storm left the ship battered but intact. Aventurine found you sitting on the edge of the deck, your tail dangling in the water.

"You saved me..." you said softly.

He shrugged, his usual grin forced. "Couldn’t let you take all my secrets to the deep, now could I?"

But you weren’t fooled. Slowly, you reached for his hand, your touch tentative but firm. "Thank you."

He stared at your joined hands, his guarded expression faltering. "You’re not supposed to thank me," he muttered. "I’m the villain here, remember?"

"Villains don’t bleed for their captives," you countered, your voice steady.

The ending was bittersweet.

Aventurine kept his promise, releasing you near a hidden cove where the sea glittered like liquid sapphire.

As you slipped into the water, you turned back one last time. "You’ll always be playing, won’t you?"

He smirked, though it didn’t reach his eyes. "What can I say? The game’s the only thing keeping me afloat."

"Then I hope you win, pirate." you said softly, your voice carrying the weight of unspoken understanding.

And with that, you disappeared beneath the waves, leaving Aventurine standing alone on the shore, the ocean stretching endlessly before him.

[pencilofawesomeness]

How Fairy Tail could have had a really cool thematic parallel if they Committed to the Bit:

I often joke about my constant urge to spew essays on characters and topics I have thought too much about, but I refrain because translating all the thoughts in my head to words takes time and effort, and sometimes I am speaking to the void. However. I am spinning in my chair, gnawing at the bars of my enclosure, and frankly thinking way too much right now so I must scream.

It would have been so impactful if Fairy Tail emphasized Jellal being brainwashed.

Jellal is my boy, of course, but I’m not even just talking about the impact to his character: I mean the impact of the entire plot. This, of course, if we went the whole mile with the theming. The machination of being controlled, emotionally or magically influenced, or even unable to fulfill a desire due to an insurmountable obstacle, comes up numerous times throughout the plot, to both primary characters, supporting characters, and antagonists. While Fairy Tail is absolutely a series about friendship, it is also about choosing your path, with a large recurring theme of, regardless of connotation, about being selfish, and what that means on both ends of the spectrum. It’s a matter of free will, and the antithesis to this is all manner of external control. So really, it makes sense that this should be a thoroughly explored theme.

I could talk all day about all the different examples and aspects of this but I came here to talk about Jellal. First, the slavery aspect really hits the nail on the head, so we’re off to a great start—this, of course, applicable to multiple characters, which I really enjoy. Things go wild, however, when Jellal effectively chooses to trade himself for Erza in the punishment game and gets the ever-living shit beat out of him at the ripe age of eleven or twelve years old. He is, understandably, not in a good place, and he comes to the stunning conclusion that… he hates the slavers. Yeah. Checks out. Then, he hears the voice of ‘Zeref’ spewing rhetoric about hate, and it overwhelms; this, we know in hindsight especially, to be Ultear casting a mind-fuck spell in order to manipulate him, under the guise of pretending to be a figure young Jellal believed to be a god. 

When I first saw this flashback, watching the anime, I was unbelievably hyped. For all of Fairy Tail’s odd relationship with foreshadowing, I got the gist of it as soon as the magic went into his right eye and overwhelmed him. In Japanese media especially (largely due to the prevailing symbolism of the daruma doll), the right eye is a huge indicator of free will and the future—namely one’s goals. Creepy magic ghost entering the right eye with magic-bind looking things and immediately warping Jellal’s goal? A+ delivery. Of course, at the time Zeref—an unrevealed ‘evil’ entity—seemed a likely culprit, but Ultear being the puppeteer changes little of the result. In fact, it actually creates a super interesting parallel, but more on that later.

First, there are the consequences of Jellal being an antagonist who is not in control of his actions. I see people lament that it “cheapens” the severity of the arc and provides a cop-out redemption for Jellal, and while the execution of the latter certainly could have been different, I don’t think the premise of mind alteration cheapens the overall plot and theme of Fairy Tail at all; on the contrary, it could have been used to further emphasize intra- and inter- character conflict as well as provide a super engaging parallel for the end of the series. The theme of nakama, family, and friendship is huge, so what better way to emphasize that than to show a twisted example of it?

Jellal goes from ride-or-die loyal and ‘good’ to circumstantially loyal to an ideal (and the people attached to it) and ‘evil’ with the flip of a magic switch. Erza gets the immediate short of the stick when she is the first victim (aside from Jellal himself) to this meddling, and the caring friend she had seen days or weeks before is now cruel, insane, and full of threats—threats she takes heed to as she is cast from the island. Now, Erza is also a child, and one full of trauma, so I am not trying to invalidate her fear or blame her for any outcome. This also does not dive into the intricacies of saving friends at cost to oneself, and all of the conflict thereof; if anything, the complication of the matter bolsters the drama and impact. And then, we have the rest of the squad. Sho, Wally, and Milliana buy into the idea without any trouble, and they continue to buy into it as they get older. Beyond morality, it’s a power fantasy, and those are easy for formerly powerless people to latch onto. However, Simon is the only one who realizes that something is fundamentally wrong and twisted with Jellal… and his ultimate goal, developed over the course of roughly seven to eight years, is to wait it out until he finds the opportunity to kill him, or get somebody else to do it. Ultear, even after integrating herself into the group out of nowhere, gets away with her plan, because ultimately nobody questions that Jellal’s sudden change was anything but a result of trauma and his own will—even in a world with magic, where the very first arc revolves around the use and mistreatment of charm magic.

(Now, as an aside, I unfortunately have some experience in friends suddenly changing. In real life, it is rarely so sudden and obvious, of course, and the culprit is usually those horrible little signals and hormones within the mind, and nothing so fanciful or external as magic. I had a friend take a nosedive into some truly batshit ideas—cult-starting worthy—and exhibit wild mood swings and displays of unprecedented behavior. It admittedly took me a moment to ascertain it among the known issues, but once the pieces clicked, it clicked. I wished I had noticed sooner, and even though she was more culpable of her choices than a person supernaturally influenced by an outside force, I still can’t hate her for all the harm done. This is all just to say that I have, especially in recent years, a personal perspective on this trope and an appreciation for the painful nuance.) 

Refusing to reveal this mindfuckery in the arc diminishes the severity of it a great deal, I fear. We, along with the characters, spend time believing he died an insane villain… and then when he comes back amnesiac, it softens his character but does nothing to contradict how awful he had been. It’s not until years later, arcs later, that we get this random instance of the long overdue reveal to tell us that the manipulation has been discovered off screen. Not only is this utterly underwhelming, but Jellal is now actively working with Ultear and is fine with it! He’s still (understandably, after all this damn time thinking otherwise) blaming himself and lighting his own pyre to atone for things started by a factor completely outside of his control, and every character lets him. The discussion of autonomy is wasted. So, too, is all the juicy emotional fallout. We don’t see Jellal grapple with the horrifying reality that he has not been himself, that years of his life were wasted as a mental slave instead of a physical one; we don’t see Erza beat herself up (likely unnecessarily) because she could have potentially protected him but she hadn’t out of fear, and then she condemned him unknowingly; we don’t see the others truly come to terms with the fact that Jellal had been stolen from under their noses and they never noticed; we don’t even get more than a glimpse in Ultear’s head, who committed the deed because she thought her means wouldn’t matter and then they did. 

It’s horrifying. It’s tragic. It was, perhaps, preventable—in that the problem was a punchable one, to a degree—except the people involved were just children, just human, and it wasn’t enough. Friendship and flashy magic power could not trump trauma and entrapment, not this time. No matter how I think the series could have and should have handled it (and I have several ideas, of course), Jellal’s story provides a haunting case of failure regarding the themes of friendship/community and freedom that our protagonists embody. 

Which brings me to the perfect opportunity to follow up this occurrence of stripped autonomy and loss of freedom with a culmination of the affected themes, plot points, and more: the books of Zeref. 

Namely, the idea that the etherious—sapient, cognizant, and fully capable of autonomy via every depiction given of them, from Tartaros to even Lullaby to especially Natsu—can be and have been resolutely manipulated and controlled via the books by Zeref. Now Zeref, infamously hands-off up until the finale, barely utilized this. The most we ever see is instilling a directive and supernatural need to kill Zeref in the texts, which serves as an externally imposed goal. (Sound familiar, yet?) Provided Larcade clearly doesn’t have these instincts, it is not a guaranteed addition either, which further adds to the sense of deliberation. Natsu experiences this only in the last arc, in what I assume is supposed to be a very tense and jarring plot of a friend and protagonist suddenly losing himself, but it does not get expounded on for long enough to hammer the point home. The plot point of reclaiming the book becomes about saving his life only, and not his autonomy. Not only could this have been emphasized to be properly horrifying and devastating, but the effect—and the suspense—would be doubled with the prior establishment of Jellal’s arc and the tragedy therein. 

To back up for a moment, this parallel is further accentuated by the fact that Ultear and Zeref are clear mirrors of each other. Ultear was afflicted by a magic condition outside of her control and she was enslaved as a lab rat for it. When she broke free, she perceived her mother to have abandoned her, so Ultear, in her unresolved anger and grief, aims her entire goal to rectifying it, which culminated in planning to undo the entire timeline in order to make the one she wanted all along. Any casualties, any cruelties—including the mental enslavement of a slave child—are means to an end, and will ultimately be forgotten. Zeref lost his entire family to tragedy, and in his grief, he refused to forfeit the idea of regaining what was lost, namely his brother. He became afflicted with a curse—a magic condition outside of his control—and experienced cognitive dissonance for it. Ultimately, this miserable existence culminated in the idea of erasing the timeline entirely and forging his own. Any casualties, any cruelties—including subjecting his creations to the same lack of complete cognitive control—are means to an end, and will not matter. 

I mentioned that selfishness is also a recurring theme and this is a prime example of the dark side of it. For Lucy, claiming her independence and following her own path against the wishes of her estate, it is a wondrous thing. Freedom cannot be achieved without some selfishness, and this is a wonderfully handled theme in Fairy Tail, where our protagonists unabashedly put their friends above concrete morals and follow a creed to live their life to the fullest—the eternal adventure. For characters like Ultear and Zeref, their personal desires—born of horrible tragedy and frankly understandable things to want—come at the cost of the autonomy of everyone else, especially the pawns they use to further their goal. This, in true fictional hyperbole, begs the question of where the line in the sand is to be drawn, of what is acceptable on a moral standard and what is not. It is, of course, colored by the protagonist’s point of view as clear antagonism, but as a viewer of the media it provides to us to question when protecting one’s ideal becomes irrevocably an attack on the sanctity of others. 

Which brings us back to the matter of the books. The intended horror of Natsu losing control of himself, I think, could have been really emphasized in order to highlight these aforementioned themes. Imagine if, instead of a complete menagerie of new characters as the final invading force, Zeref’s key piece of his invasion was Natsu. With the intended goal of undoing time, having Natsu kill him is no longer necessary, so it would be more pragmatic to use Natsu instead as a weapon of mass destruction for his goal. Not only is he inside of Fairy Tail, but Zeref is, theoretically, doing this for Natsu too, and he won’t remember this upon success—nevermind that the Natsu we know, that presently exists, that we have watched develop over the entirety of the series, would be forever erased regardless. 

Armed with the knowledge of what happened to Jellal, and how he ultimately had no one to intervene for him, this increases the urgency within the characters and will likely expedite their discovery of why Natsu turned against them out of nowhere. This time, a resistance is launched, and characters have the chance to intervene on the behalf of a friend. Gray couldn’t save Ur, Lucy spent years ensnared by the will of a family member, Erza didn’t recognize Jellal’s plight until it was too late, but they can save Natsu, and save him quickly. Fairy Tail, Team Natsu especially, can rewrite the book of E.N.D. solely for the great cause of freeing their friend and handing him back his free will, and in the process, Fairy Tail saves their own future as well. This doesn’t preclude the ability to free Zeref from his curse, but with or without that we have a beautiful culmination of fighting for the sake of a friend, for the individual and for the whole group. This time, friendship wins. 

I just think it could have been really cool.

[bonefall]

I haven’t read these books in years WHAT is the angel fetuses. What is happening

LMAO yeah there's actually been three instances where Warrior Cats made fetuses into StarClan characters. We're joking about Moonpaw's absorbed fetus twin (Starpaw/The Voice) meeting with Clear Sky's first dead wife's unborn kids.

The first time they did this was in the last book of DOTC, on Gray Wing's deathbed. Bright Stream, last seen in early pregnancy and being carried off by eagles to be gruesomely eaten alive, shows up accompanied by Tiger Tail and Pale Sky. Her embryos.

Because they show up in this big fanservicey montauge of all DOTC's fridged wives happily living as eternal mothers in StarClan, I sardonically call them the Dead Angel Fetus Children.

(It's dark humor to cope with how much the concept freaks me out)

And with Moonpaw, I have to explain how fusion chimerism works.

There are a few types of chimeras, but when a single individual is created from the combination of two fully fertilized zygotes, that is called fusion chimerism. That's what Moonpaw is.

And you have to understand, we're talking zygotes as in cells. The fusion of haploid gametes. NOT embryos (developing major organs) or fetuses (has major organs). When multiple embryos or fetuses are detected during pregnancy, but one vanishes, that is called Vanishing Twin syndrome (VTS).

There is actually very little linkage between VTS and the chance of a baby being born with fusion chimerism. At best it's an overstated link. At worst, it is a general misconception of Vanishing Twin syndrome.

Fusion Chimeras can happen in a lot of different ways, most of them fertilization errors, very few of them involving the multiple embryos of VTS. Likewise, the vast majority of VTS cases do not result in fusion chimeras. I explained Chimerism in-depth over in this post, and I encourage you to follow my citations to learn more if you're interested.

Sooooo... we're not even talking fetuses for Starpaw and Moonpaw. If they ever were separate, it would have been as embryos at best.

Which means that Moonpaw is haunted by cells that hadn't even developed major organs.

Ergo, we're joking around about how peculiar it is that Supernatural Utero Ghosts have happened thrice.

[basket-of-radiants]

In my Rhythm of War rewrite, Odium never switches his attention from Venli to Moash. As a downstream consequence of this, 100% of my complaints for both characters are resolved.

[trappedinafantasy37]

One of the things that had my mind spinning for a while is that in the Shadowheart origin, if you reject Shar, Minthara will apologize. She will believe that she and the rest of the companions held Shadowheart back from achieving her destiny. She blames herself for Shadowheart making a choice completely on her own, thinking that Shadowheart's concern for herself and others held her back. Minthara feels it to be her fault that Shadowheart is not as powerful as she could be and she is to blame for Shadowheart walking away from her destiny. Minthara sees herself as having failed for Shadowheart making the choice that she did.

I know it is cut content and cannot really be considered canon, but she does something similar in the breakup. Where she's yelling at Durge and asking why they rejected Bhaal. And Durge can tell her it's cause they love her. When the breakup was slipped in, I was initially so angry because Minthara calls Durge stupid for choosing love over power (when Minthara herself chooses love over power). Especially since the breakup happens like 10 minutes after the alurlssrin confession where she says the two of you have an unbreakable bond. I used to be so confused on why she would be so upset that you actually loved her. Then I realized that she's not upset that you love her. She's upset cause she fears that your love for her held you back.

Even though she sees you as her equal, she keeps putting herself as less than you. Where your wants and desires are more important than her own, and your greatness should be put above any affection you have for her. She wants you to love her of course, but she does not want to be what holds you back from reaching for power. To Minthara, power is safety and she has never felt safe. She wants you to keep elevating yourself cause the stronger you are, the safer you will be and by extension, the safer she will be. So you picking her over power means you are less safe and by consequence, she is less safe. And as much as Minthara loves loves, she needs to be safe first. It's why it seems like she keeps making the same dumb mistakes over and over, getting herself into precarious situations. It isn't because she's necessarily blinded by love, but she feels her proximity to power should keep her safe.

I also had a discussion with someone on Reddit, talking where it almost seems like Minthara keeps putting herself in positions of servitude, despite having some pretty ambitious goals involving world domination. We are talking about someone who has been a servant of Lolth her entire life. She tells us she was raised to be a soldier in Lolth's army and that was all she was meant to be. For 200+ years she was a servant and has never been anything else and doesn't know how to be anything else, and I believe she is too afraid to try to be anything else.

As a paladin, she was responsible for keeping social order, follow the word of whatever Priestess was in charge and enacting Lolth's will, partake in surface raids, and kill any of Lolth's enemies. There was very little room for her to achieve what she wanted, because Lolth had to come first. And even if there were things she wanted for herself, they still ultimately had to please Lolth in the end. Her time in the Absolute is no different. She just swaps the Absolute for Lolth and keeps up with the same shit (although she is too brainwashed to tell). So of course she is stunned when Lolth abandons her and the Absolute attempts to kill her and throws her deep into a crisis of faith. 200+ years of service has always bought her safety, until it didn't. So when you come along, she just swaps you for the Absolute. Telling herself, "I just need to be better than I was for the Absolute, better than I was for Lolth, and I should be okay." And her little rant about the gods, Lolth, Bhaal, the Absolute. Minthara is not anti-god. Minthara is anti-gods who do not reward their followers for their service. Because to her, service should be rewarded with something (other than death). She plays both sides when it comes to Shar because although she does think Shar is a poison in Shadowheart's life and believes Shadowheart is better off without Shar, at least Shar did reward Shadowheart for her service by making her a Dark Justiciar and elevating her to Chosen.

You would think she'd learn, but she doesn't. Not because she's stupid, but because her basic need for safety isn't being met. And so be fair, her "mistakes" with Lolth and the Absolute were relatively recent. So she keeps pushing people down the path of ruin and never going down the path herself directly, thinking that if she helps you become powerful, she will be safe. Where if she stands beside as you walk down this path, you will reward her for her service. Where she does not believe you would betray her because she helped you get that power. Where she thinks her service to you should buy her safety. Because to her, the most important thing she can be to you is useful. And she is terrified of being useless. So she provides you with unbreakable loyalty, devotion, and servitude, (and perhaps love). Where she will help you achieve your ambitions, whether it be to become a Dark Justiciar, the Vampire Ascended, the Slayer, or a god. Her path to safety, and greatness, and true power is forever lost to her down in the Underdark. So all she can do is help you walk down yours.

She keeps doing the same stupid shit over and over, making the same mistakes with people over and over, cause her fundamental need to safety is never being satisfied. And her service to various gods and entities technically did buy her safety, but only for an unknown period of time. And when she loses that safety, she thinks that the problem is her. That she was punished because she was not a good enough servant. That if she was a truly good servant, she won't lose your safety and your protection. And she thinks love interferes with your perception of her as a servant. She wants you to see her as a loyal servant first, lover second, because the only things in her life to be truly rewarded was her service, whereas her love got punished.

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[opbackgrounds]

If there's a thesis statement for this fight, it's this. Hogback isn't judged for generally being a shit stain of a human being, but for taking away the freedom of others, and life without freedom isn't really life.

[kingofmyborrowedheart]

Thinking about the parallels between “The water filled my lungs/I screamed/So loud but no one heard a thing/Rain came pouring down/When I was drowning/That's when I could finally breathe”-> The heavy exhale at the start of “You’re Losing Me”-> “And my friends said it isn't right to be scared/Every day of a love affair/Every breath feels like rarest air/When you're not sure/if he wants to be there” -> “I can hold my breath/I've been doing it since he left” and “But as she was leaving/It felt like breathing.”