#and i love to talk and share things

[fferret]

im very sorry to hear you’re going through a really rough time right now :( do u need anything or anyone to talk to during this time ?

well i certainly wont be turning down any possible friends atm 🥹 i dunno who you are but…! regardless!

[chloesimaginationthings]

What do yall think the FNAF Faztalker is for,,

(Original post @/Dawko on Twitter)

[barghest-land]

drawings from paleo expedition to dagestan, done right on the trip. sometimes messy when it was cold and rainy, but i won't correct it. i think it's cool to leave it just the way it was done, and not retouch it after. there will be more drawings later, but those will be done from home

[royalarchivist]

Technoblade: Before I get any comments from people saying, "Uh Technoblade– ☝️🤓 Actually I live in the San Francisco Bay area, and the weather here isn't as perfect as you say! I think you might be blinded by nostalgia–"

Technoblade: I'd just like to say that I am a perfectly objective source of information, how DARE you question me, get banned.

[ Full Transcript ↓ ]

—

Technoblade: You know, when I first got to college, I had a conversation with a local student where I mentioned I was from California, and they heard that and said, "Oh, you're from California? Have you ever been here during the winter?" and I said "Oh, no no, I haven't" and they just kinda like, stared at me in silence for a few seconds, and then just said: "Good luck!" And then moved on with the conversation like that wasn't the most ominous thing I'd ever heard in my life. What? What do you mean "good luck"?!

Technoblade: One time I went to Texas, sometimes I visited North Carolina during the summer, and I was like, "Why is it so hot here?" but I just figured, "You know what, it can't be this hot everywhere during summer, that'd be ridiculous! Why would anyone subject themselves to these conditions?"

Technoblade: I didn't realize that California was unusual. So you know, I'd listen to like– Sir Alliser Thorne in Game of Thrones rant about, "Oh, you don't know cold!" tellin' us about how, he had like, been in some blizzard– blizzard, and during like, sub-zero temperatures, and I'm sitting here like, "No, no, I- I'm pretty sure I understand what cold is, one time it dropped to 60 degrees Fahrenheit and I had to turn on my car's seat warmers. I'm pretty sure I understand man's epic struggle against nature."

Technoblade: Before I get any comments from people saying, "Uh Technoblade– actually I live in the San Francisco Bay area, and the weather here isn't as perfect as you say! I think you might be blinded by nostalgia–" I'd just like to say that I am a perfectly objective source of information, how DARE you question me, get banned.

[ Video: why is the midwest so cold help ]

[vaguely-concerned]

a collection of early game ingellvar moments that made me go '...oh. oh rook LOVES loves the grand necropolis huh' with devastating force in my first playthough (+ one bonus lucanis being -- perhaps not quite convinced because his delivery makes me so happy and I made this for me. every day I'm so incredibly glad you're here even if you maybe aren't so much yet lucanis)

[kagoutiss]

pelican town, ‘72

[keferon]

May I ask what were the best transformers media you ever saw/read?

Well Transformers Prime, Transformers 1986 and IDW comics are having the first place that’s for sure

And then the second place is kind of shared by Fall of Cybertron, Exodus, Prime wars trilogy, Robots in disguise(2001) and Transformers One.

The third place goes to G1, Animated, Earthspark, Armada, War for Cybertron Netflix series, Aligned Robots in disguise, Bumblebee, Rise of the Beasts and Cyberverse because I only liked some little parts of them.

And then I also saw some of the Bay movies, Victory and Headmasters and didn’t like them at all.

Separate first place for J-Decker. It is not exactly Transformers but it is a show about giant robots and I loved it

[stiffyck]

I WISH ARO HEADCANONS WERE MORE POPULAR IN FANDOMS

[codacheetah]

Tell me your opinions on the stuff. Any stuff.

Grins. Smiles, even

I'm using you as an excuse to infodump my theory about the Island because I've had no in to do that, and my theory is pure opinion. Anyways:

THE ISLAND IS STUCK IN THE FUCKING FUTURE

(SCARE CHORD)

Hi so you might ask me. What the fuck do you mean by that. Well. Let's start with what we know about the Island, the King, and Wish Craft. (long ass post under cut. sorry)

The Island was redacted from the perception of outside world, via Wish Craft.

Wish Craft has the power to enable Time Craft. We see this primarily through Siffrin's timeloops, but also through the King's powers.

One of the King's powers is to show the saviors a "vision of the future."

...And this same attack is deflected back at the King by Mirabelle in ACT 5, in which the King is able to see the Island before being frozen in time.

...So. The King's "vision of the future." We're never told explicitly what this vision is. All we know is that it's apparently powerful enough to wipe the party in one hit, hearing it from a distance hurts your head, and that whatever Siffrin (and Loop) saw, they don't seem to actually be able to describe it. Even the King himself doesn't know what his vision entails.

We don't know whether the party all sees the same thing when struck by the vision, and Adrienne's answer to the question about it in the Reddit AMA is. vague? It's not a "no," and the specific wording makes me think the answer might be yes. But that's me reading into it.

Now. What do we know about the Island's redaction? The Island was affected by the wish recently, as in "like a decade ago" recently. We know that nobody in Vaugarde or the rest of the world is capable of thinking about the Island, anything closely tied to the Island's culture, or people on the Island for very long. When they do recall these things, they slip right out of reach. Particularly, the consequence for trying to think about the Island (or, more specifically, break the wish that forces the Island out of perception) is significant pain, localized in the head.

And that said pain is enough to become lethal, if pressed hard enough.

From here forward I'm running with the assumption that the King's "vision of the future" is not personalized to any individual, and is unchanging throughout the course of the whole story. Now. Remember the end of ACT 5, where the King gets hit with the deflected "vision of the future", and instead of dying, he recalls the Island and gets frozen in time? Very odd, yeah? Why wouldn't the King just die like everyone else does? He even does take 9999 damage when trying to say its name, like Siffrin does, and like the party does when they're hit by the attack.

Well. We know that he has a "true wish" that the ability to freeze Vaugarde in time grants. I don't think it's at all a stretch to guess that the King's "true wish" is to be able to remember the Island. My personal guess is that the King (and Siffrin) brought this "true wish" into effect via the "SAY ITS NAME" sequence- he even tries three times, a significant number in wishing.

The King (and Siffrin's) wish breaks, because it can't be fulfilled in this moment without breaking the wish to prevent the Island from being thought about. However. Consider the conditions at the end of ACT 5- the King sees the vision of the future reflected back to him, and what he sees is the Island. He remembers the Island, fulfilling his own wish, and is frozen in time. I consider this a compromise between his wish and the one binding the Island- the King gets to remember the Island, but nobody alive is able to think about it, because he's frozen in time; it's like the Universe is correcting itself (I WILL GET BACK TO THIS). The wish of all of Vaugarde to defeat the King is fulfilled, since he is no longer a threat, and Siffrin's wish wraps itself up soon after.

MY POINT BEING. The King's attack is a vision of the future. This "future" is of the Island, in some uncorrupted state. The saviors see it when he attacks them, and he sees it when it is deflected back to him.

The logical next question is "okay, so the Island exists in the future, but how do you know time shenanigans are even related to the Island?"

Recall a very odd series of interactions throughout the game, in which you try to interact with a piece of equipment that you already own.

The game rewinds slightly, before the item disappears, as the Universe corrects itself.

This is awfully similar to two particular events: looping back without seeing the death screen, and talking to the Daydreaming One about her sister. The latter is more interesting to me for the purposes of this theory.

In both instances, something is misaligned within the Universe (an item existing in two places, someone remembering something they're not supposed to) and it is corrected through some sort of rewind. Also compare the dialogue above to when you try to give Mirabelle the Stylish Bow when you already own it.

The world glitches, but Siffrin defuses the situation before the Universe has to intervene. Omitted from the screenshot is the fact that Mirabelle's portraits switch to happy from "catastrophically anxious" with no transition after Siffrin shows her where the bow is. Important to note is that when Mirabelle tries to recall receiving the bow, her head hurts, much like how trying to break the Island wish causes a headache.

The Universe leads you away from perception, and you can only follow.

My theory that I keep circling around is that through Wish Craft, the Island has been displaced temporally. The denizens of the Island, as well as the Island itself, still exist, but they are in the future. The Island is still loaded into the world, like how equipment is before you try to interact with it, and the Island cannot leave this quantum state, because it never actually went anywhere. The magnitude of the redaction event is so severe with the Island, because it is so much larger as an entity than a sword or a bow. There are of course things I don't really have pieced together, like why somebody would wish the Island into the future, how far into the future it is, or why equipment behaves this way. But it's the only Island theory I've seen that I have some level of confidence in, so I might as well lay out my cards for it.

[calamaroo]

AAAAAAAAAAAAAAAAAAAAAAHHHHHHHHH

NATQUIK'S FAMILY IS SO FREAKING ADORABLE AND PRECIOUS AND I LOVE THEM SO FREAKING MUCH OMGGGGGG 😭😭😭😭😭😭😭😭

THE GRANDPAAAA!!!!!! HIS BEARD 🥺🥺🥺!!!!!! IT'S SO BIG AND FLUFFY AND AWWWWWWWWW!!!!!! DEDUSHKA!!!!!! BABY NATQUIK HAD TO HAVE CUDDLED IN THAT BEARD, AND YOU CAN NOT TELL ME OTHERWISE!!! AND GRANDMA BABUSHKA!!!!! SHES SO PRECIOUS LOOKING, LOOKIT HERRRRR 🥺🥺🥺🥺🥺!!!!! AND LOOK AT HIS PAPA!!! HE LOOKS LIKE SUCH A SILLY MAN WHO LOVES TO TELL JOKES AND CHASE HIS KIDS AROUND AND AUGHHH!!!!!! AND THE DETAIL OF THE SHOVEL IN THE BIGGER PHOTO????? I BET GRANDPA TAUGHT HIM HOW TO DIG TO MAKE THE DEN BIGGER FOR THE FAMILY!!!!! 😭😭😭😭😭🥺🥺🥺🥺��🥺 AND I BET THE MOTHER IS HIS OPPOSITE, A SOFT SPOKEN NERDY WOMAN BUT WHO ISN'T AFRAID TO GET HER HANDS DIRTY, IDK WHY BUT THATS HER VIBE FOR ME!!! AND HIS SISTER AND BROTHER!!! Going off of size (which might just be perspective, but who knows if we'll ever officially know, so imma do what my brain says) I'd say Natquik is the youngest ... and going off of the detail that there's a bandaid on the brother's cheek, I'd say he's more of a ruffian, probably less studious ... maybe a soldier tehehehehehe! Grandpa was definitely a WW1 veteran, and maybe Papa was WW2 ?~ that's extremely headcanony, but I just really adore this family, and now I'm having ideas about themmmm!!!!! New octo-lore project, y'all, but this one will take me a long while lmao, I can tell :,3 👍

@snowy-yoshi NATQUIK STUFF OUR BELOVED, YOU'VE REALLY GOTTEN ME MORE INTERESTED IN HIS CHARACTER SNOWY 😭🥰

@animalsalvationassociation @urautismdiagnosis-wistie @mildy-vibing @hers-underwraps @traumatizedartist @trackermycutiepatootie @cyree @4eyedloser @astro-nautic @ask-the-octonauts @xoxotifia @blurrymind11 @brownyanyk @cacartoon @hammysamhah @arley-ology

I can't think of anyone else who's might not know about Natquik's family tree in case they'd be interested in him uhhhh ... I guess if anyone else remembers anyone I haven't mentioned in the octo-community, reblog and tag them 👉👈 for politeness yk

[zylphiacrowley]

-"I never realized how strong you are."

-"Did you forget that I'm used to hauling a fully packed gleaner's kit?"

-"Oh... yeah, that's right."

-"Thank you all the same though, love."

[A follow-up to this]

[ganondoodle]

i prefer him big, thick, and a little rotten perhaps :P

(Radahn, Elden Ring)

[luna-loveboop]

So one thing I like about Time is that he will talk about his life and journeys

He talks about it! He'll tell the boys stories and answer questions. (...when asked)

Obviously he tells his family- Malon knows everything

But he has also never held back from telling the boys stories or answering questions

I'm still always cackling over him telling them about gerudo town- he is way too proud to brag about being a mischievous gremlin

"I proved to be a greater thief than all of ganons tribe"- oh yeah. He's definitely the good influence. (That's sarcasm, Wars is the one good example for the younger ones.)

He just. He looks so smug to tell them about his experiences with the Gerudo- I love how often we see him just talking to them and answering questions about his life.

Even if it's clearly painful memories- he has still always told them

*sobs*

Obviously Time talks to Twilight the most about stuff- and everyone knows that (to where Sky went to him for questions about Time)

But the thing that get me the most is Wind.

Wind asked about... everything! Wind asked about his first journey and his life- and Time told him

The sheer transition from

"I was wondering... about your original journey"

To

"You told me about your original journey. Everything you said... the sages you described, the old traditions, the old stories- all of it! ...)

And this literally drives me insane because Time told him- Time told him everything! He told him about the sages, traditions- Time literally openly talked to Wind about his first Journey because he asked.

The Hero of Time's story had always been a tragedy- I mean... yikes. Trauma much? But I think people overlook this part of him- that he's older. All the hurt and scars are still there, but he has learned to talk about it to deal with it. And I think I know why- (Read)

Malon Malon Malon Malon!!! Jojo showed this set up for their marriage- Time was and is traumatized. But he and Malon worked to talk through things. I mean. Can you imagine keeping secrets from Malon? I don't want to. I feel like she would throw a cow at me. Anyways.

It takes a lot to work through trauma and learn to talk through it. Malon claimed him tho, so I don't think he had a choice. But seriously- she helped him work through things as family. Which led to a successful marriage for both of them, and got Time to where he can talk about these things with the boys :D

But

Time is a troll, so although he will share his insane life stories.... he will also say he fought the moon with no more context, and tell his wife that they have a descendant but not freaking tell her which one it is.

He's so insane I love it <3

Just don't forget this part of him... don't forget that rather it's sad or goofy or whatever- he will talk about his life. If someone simply asks

:)

.

Art and comic by Jojo @linkeduniverse au! :DDD

@adrift-in-thyme

[lady-corrine]

If you could write for DC Comics what storyline would you give to Dick and Kory if they were a married couple?

Oh, that's such a beautiful question! This was meant to be a pretty short answer, but because I love them so much I got carried away and here we are, with this ridiculously long answer 🫠 It's going to be a lot of me rambling ahead, just to warn you! More under the cut! <3

First, the way I would get them married is by mostly following the original plan. I know some people will criticize it saying it leans too much into the damsel in distress trope, but frankly seeing how some parts of the fandom treat Kory as indestructible, it would be lovely to see her be saved for once, and how shattered and unstable Dick would be at the possibility of losing her. Also, considering her traumatic past, it would be extremely important for Kory to know that she is completely safe, that this man would do anything to protect her and save her no matter what.

In my version Dick would already plan to propose to her, he would buy the ring, make all the preparations, but he wouldn't get the chance as the attack happens and Kory is injured. Then it goes on as originally planned:

I love the imagery of him cradling Kory in his arms and the crowd of heroes parting to watch them. It screams classic epic romance 🫶🏻

However, I would definetly add the planned marriage from DCAMU with Dick fighting on Tamaran to marry her. So many people forget Kory is a literal princess, so Dick being her knight/suitor that fights for her hand in marriage against royal guards like in historic times would be very beautiful to see and again very classic-romance coded. I would incorporate it by making the fighting a Tamaranean custom that Dick is definetly not obliged to do by Earth customs, but which he wants to do because it's important for Kory's culture, her parents and her people and he wants to respect them out of love for her.

And again, the imagery which is simply beautiful and very fitting for them as a trope:

They would do a double wedding to honour both of their customs and traditions, with one ceremony on Earth and another on Tamaran.

Now, to finally start answering your actual question 😭, as an established married couple: Kory will definetly get her own permanent solo comic, no buts or ifs (I have a lot of ideas on how that solo should be written, with new villains, themes to be explored, missions, diving into Kory's psyche, her ideals, Tamaran, new heroes to mentor etc. but that is a conversation for another time). In their marriage, Kory would be a protagonist just as much as Dick. Not a deuteragonist, not a supportive character that just comes in every 3 or 4 issues to be nothing but the love interest, not the wife reduced to comforting him and then being pushed into the backround to let the man have the spotlight. That's not how it works for them.

Kory would be established as the complete leader of the Titans. Half the time she and her husband work independently — with her leading the Titans or fighting her own missions as Starfire, while Dick operates in Blüdhaven and occasionally with the Batfam. The other half they work together as a duo/pair, showing everyone how incredibly in sync they are on the battlefield.

I would introduce a new rogues' gallery for them as a couple, much more dangerous, darker and terrifying. I would want at least one storyline/case to be memorable and remain a classic for them — for example, one idea would be to uncover the corruption behind a very successful pharmaceutical chain, in which the doctors exhume newly buried bodies and use parts of them in their medication. Less on the fighting part this one, more on the analytical for Dick and Kory.

Another storyline would be a villain who stalks them for a long time, uncovers Nightwing's identity, injects Kory with a substance that essentially takes any alien power from her and leaves her as vulnerable as a human, and starts wreaking havoc and murdering people.

Another idea I would love to write for them would be a full blown horror one, with a vampiric creature that basically feeds with Kory's energy, leaving her weaker and weaker. The creature wants to make a bargain with Dick — his soul in exchange for Kory recovering. Him and Kory think of a way to trick the creature eventually.

An elseworld storyline would take place in the 19th century Blüdhaven with Dick and Kory as a married couple of detectives that track down a serial killer alike Jack the Ripper.

In their run, I would show Kory as a philantropist who, together with her husband, brings positive changes to the cities she protects. Not only defeating crime, but using their money for schools, orphanages, helping victims etc. In terms of fighting, I would place more spotlight on Kory's skills in hand to hand combat, instead of her starbolts.

On a personal level, they navigate and overcome the obstacles that come with them wanting to be heroes but also wanting to keep their loving marriage and enjoy a domestic life. How they balance work with making time for each other, how Zatanna or Vic or someone else would invent some magical object or device that changes some of Kory's appearance so she and Dick could go out on dates in public and still keep their secret identities.

How Kory gets accustomed to Blüdhaven and Gotham, how does she integrate in the Batfam, who does she click with, Kory and Bruce slowly but surely warming up to each other and trusting each other. At the opposite end is Dick becoming a royal consort, how he wants to learn about Kory's culture and be accepted by her people, how he learns about Tamaran and the politics of it. (He would definetly become fluent in Tamaranean)

I would love to write about Kory as Empress Regnant and Dick as her consort. I would love to write Dick taking the Batman mantle again but this time with Kory into the picture and the changes she would bring. I would love to write Kory and Dick involved in an intergalactic war.

Then around 3 or 4 years into their marriage, they have Mar'i. 🥹 And that will bring a new set of challenges: how do Tamaraneans pregnancies work, how is Mar'i as a baby, what it means to raise her, how does Mar'i develop her fear of death and how Kory and Dick try to deal with that. How being a mother and father changes so many perspectives for Dick and Kory and the way they look at certain things, making them even more protective and concerned.

Mar'i being born also opens the door for more dangerous and challenging missions, with villains targeting her to get to both Dick and Kory.

As a couple they would have some minor arguments here and there, because they aren't perfect and they have their flaws and no couple works like that, especially with such a stressful job as they have. But those rare arguments would always end in heartfelt conversations and would always serve a purpose to shed light on Kory's or Dick's way of thinking and how beautiful they work through things, not simply for the sake of drama.

At some point though, I would write a dark case that takes a deep emotional toll on Kory (a case that involves sa, trafficking, mirroring the horrors she went through), and she becomes so focused on it, so absorbed in making those horrors stop and helping the victims, that she closes off emotionally towards her own family. Because I want to completely reverse their Ntt positions this time, with Dick being emotionally open while Starfire gets lost in anger, with him making Kory open back little by little on how that case affected her, helping her heal from her past trauma, being a very loving and supportive husband that is in tune with Starfire's feelings. (Because that's who Dick is, DC, not some "happy go lucky" man child that runs from Kory's trauma.)

I would give them so many domestic moments that I feel are rarely used in comics but are simply so them and would be earned and a breath of fresh air after fighting and returning from the battlefield: tending to each other's wounds, washing each other, giving back their Ntt pillow talks, Dick combing Kory's hair, falling asleep in each other's lap, going through photos together, sharing their home office in comfortable silence, as well as pretty much the entirety of DCAMU. Terms of endearment, constant touches, dancing, photoshoots together, Dick tending to her garden, both being there for Mar'i's first words and her first steps etc. Moments that ground them and are the center of their world.

For Dick, of course, Kory and Mar'i are his priority above anything and anyone else. This doesn't mean he stops loving Bruce or his siblings or his friends, but his wife and daughter are everything for him, in every sense of the word and him prioritizing them is very much normal and in character.

I would constantly toy and play with so many storylines and different settings for them because it simply works so incredibly well for Dick and Kory, in a way that doesn't for any other couple — dealing with a political coup on Tamaran for an usurper to take the throne, gothic and horror stories with haunted castles, orphanages or asylums, detective stories, mythological settings that dive into Tamaranean religion and gods, modern Blüdhaven with serial killers or infractional groups, genetic mutation or experimentations in labs. Everything and anything can work for them, if only a drop of imagination is used and they are written with genuine love.

Kory and Dick are both literal goldmines of characters, in a way few are, but they were never used to their full potential and I fear they never will be. Because DC is too lazy and lacking in talented or original writers.

I could talk about these two and my ideas for them to infinity, as you probably saw. If you did not get bored of my ramblings, thank you for reading all of this and thank you for your question! It was lovely to answer to it! 🥹🩷

[maradevi]

The Unusual: A Character Analysis on Bomb (And OJ, sort of)

Introduction

Wanted to make this post seeing as Bomb's been getting discussion again after the recent remaster episode. It goes without saying that Bomb is a complicated character. He, as with many problematic aspects of II1's story - was undeniably crafted as a mean-spirited ableist stereotype, that was consequently "scrubbed clean" off the face of the series up until the recent season two finale and remaster. And it's true. He is evidently a “writer's regret,” severely lacking in modern relevance, and compared to the intentionally-done stories of Suitcase and Knife - critically underdeveloped as a character. 

And yet - I'm drawn to him anyway.

It's hard to argue Bomb is as deliberately written as most of the fuller, modern characters are. Frankly, a large portion of his depth likely wasn't thought about at all, even now - but there is something horribly, and ironically complex about the character he is given. Something that I haven't yet seen discussed in this fandom, or concretely acknowledged by even the canon source. The "overly anxious, bumbling idiot" trope II intended to portray him as, ironically became a self-referential character that has experienced nothing but ableism from other characters, became shaped by his discrimination, and is consequently now a reversal of everything his stereotype limited him to be: affable, easygoing, interpersonally skilled - even teasing and sassy at times. 

I want this essay to humanize a character that is so critically overlooked by both his writers and this fandom. I want this essay to show him in a completely different light than what we're used to seeing - Bomb has grown since season one as something more than just "The Unusual". And while no one needs to like him or enjoy him - understanding Bomb, at the bare minimum, is critical to understanding the arcs of plenty of other well-loved characters (namely OJ, who will get his own analysis section in this essay). 

There will be obvious mentions and descriptions of ableism throughout. Please take care of yourself while reading. I also want to emphasize that although I try to analyze only what has been consistently established, I also acknowledge that a LOT of Bomb’s scenes generally lack intentionality and there is always the likelihood II could eventually release some episode that completely subverts everything about his character. But what he has now, as of the time of writing this, means a lot to me - and that’s what I want to focus on. 

"FALSE ALARM": What it Means, and Why It Fits

There is one other tagline that II gives Bomb beyond "The Unusual"-- and it's "FALSE ALARM,” crudely written on his corpse in the midway point of the season two movie.

And I think, at his very core - this is fundamentally what Bomb is meant to be. It is inherent to his object, even - he is a weapon that harms others, in mass quantities. The whole (initial) purpose of BFDI’s Bomby is to mass kill characters when necessary and freak out when his fuse is lit. And technically, on a surface level, Bomb appears the same way. He blows up when it's funny, his arrival in Idiotic Island causes mass panic, and he screams at the top of his lungs when he sees MePhone's plane fly by at the beginning of season two. But these scenes actually make up only a fraction of his dialogue - and the interesting irony of Bomb is an almost meta-level of self-awareness of what he is, and his attempt to break out of that when he has the autonomy and power to do so.

"Double Digit Desert" in particular points to Bomb's general preference for non-violence and passiveness (or at least, violence that does not involve him blowing up and hurting a bunch of people). Despite clearly having the physical strength and prowess to destroy the desert/his obstacles, his first instinct is to… verbally threaten the fence to move. He is willing to use physical skills to help his ally (OJ), yet interestingly, he abstains from doing so if it would possibly hurt himself or others. The post-ending scene of "The Crappy Cliff (Remastered)" is ESPECIALLY on-the-nose with this - he is aware that yes, he can blow up and kill everyone with ease, but will only do so under the circumstance it helps everyone's problems (that is, getting them out of falling for non-existence). He knows he is made to be a weapon of mass destruction, but actively refuses to live up to that unless given the “yes” from everyone else. His explosions, at least when done of his own will, pretty consistently happens in a controlled environment where it generally won’t harm others/it’s actually needed, in this case. 

Yes, Bomb does have plenty of scenes where he DOES blow up and it’s a big freakout scene - but it's incredibly interesting how none of these examples are done out of his own will or to intentionally harm others, despite being an object that could easily get away with it in the same way Knife is justified for being violent... because, well, you'd expect a knife to do that. And you'd expect Bomb to do that too... but he doesn't - because it’s part of him being a “false alarm.” Funnily enough, as pointed out by a dear friend - there’s also a layer of irony that possibly the only scene where Bomb is actually feared is the one that consequently frees everyone from Idiotic Insanity.

Similarly, a great deal of his lines point to Bomb perhaps being way more introspective and socially aware than what we'd expect (or what the ableist stereotype WANTS us to expect) for the "goofy idiot.” His very first line in "A Lemonly Lesson" is him speaking up about Balloon treating Taco aggressively and calling him out for it (and interestingly enough, in the remaster - OJ, the "nice guy character" actually encourages Balloon to treat Taco awfully right after that - acting as a very interesting foil to Bomb). He becomes saddened and seemingly ashamed when Pickle wordlessly admonishes him (for his literal disability) in “War de Guacamole.” In later episodes, he picks up on OJ not caring about him as a person - he just wants to satiate his own savior complex, hence why the whole ""betrayal"" arc happens (more on that later). In spite of it all, he’s even able to separate strategic plays in the competition from his personal relationships (throwing OJ aside to win the challenge - which I want to quickly clarify that characters like Silver Spoon do things like this all the time without it being seen as a reflection on their personal relationships, so I see no reason why this logic can’t also be applied to Bomb) - something OJ actually HADN'T developed yet, hence why Bomb gets confused when OJ takes the betrayal so harshly. And when OJ continuously treats him awfully throughout the rest of season one, he eventually has enough and sassily votes for him in "The Penultimate Poll" (even mocking OJ's self-victimization). 

Even his little scenes in the finale further this characterization: he leads Cheesy directly into a pun and beats him at his own wordplay, showing that although the characters around him take him as incompetent or socially inept - he is actually, perhaps, way more socially mature than a great deal of characters. 

But at the same time, it’s also INCREDIBLY important to me that Bomb is also, at heart, incredibly sweet and gentle. Obviously he has his moments in season one, but literally every single II1 character was bigoted and/or really mean for no reason (consequence of being written by 13-year-olds, I guess). He did genuinely care about OJ and did plenty to help him, up to a certain point (when OJ admittedly generally did not reciprocate this level of asssistance). He didn't want to be violent against a fence for crying out loud. He openly mourns the death of his best friend by trying to play his favorite game in his honor, his first question about the whole situation being to ask about Pickle - even after he was left in the dark about what exactly happened to him. And even though he was one of the few people who would have legitimate reason to not like Balloon - he (alongside Pickle) was the first person of the II1 cast to invite him to hang out again.

This even applies to OJ (although it's very unlikely Bomb and OJ are really "friends" as much as they are just on passive terms nowadays) - this guy was so, so terrible to him in season one, and yet Bomb shows no sign of what would be very justified bitterness or hurt past that little bit of sassiness in "The Penultimate Poll.” He's a VERY big forgiver in a way while still being pretty firm about not letting himself just get run over (which becomes a very interesting parallel to Paper later on!). So much of his interactions revolve around wanting to assist or help others, too - trying to uplift Cheesy during the redline game or putting everyone out of their misery at the end of II1 remaster, namely. Bomb is one of the characters (like Cabby) that would have every single right to be angry and hurt at the way he's been treated by virtually everyone, even to this day - and yet, he isn't. He is happy. He is gentle. And he likes plants - that just shows how easygoing he is, right? (/silly)

And he can be blunt, just as he can be sassy: he can choose when to be silly and when to be serious. He is NOT as emotionally volatile as his stereotype wants him to be - even his background scenes in season two supplement this, as he quickly puts a pause on his silly dances/reactions to watch Balloon as he enters the hotel in "Rain on Your Charade." Yeah, Bomb definitely has some strange reactions at (admittedly most) times in season two - but so much of his more serious scenes point to this being a choice he makes deliberately, rather than something he just... does because "goofy guy!” I'll get more into why I personally think he does this, but the point ultimately is that Bomb is surprisingly very evenly-tempered as a character, and is perhaps way more socially intelligent than AE even intended him to be taken as. 

It all leads back to his coding: being a false alarm. We expect a bomb to be one step away from lighting its fuse and blowing up. We expect Bomb (as a character) to be volatile, reckless, violent. But none of that ever happens. He is composed, soft(er)-spoken, passive, well-meaning - and certainly thinks and speaks much more carefully than what the people around him expect.

Bombjay: It sucks, and that's why we love it (+ a smaller analysis on OJ/Paper)

Of all things Bomb is probably most utilized or known for in this fandom - it's specifically his dynamic with OJ. And for very, very good reason. Bomb and OJ are, undoubtedly - a toxic and power-imbalanced relationship (in the context of canon). It gets to the point that even the writing pretty explicitly blames OJ for everything that happened. That's even the biggest point of criticism Pickle has against OJ during "The Penultimate Poll" - and while OJ acts like the catalyst was Bomb's "betrayal," in my eyes at least - their relationship was actually doomed from its very conception. So long as Bomb's disability began to "inconvenience him" (in other words, just exist at all) - it was never going to mesh well with OJ's self-centered savior complex. It's, although depressing, a golden example of how people very often prop up and parade around with disabled people to feel "good" about themselves for allegedly "saving them" from their lives. 

At his core, OJ is a caretaker/provider who is VERY obsessed with being the perfect example. He does not care if you don't want his help - he knows best, and is the most "rational" guy on the team, so it's his “saving” you'll be dealing with for the rest of your life. It's part of what makes his character as the "hero of II" so complicated and nuanced: there are times his heart is truly in the right place, just misguided by true ignorance/not knowing any better. And there are plenty of times he convinces himself his heart is in the right place, when he is in reality being nothing but condescending and snarky. And there are other times where he is just outright rude and cruel to people knowingly, but gives himself a pass because "I'm good everywhere else. It’s fine if I’m mean just this one time.” But the worst part is - OJ is technically validated in his way of thinking. He isn't immediately wrong about being one of the more rational characters. There really isn't any other character in II that would so willingly want to create communal housing for the others or have the willpower to actually maintain it. He knows he is good at what he is doing, and he exploits the hell out of that.

Except Bomb did not validate that way of thinking, and that's exactly where the fallout happened.

OJ showed signs very early on his care for Bomb was incredibly conditional - all the way back in "4Seeing the Future,” he notably gets irritated when Bomb accidentally throws his cookie into the air (rejecting HIS gift!). He happily lets Bomb talk to him when it’s validating his opinions about Balloon in "Sugar Rush," but when Bomb tries to explain how he returned in "Double Digit Desert" - OJ immediately cuts him off and tells him to "forget it." Anything Bomb tries to say that takes longer than two seconds to listen to is immediately brushed off by OJ, who, evidently - is only interested in how he can "save this pitiful guy" to make himself *feel* good. He's not interested at all in what Bomb himself has to say, and that's something Bomb evidently starts to figure out himself toward the end of "Double Digit Desert."

And this is ultimately what leads up to their big fallout at the end of the competition. Of course, Bomb himself isn't a golden standard of niceness (as most II1 characters are) - but I think it's often overlooked that Bomb had only loosely suggested that he should win when OJ immediately retorts that it should be him, because "he's smarter." OJ doesn't think for a second - his ally, who had previously helped him all throughout the challenge - might possibly be deserving of the win, and, while obviously cruel, absolutely shows very explicitly how OJ's tolerance of Bomb was just that: conditional tolerance. Bomb giving even the slightest suggestion that he might not fit perfectly into OJ's savior fantasy instantly shattered any hope of their friendship succeeding past this point.

Coupled with OJ's vaguely ableist-sentiment doubting Bomb's intelligence - I do believe that's exactly why Bomb ends up shoving (and killing) him. It clicks in his head this guy does not care much about him - but interestingly, at the same time, Bomb initially doesn't seem to perceive this act as a betrayal as much as it was maybe a minor disagreement, if not just a strategic way of winning a competition. It's exactly why Bomb gets so confused in the following episode, where he happily goes up to OJ and calls out for him - only to be immediately shut down by OJ, berated, and then ditched for Paper. 

So funnily enough - it's not really Bomb's actions that hurt OJ. It's OJ constructing a false image of Bomb in his mind, and when that helpless image of Bomb got broken - OJ betrayed himself, and consequently hurt his own ego. 

OJ effectively door slamming on Bomb as soon as that perfect little image got shattered is another HUGE indicator their alliance was, at best: conditional. The moment OJ no longer needs to play into the role of being Bomb's "savior,” he goes completely mask-off in his ableism. He outright states this himself: "I accepted you for who you are!" When Bomb tries to explain himself, he refuses to hear him out and jumps to Paper instead (actually making it a point to state he's only allowing Paper to be with him to "get back at Bomb", in a way). Then, funnily enough, he exhibits the same immediate withdrawal tendencies to Paper themself later on in the episode when he tells them "Between you and Bomb, I feel like I'm in a mental hospital." It conspires all the way to Bomb's elimination, where OJ just HAS to get the last word in about how Bomb "deserves" it for ""betraying"" him. 

The slightest bit of resistance, from someone that isn't expected to "resist" - instantly seems to absolutely destroy OJ's world. Every interaction he has with Bomb throughout the rest of the season is literally just OJ trying to make it a point "you did something bad and you should feel bad for me." 

All this to say this isn't meant to be an attempt to demonize OJ - it's actually a very critical point of his character development, and understanding exactly where his savior complex later on comes from. Bomb possibly suggesting that his "saving" isn't exactly helping questions his very existence - and it thus results in OJ having an extreme meltdown that leads to him self-victimizing himself, because if Bomb isn't the one in the wrong - then HE is, and that can't be possible, because he has to be a good person. He needs to be the hero. OJ is VERY horribly ableist to Bomb, but in a way, it may even be internalized ableism to himself - not addressing his fixation on being a hero is, in fact, unhealthy and incredibly damaging for his esteem.

But this is where Paper comes in - and is exactly why Bomb and Paper, surprisingly, have two incredibly interesting parallels. Paper is set up as the “same formula, different answer” side of Bomb - their relationship begins in eerily similar contexts. The Paper/OJ alliance starts out with Paper literally below him. It's not Paper giving OJ a chance - it's OJ giving Paper the opportunity of "okay, prove you're better than Bomb." Then when EP/Looseleaf comes into the picture, it evolves into "now how can I save YOU?". I do believe OJ's intentions with EP are more genuine than it was with Bomb - but at heart, it is still the same thing of OJ wanting to save someone. Only, because Paper is much more vulnerable and ""newer"" to socializing, in a way (than Bomb is at least) - they let him. They actively need someone to rely on, and OJ seems to fit perfectly into that mold. Getting rid of EP seems like a good answer to both of them - and when Paper does "overcome their evil alter!!!", OJ gets the self-validation that look, he DID help someone! And now Paper should be indebted to him.

"The Tile Divide" is an all but explicit parallel to "Double Digit Desert": only Paper is a doormat. Their imbalanced relationship with OJ has made them subtly become the “inferior,” and so their solution is to fawn/play into that, rather than Bomb's solution of "I should stand up for myself." Tile Divide is a test to determine whether or not Paper/OJ is going to last beyond the competition, and by Paper allowing OJ to win - and, most importantly, accepting and framing it as "punishment" for them not helping him earlier with his orange juice problem - is exactly what made Payjay last and Bombjay fail. OJ tries to project his fear/insecurity of a similar ""betrayal"" happening again (by calling Paper a traitor/backstabber for trying to go help Taco with her lemon problem), but rather than pointing out that's a silly idea - Paper buckles to the idea instead. They unintentionally cement OJ's perspective as them being "inferior," but they also cause OJ to become very attached to them because they eased his fears about not being needed. It makes their relationship, in the same stroke it destroys it - at least until this power imbalance gets formally acknowledged in "The Reality of the Situation." 

Bombjay is complicated. It's messy. But it's a huge part of why both characters are the way they are (and is even fundamental in setting up Payjay, I'd argue). And all of this is largely why I believe Bomb and OJ can never truly become close again - it's likely very similar to how OJ (apparently) sort of just accepts Taco is around again post-finale, even after her “evil reveal.” He gets too busy to care or think too much, although the "betrayal" probably still stings. And in Bomb's case - all that ableism and belittling radically shapes how he starts to act in season two and onwards - but he still isn't nearly petty enough (beyond sassing OJ in "The Penultimate Poll") to carry on their rivalry. And so they both set season one aside, even though the wounds are still there, and they still hurt - but maybe, those wounds sting slightly less if they just keep their space away from each other - and that means not acknowledging the problem anymore as well.

Bomb and... everyone else (and how it shapes him)

Unsurprisingly, it's not just OJ that treats Bomb poorly, though.

It's hard to talk about Bomb without separating him from his stereotype - the writing, both currently and back in II1 - does not treat him well. Everyone sees him in a condescending way. Even the writing sometimes tunnel visions him as just some "goofy guy" that can't do much else but make silly expressions. I don't want to blame the characters as much as I do the writing - but it's hard, when Bomb is pretty much universally seen in an "inferior light" and is very notably treated differently in the plot from everyone else. But at the same time, it's undoubtedly a huge part of why Bomb progressively becomes more passive, quiet, and less outspoken in the later series.

I think "War de Guacamole" is probably the most mean-spirited about this: they very overexaggerate his stammer, and all of the characters stop to stare at him in disdain. Pickle even makes it a point to stare down at Bomb and glare like he's a misbehaving child - over a disability he can't control. II2 becomes more subtle with it, but undoubtedly other characters continue to treat Bomb like a chore/hassle more than a person. Soap proclaims she "shouldn't have to worry about Bomb making a mess" in the first edition of the II comics. When Microphone notices the TV wasn't unplugged in "Through No Choice of Your Own," she jumps to accusing Bomb of plugging the video game back in - and although her assumption isn't illogical, her groaning and tone of voice when scolding him in a manner similar to a child - evidently hints at a condescending attitude that is VERY different from how characters normally address each other. When most other characters get a moment to mourn their loved ones, Bomb is virtually left in the dark about what happened to Pickle as Baseball doesn't reply to his question about his death - while none of these are likely deliberate on any of these character's parts, it becomes a depressingly recurring pattern of Bomb being brushed aside, seen as a problem, or just... not important. It's incredibly similar to the Thinkers infantilizing or treating Yin-Yang like a child/animal - only Bomb gets much less closure in that regard, as he's evidently still seen as a problem.

Personally, I have a lot of beef with how Bomb is written from a meta-perspective still. Too much of his relevance in the finale is just lightly (or sometimes seriously) scolding him for doing "something out of line." He apparently acts out about the video games, he freaks Cheesy out during the red line game, so forth. He has less... normal interactions, and more so needs to be scolded or kept in line by others. And while it's very likely his emotional maturity previously established was just unintentional implications - it goes pretty depressingly against what we've seen prior. 

But meta criticisms aside, this ultimately leads me to my main point: Bomb, as established by him sassing OJ, knows what ableism is. He recognizes when he is being treated poorly, and he reacts accordingly. And in this case, it's largely why I interpret his involvement in season two as becoming deliberately quieter and reserved to avoid being belittled. I don't really have as much concrete evidence for this as much as it is just how I personally interpret it. Thus:

The Unintentional Implications/Interpretations of Bomb

I view post-II1 Bomb as a self-fulfilling prophecy in a way. He has become so used to being relegated as the goofy guy people find tiring - that he plays into that to an absurd degree. We've seen in little background scenes that Bomb is very capable of controlling how he reacts to things, meaning his sillier/absurd moments are likely much more conscious than we think. And because it's conscious, it leads to me interpreting this as Bomb avoiding the ableism that's plagued him all his life, by almost trying to play into it. Obviously, he won't stand for someone being as blatant about it as OJ - but it's much easier to not be made fun of if you just... be silly about it, and be quiet.

And in some ways, perhaps it isn't really a conscious decision on Bomb's part to play into this role - maybe it's the ableist treatment of him that has actually locked him into being seen as just a silly guy. Cheesy being shocked that Bomb could actually out-pun him shows that people really don't expect much wittiness from him, Mic/Soap have both established Bomb is seen as a liability at times, etc etc. So even though Bomb acting "ordinary" and "aware" is actually what his personality consistently is (as demonstrated numerous times!), it comes off as a shocker to everyone else because they just assume he's the weird guy. Maybe that is also part of his coding as a false alarm - his coding might not necessarily affect him, as much as it does affect everyone else - warping their perceptions to perceive Bomb as an absurdity or a threat, when in reality he’s just some guy.

But this discussion is largely speculative. The II1 remaster will have a lot of things to add to Bomb, and I don't want to make conclusive statements about anything until it finishes Bomb's story. I will say from what we have so far, however - their rehandling of Bomb definitely plays a lot into Bomb truly being more of an ordinary, sweet, and level-headed guy - just surrounded by a bunch of people who aren't very kind to him.

Concluding Thoughts (Why I Love Bomb - And You Should, Too)

Bomb isn't well-written. I will say that very point blank: he is not. 

But he is complexly written (...at least with OJ). No matter how unintentional, talking about his nuance is interesting. His arc is perhaps one of the most important in II1, if not the greater II as a whole for how it builds up OJ in particular. His character is treated cruelly, and yet in that cruelty - I resonate with him, and that's exactly why I think generating discussion about him, well-written or not - is so critically important and fun to me.

And although his current base is not great, I have faith in the II1 remaster for a perhaps kinder depiction of Bomb. I greatly enjoy the additional supplementation they have given thus far - generally leaving his lines alone, but giving his character more weight and intentionality in what he does. He becomes recognized and written for being Bomb - not for his disability (as a mean-spirited joke, that is). 

But even without the remaster, I still truly believe Bomb deserves much more than being perhaps the least talked-about character of II1 (second to maybe Salt or Pepper?). OJ is a great part of his character, and Bomb is a great part of OJ's in turn - but both are so deeply complex by themselves that discussion like this can be generated for either in great length, separately. I know a large majority will likely not agree with my more favorable opinion of Bomb, but so long as he might become something more for some person: that is the goal of this essay, at the end of the day. 

He is a flawed character, but he, ironically enough - becomes an even stronger character within these flaws. And in my eyes: any character that can generate this amount of discourse in length, has done something right enough to be compelling, even if it’s to just one person.

[xxplastic-cubexx]

if i said i picked up this issue for anything but drunk erik i fear i'd be lying

(Wolverine (2020) #3)