#to lead forth

[the-ephemeral-ethereal]

The root of the word education is e-ducere, literally, to lead forth, or to bring out something which is potentially present.

from The Art of Loving by Erich Fromm (1956)

[retquits]

ayo who out there arting their fight !!!

💎 https://artfight.net/~retquits 💎

[purplink8]

My Lawlight headcanon is that-

L fell first:

But Light fell harder:

__________________________________________

Yeah yeah, I'm well aware that the first friend scene was a lie from L's side and a mind game from both sides- BUT look at Light's FACE (and no Light's a good actor but this split second of '...' + transparent eyes is not a performance imho)

He's genuinely stunned (translation: L broke him for a moment there lmao it's like, during that single moment, they're the only ones in the room!) BEFORE he realizes that they are playing a role here in front of the task force. As Ryuga and Light; which is what he tells Ryuk later:

(His eyes are hidden *clenches fists* Light is emotionally affected and does not want anybody to know that L got him. Again.

Except this time, he feels humiliated in a strange sort of way.

Despite everything, including the whole 'enemies till death do we part' thing they have going on? Light enjoyed his time with L (albeit not without the collateral damage of other people dying but I digress). He DID like playing tennis with Ryuga as he tells him. That part's not a lie! L being a good friend is not true though.

L does not want Light as his friend for real. He's bullshitting as always to catch Light off guard. This isn't new. But it. is. Personal (to Light, at least).

Only it shouldn't be! This is all part of their game, isn't it? Then why does Light feel a bit...disappointed due to it not being real? In an alternate universe, would he have liked truly being L's friend?

No! Of course not, that is a ridiculous line of thought! Additionally, just 2 chapters ago, Light was like:

Can you see the lawlight and yagamane parallels here? L intends to catch Kira!Light and poses an execution threat to Light while Misa means to date Light and poses some threats of her own:

Both L and Misa come on too strongly toward Light (one as an enemy and the other as a potential ally). Light merely wants to get rid of them both so as to achieve his keikaku with ease. While dealing with Misa, Light thinks, 'I'll be killing her eventually...I can't develop feelings. That's how most idiots screw up.'

Notice how similar this is when it comes to his dynamic with L as well? He has to kill the latter eventually too and his reaction (to when he's confronted with the fact that Rem *can* kill L at his immediate request before the fiasco of Misa getting arrested happens at least) is this below btw:

The guy is truly shocked at how easy it seems to kill someone as intelligent as L. Light does not smile or seem amused. He takes this (L's future death) very seriously (I think it's the first time he does this since his first two kills). I believe it's partly due to the begrudging respect he has toward the genius detective and partly because of the 'what-if's in his mind.

His eyes, blown wide, are unreadable except for the astonished look they show. It is a rare display of emotion we see from Light (I can't seem to pinpoint just what the emotion is tho) which is quite noteworthy imho.

________________________________________

...Wow I got carried away.

The point is! Light feels a little humiliated for letting his emotions get the better of him even if it was for just an instant during which he was gobsmacked by L's lie which he wished for it to be true.

Light can rationalize it all he wants but deep down, in his heart, he'd always know that there was a period of time (however small) that he not only fell for L's lie, but also secretly under LAYERS of repression actually just wanted to live in that world- the world where there was neither L nor Kira, just Ryuga and his friend Light.

That's wishful thinking and boy would Light hate this if he acknowledged for even a second that yes, he does want that.)

Again. Light 'Developing Feelings = Idiotic Screw ups' Yagami cannot afford to deceive himself that L, on some level, wants to befriend him as that may as well cost his life if he did. He cannot get distracted as that was most definitely one of L's intentions of calling him his 'first friend'.

He'll dutifully play along as he had anticipated it a while ago:

"I like this, Ryuga. If you want to be friends with me. I'll gladly hang out with you."

Light sure looks thrilled as hell to be role-playing as L's friend lmao- like he loves mind games, he revels in duplicity, he enjoys challenges that L adds to his life so is it any wonder that the combination of all is *chef's kiss* for Light? He is so so EXCITED to be hanging out with L face-to-face + looks forward to stabbing him in the back!!

Gotta love lawlight! </3 <3

[gingermintpepper]

Okay, let's finally talk about EPIC's Apollo

I feel very compelled to say, first of all, that I do not dislike Epic. In fact, I am very fond of Epic and have been following its production and status very eagerly! I attend all the launch streams, I watch all of Herrans' update videos; I am, at the end of the day, a fan and I want it to be known that my words are spoken out of love and passion as much as they are spoken from a place of critique.

So really, what my problem with Epic's Apollo?

In the briefest possible terms; the choice to have Apollo be defined by his musical aspect in God Games is thematically strange. And not in the 'oh well in the Odyssey, Apollo was important to Odysseus and his family so it's weird that that wasn't kept in Epic' strange, strange in the sense that Odysseus' character arc since My Goodbye has been getting more and more obviously Apollonian and so it is positively bizarre that when we get to meet Apollo, the god seems entirely disinterested in him and his affairs. So much so that he is not even defined by any station that would indicate that he has been watching over and protecting Odysseus and his family.

What do I mean by 'Odysseus has been following an Apollonian arc'? I'm so glad you asked!

Remember Them is the last song in which Odysseus explicitly uses his sword until Mutiny where he must use it to defend himself against Eurylochus' blade. He uses it to help enact the plan to conquer Polyphemus and, due to Polites dying in that battle, Polites who wished for Odysseus to put the blade down entirely and embrace a post-war life, Odysseus also retires his sword. This is an action that symbolically separates him from Athena - and the image of Odysseus as a traditional warrior set for him in Horse and Infant - as much as My Goodbye physically separates him from the goddess and her war-ways - from this point onwards, Odysseus will no longer be leaning on Athena's wisdom or methods to solve his problems. Likewise, he will no longer be able to rely on her protection.

Odysseus thusly solves most of his upcoming problems through diplomacy and avoidance. He approaches Aeolus - a strange and ambiguous god (both in gender and in motivation) and appeals to them for help. Circe too, he approaches not with wishes to conquer or for revenge, but for the safe returning of his men and an alternate way forward. In all of these scenarios, there is some Apollonian element which is subtly interweaved alongside the influence of other gods; it is with a bow and arrows that Polyphemus' sheep is slain (and thus it is this Apollonian element which is at the root of Odysseus' spat with Poseidon), it is a vision of Penelope that warns Odysseus that his men are about to open Aeolus' wind-bag, Circe's peace offering to Odysseus is to refer him to a prophet of Apollo who has since died.

In this way, Apollo is walking alongside Odysseus for all of his journey after Athena departs - even in the Underworld, he is guiding him. It is Tiresias' proclamation that is the last straw for Odysseus, it is by the power of a mouthpiece of Apollo that Odysseus decides to embrace his ruthlessness. It is with the bow and arrow that Odysseus subdues the siren who sought to trick him, likewise, Odysseus does not attempt to undermine or escape the fate of paying Scylla's passage price - he knows of the doom about to befall the six men and quite unlike the rest of the journey until this point, he does not fight against it. This all comes to a head on Thrinacia where it is a blade which sacrifices the sun god's cow and brings destruction upon the crew once more.

My point with all of this is that when I heard the teasers for God Games years ago, it made perfect sense to me that Apollo would be Round One - he is not Odysseus' adversary and has no reason to oppose Athena's wish to free him. From other teasers about what will happen in the climax of Epic, Apollo will still be walking alongside Odysseus - it is Apollo's bow that Penelope will give the suitors to string. Likewise, it is Apollo's bow that will prove Odysseus' legitimacy and identity. That bow will be the power by which Odysseus hunts his adversaries and cleans out his palace - it is Apollo who is the avatar of Odysseus' ruthlessness, not Athena.

So tell me, truly, what was the point of having Apollo raise a non-argument in God Games? Why have him appear unconcerned, aloof and slightly oblivious? Why have him appear in his capacity as the Lord of Music at all?? And if the intention was never to make Apollo an active player in Odysseus' life like he was in the Odyssey, why keep Odysseus as a primary archer?

The answer of course is that Apollo is inextricable from the fabric of the Odyssey - his influence and favour exudes from Odysseus just as much as Athena's. In Athena's ten year sulk, it would have been Apollo who kept Telemachus and Penelope safe. It would have been Apollo protecting Odysseus from Poseidon's gaze as he travelled the seas (according to the Odyssey anyway)

Forgive me for not being excited about something that I thought was being purposefully set up. I was extremely ecstatic about all of the little Apollonian details that litter the sagas because I know where this story ends up (loosely) but all God Games did was reveal that maybe those Apollonian details were not intentional at all, but merely the ghost of the Apollo who persistently haunts those he favours, even if he cannot explicitly come to their aide in an adaptation.

[thevalleyisjolly]

Thinking about how many of the main characters in Andor Season 1 are, from their perspective, living in different stories and genres. Syril is the classic disgraced detective obsessing over the failure of his last case. Dedra is the brilliant lone career woman in a high-pressure male-dominated workplace. Skeen, Nemik, Taramyn, Gorn are the unlikely band of misfits attempting to pull off the heist of the century; Vel and Cinta are embroiled in espionage intrigue with Luthen. Mon Mothma's deep in the midst of a political thriller, complete with the trope of a troubled home life. Kino and all the prisoners of Narkina 5 are caught up in a grim prison drama.

Part of the brilliance of the show is that it embraces each of these characters as the protagonist of their own narratives. Dedra is very clearly an antagonist to most of the other characters, but in her interactions with her colleagues and Syril, you can sympathize with how she is dismissed and put down and harassed. Syril's scenes wouldn't be out of place in a detective show - the lone officer, demoted from his position, waking up every morning to a depressing house and a mindnumbing job yet continuing to pursue his self-identified duty with a relentless sense of righteousness and persecution. Mon Mothma's story tangentially intersects with Cassian's, but both enriches and is enriched by the contrast in perspective - the broader context of galaxy-wide politics with the immediate realities that people live with, including for Mon herself through the impact on her family life.

And then we come back to Ferrix. Maarva, Bix, Brasso, Bee, Wilmon, the Daughters, the Time Grappler, the whole community. Where the season starts and where the season ends, with a call to fight the Empire and a community that answers. A community full of different people with different motivations and methods and views and yet maybe that's the point of the whole story. Even though on an individual level, characters might seem like they're in different stories or genres, facing their own challenges and seeking their own goals, everything occurs under the context of Imperial fascism. No one can escape it, no matter what story they think they're in or how big or small their role in it.

Syril and Dedra aren't just lone agents dismissed by their superiors, they're people embracing a fascist system and doing everything they can to uphold it despite how they themselves have been treated by that system. The Aldhani team, Mon Mothma, Luthen, their enemies aren't really the garrison at the dam or the ISB's surveillance or the endless rebel infighting; they're only the immediate faces of the Empire's oppression and division. The Narkina 5 prisoners aren't just trying to live. If all they wanted was to stay alive, they could have continued working until they died. It's the Empire who is responsible for how they're being treated, and they'd rather die trying to take them down.

The uprising on Rix Road brings it all home. After all the places that the season has taken us, all the challenges and arcs that these characters have faced, it comes back full circle to where we started - with ordinary people living under fascist rule. Some work with it, some against it, most try to keep their heads down and survive it. All alone in their personal stories and obstacles...except they aren't, not really. The Empire's rot is in all their lives. There is no escaping the reach of fascism, no matter what kind of life they try to lead or what decisions they make. Individualism won't save anyone - in fact, it's what the Empire wants. For everyone to feel alone, either singular and insignificant against an insurmountable force or otherwise striving endlessly to be the exception above the masses, the heroic underdog who overcomes massive obstacles (and everyone else) to save the day and get what they want.

Ferrix wakes up and in doing so they wake everyone up. None of them exist alone. Everyone is part of this, whether they are for or against the Empire. And when all these people and their stories come together, meeting, clashing, struggling, harmonizing... that's when a revolution starts coming into its own.

[slashthrashandcrash]

My fellow Americans. Godspeed.

[crunchybeards]

I'm literally so sick in the head about Sam x The Masked Shadow. Like I got a few more fic and drawing ideas between those two.

There's just so much about them that I love as a dynamic beyond the monster fucker approach between them. Like how the hell would everybody else in Sam's crew even respond to the Masked Shadow's presence? Would they be fine with it or would they try and kill it? And if they all knew that they were in some type of romantic relationship would they be accepting of it?

Hell even just between the two of them. Like why does Sam suddenly feel so safe when given the option to approach it? Every other interaction up to that point he was either anxious or scared around it but now he just wants to go in? It's obvious that the Masked Shadow is emitting something that's fucking with his head, something that's making him way more susceptible to it's influence to certain extent. But the fact that it doesn't seem to be doing this intentionally makes it so much more fascinating. Like what does it get out of even doing that to somebody? Why would it need to or want to do that to Sam of all people, the only person up to that point that extended any form of kindness to it?

There's more stuff I wanna go into about those two and everything between them as well but I might just structure a proper post or comic or something about that since I'm not very articulate at the moment. This post is just me rambling to myself more than anything, just me outwardly saying I like this ship :)

[save-the-data]

The Boy Next World | Official Trailer

Thai Drama - 2025, 10 Episodes

~~ Adapted from the novel "The Boy Next World" (คนละกาลเวลา) by MAME.

[cubedmango]

what is up my gang of 5 cm enjoyers . today i bring u the biblically accurate movie subs in which i:

fixed a bunch of weirdly translated lines and reworded them to be closer to the original japanese dialogue

added translations for almost nearly every visible word on screen

included the lyrics from gimme gimme and shinon for added viewing experience

download the subtitle file here! to view the subs, first open ur movie file (which if u dont have then definitely dont click here) in vlc player, then go to subtitles -> add subtitle file -> select the movie_subs file and there u have it. and if theres any issues with downloading the file, displaying the subs, the syncing w video etc etc pls lemme know :0 alright im skittering away again

[ct-hardcase]

Anyway, I'm always thinking about Finn and Rey learning to be friends and lovers and co-councilors, and needing to balance learning that they're allowed to love with Jedi nonattachment principles, or struggling with whether to implement those principles despite their love for one another.

What does it mean when you feel so strongly for someone it hurts, and simultaneously the responsibility for the whole Order is on your shoulders and needing to do what's best for it has to take priority in your lives?

Does it fuck Finn and Rey up, having worked their whole lives on survival mode, living (kind of) without that for maybe a year, maybe a few, and then needing to dedicate their lives to the galaxy, even if they do it gladly?

[senjucest]

thinking about unrequited and lowkey coercive hashitobi today. hashitobi where only one of them has incestuous feelings, but the other goes along with it our of guilt and a sense of duty to give the other what they want

[bogkeep]

disco elysium update: i've started day 2, but i'm not particularly enjoying myself at the moment... i don't really know what to do or where to go, i feel like i have painted myself in a corner with failed checks and the only available options are ones i absolutely do not want to do. i find the mechanics confusing and overwhelming and i am feeling very discouraged that maybe if i had understood them better earlier, i would be getting somewhere. i want so badly to enjoy the story but it feels like it's going to take a lot of effort to like, get any of it :(((

HOWEVER i suspect that if i try again on a day i feel less headachey than today, and if i manage to find some kind of breakthrough that doesn't involve becoming a fascist, i will hopefully get back on track and feel a lot better about the game again. hopefully!!!!

[blank-house]

Hey, I was wondering roughly how much the full release of the game would cost or if it'd be free like the demo- sorry if you mentioned already if you did I must have missed it!

Another question- more of a plead- is there any chance, at all, that Cameron and Deja (Cameron specifically) could ever become romanceable? Whether at full release, in a DLC, available only after you finish the main three routes, anything😞😓🙏 am begging earnestly sweetly sincerely

hi! we've stated it before, but the full release won't be free like the demo. as you'll eventually come to see when it releases, it's too huge of an undertaking for us to release at no cost—especially when keyframes would be our flagship title. we don't have a firm cost on what that might look like yet as we're still going back and forth on tier costs for the eventual kickstarter, but we'll be able to provide a clearer answer once we get there; promise!

and as to cameron and deja, here's the firm answer: honestly? it probably won't happen. we've gone back and forth on whether or not it's something that's feasible, especially as you and many others have asked us for a cameron route and we've teased a possibility.

we've stated before that we're thankful and that we're glad for the interest in them, but it's a great deal more difficult to do than players might think it is. if we made them dlc routes, we would want them to be able to stand toe-to-toe with our leading boys because we don't want them to feel like an after thought as members of our main cast. in our complete vision of the game, our boys have relationships with the mc that will span the entirety of two years at completion.

that's almost nine seasons. roughly seven events per season, so that means 63 events of around 50k words each with variations tailored to affection levels that'll only grow more complicated with each successive season. there'd be new cgs and other back-end development we have to account for.

it's not impossible to rework the game to allow other full routes, but we want to be realistic about the costs (time, production, etc.). deja and cameron were never planned to be love interests, and for the foreseeable future, that won't be changing.

the tl;dr no, we're not planning for a cameron or deja dlc but they will still have satisfactory story arcs and conclusions. (i'm very excited for cameron's and am hopeful you will like it too!) it's not a never. but, we're not thinking about it and won't be for a while.

[florallychaotic]

Tagged in wip whenever by the by the supremely talented @avas-poltergeist to post some of my wips

Gonna tag and then have my writing below a cut because I have...five writing only wips im switching back forth from (surely this won't go wrong) @taniushka12 @carnalapples @eraserspiral @euryalex

From the next larks and katydids chapter

In this moment she’s eleven again, and they’re in the backseat of the car, and they’ve just left some fancy event early because their mother got too anxious which in turn made their father a little stressed. And that makes the car ride home a little uneasy but at least she has her big brother and sister to assure her in their own way that everything is okay. And Kate will give Matt a look, and he’ll turn on the little light on the car roof because Alice is practically hiding her face in his shoulder and even though they’re not technically supposed to drive with it on, no one will say anything. And in that moment Alice will know she is loved.

The 90s magical realism inquisition fic is mainly in the drafting process but I do have some early bits written

It came as both a relief and of no surprise when a few days later an Order appointed public relations agent gently, but sternly, said he didn’t have to answer anymore questions. It was always more of an order than a suggestion anyway.

Here's something from the prose-y no longer a soulmate au cullavellan fic

When Mihren first came to, it was a jail cell where she cried for her mother who would not come. Filled her lungs with phlegm at the confusion of it all. The panic. Now, the second time, it’s in a warm cabin. Such are the privileges of being all but branded a prophet.

She agrees to stay, because she is not a selfish thing. She cannot bring herself to neglect the hole in the sky. To leave the world behind, let it rot like it wants of her. Besides, leaving is only delaying the eventual collapse of the continent.

Some batman 2022 era batcat because they've enchanted me again

"No, I mean—" and there goes any idea that she could pin down exactly who Bruce Wayne is, because nowhere in her estimation would she guess "trouble with finding words". Boys like him are supposed to be incapable of shutting up, probably jerk off to the sounds of their own voices. And yet here is Gotham's most eligible bachelor, visibly swallowing and looking like he's mentally skimming the dictionary trying to figure out what to say. It's cute. In the same way one of her strays bringing her the regurgitated bones of a mouse is cute.

And finally, even though writing for TV doesn't work like this, I've started writing a script for apostasy. I hate it but its fun and this is the only screenshot I have on my phone of the writing on my computer haha

[meownotgood]

viktor's faint auburn happy trail. SEND POST

[contrivedcoincidences6]

My Roman Empire