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real sadists understand that you can torture The Character simply by forcing them to live with themself

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my humble first attempt at a murderbot. i think i accidentally took 400 billion creative liberties but that's ok <3 i hope the fandom accepts my offering. please vehicular manslaughterbbot fandom im.baby 🙏

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VIOLENCE AGAINST NATURE

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hello, bioshock fandom

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Geez, Micheal was definitely letting his voice acting range loose in this episode, and I absolutely love it.

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waow

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Maybe I'll make something more like a poster later?

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That bug I like (๑˃̵ᴗ˂̵)و💜💜💜

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I had a dream that Murderbot and the Preservation crew had to break into ‘ancient’ technology systems as part of a mission/adventure and Murderbot comes up against a CAPTCHA test and is like what the fuck is this. Can you imagine the comedy. 

MB: So, I’m supposed to choose all of the squares that show the visual depiction of a ground transport? And that will prove that I’m human?

Mensah: You must understand, this was from a time in which most robots were extremely rudimentary–

Ratthi: Wait, does the square with just the corner of the tire of that transport count?

Gurathin: Yes, obviously, Ratthi

Ratthi: I don’t think it does! I think it’s a statistically insignificant part of the transport!

MB: *Turns and looks directly at the camera*

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SecUnit armour should attach directly to anchor points on the construct. If you're building something designed to wear armour, then including couplings for it just makes sense. A human should not physically be able to wear SecUnit armour not because it's too heavy (though it probably would be too heavy/cumbersome to move well in) but because it doesn't have straps and buckles or lock to itself like human armour does: it clips onto the underlying foundation (the SecUnit).

It's disposable plating meant to take hits and then be replaced, but it's also an extension of the construct's body.

I have a lot of Feelings about Murderbot and its armour, how terribly it misses it's opaque faceplate and how naked and vulnerable it feels every time it goes into combat without it. How in System Collapse it feels weird about taking Three's armour, and whether that's an extension on how it feels about armour in general, taking Three's specifically, or it's evolving feelings about being expected to charge into combat in the first place. It's a component Murderbot lost early on in and has never been able to replace, an exoskeleton it's struggling to learn to live without even as the humans around it don't even register it as a loss.

I think it's pretty likely that given the choice, it would generally prefer to chill in the argument lounge in full armour with its faceplate opaqued. Without that option it's been forced out of its comfort zone and has connected with its humans in a way that Mensah correctly predicted it never would have otherwise, which. Yay. But now it's done all this hard work and uncomfortable growth I hope eventually it gets its comfortable shell back.

Not to wear all of the time, because ART's crew uniforms are very soft and don't have seams or logos that it doesn't like. But next time shit hits the fan I hope ART gets to do a dramatic reveal of the bleeding edge armour it contacted the PSUMNT AI that has materials science as a special interest about to make. It upgraded its fabrication units to be able to build it. It hacked Company blueprints to get a design schematic to scoff at and then improve. It's got the stealth coating they lifted from the NE hostiles. It's got extra data storage and processors tucked in there big enough to carry an ART partition and a whole fleet of drones. It's Perihelion blue. You can't buy armour this good, but it would cost more than a brand-new top-of-the-line CombatUnit if you tried. ART paid for it out of its own accounts and will not be taking questions about PSUMNT mission budgets at this time.

The wall retracts to reveal a secret armoury like in a spy movie, complete with theme music and coloured lighting, both because ART is Extra and because it knows that Murderbot has some mixed feelings both about armour and having nice things. Giving it cheesy melodramatic presentation to nitpick and protest over will be comforting, even as they both unironically enjoy the homage to the episode of Timestream Defenders Orion with the chrono-displaced space knights.

This got away from me, but tl;dr: let the awkward turtle have its shell back!

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a menace machine

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Reader’s a closeted freak.

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Underappreciated moment from (og, naturally) Lilo and Stitch: when Pleakley's trying on his wig again in his and Jumba's little campsite, and Jumba catches him starting to get into it, Jumba's reaction isn't mockery, it's interest. And the whole argument starts, not because Pleakley's having to justify his choices, but because he doesn't want to let Jumba try on his wig. Everything now and then I think about Jumba bellowing "Share!!!" while tackling Pleakley, and I giggle to myself, such a good moment!

10/10, no notes!

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This isn't the full scene, but I absolutely love how insanely wacky they had the house fight in the movie be.

Full on Looney Tunes energy.

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anyway decided to rewatch Lilo & Stitch (2002) tonight and I think an underrated element of the family motif is that for all that Jumba spends the first two thirds of the movie insisting that Stitch has no purpose except destruction and no capacity to connect with other people, the moment they start cooperating it's obvious that Jumba and Stitch have exactly the same sense of humor, along with a distinct physical resemblance and a lot of the same mannerisms. Jumba put a lot more of himself into his masterpiece than he wants to admit.

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not sure if i ever posted my psychoanalysis of Lilo on here but here we go.

Lilo is neurodivergent. She might have autism, she might have OCD, she ABSOLUTELY has PTSD. These all have very many overlapping symptoms, so it's easy to get them mixed up.

Lilo rarely brings up her parents after they die, only to protect stitch. "Dad said ohana means family." She tells stitch about what happened to her parents before he leaves. She doesn't talk about her mom until she's brought up, and compares herself to her.

Lilo feeds Pudge, and that Used to be for fun. When she forgot to feed Pudge, her parents died. She decided therefore that Pudge controls the weather, and creates intricate rituals to make sure she does it Correctly. The harder the ritual, the more effort she has to put into it. If the weather gets bad again, it's easy for her to say she must have messed up the ritual with the wrong bread or the wrong filling. Maybe Pudge doesn't like peanut butter anymore. She's taking control of the only thing she can.

She's also EXTREMELY morbid for a girl her age. I know everyone says she's just like them for real, but there's a difference between playing pretend that you're dying and telling your sister to leave you alone to die. Some kids play dead because it's a concept they can't understand and they use that to figure it out. Lilo KNOWS what death is. She experienced the death of the two most important people in her young life. She's well aware of death. She mentions Picasso's blue period, his time of severe suicidal depression. She says that that's what her painting is. This is worrisome. She knows Picasso's blue period, words like abomination, asks Bubbles if he ever killed anyone and tells Nani to leave her to die. I know some of you think that's relatively normal for a little girl, but it is not, not the way she behaves.

She makes a doll, and claims that she's sad because she only has a few more [enter time period] before she dies. Why would she make this doll have such a tragic story? Well, that's what she knows. People die. It happens. Of course she's sad, but if it's everywhere, she can be less sad about it. Her doll is going to die.

She's also well aware of pain, which is why she's so violent. She doesn't understand that people don't have to forgive you when you're mean and violent, because her sister ALWAYS forgives her, and is sometimes mean in return. This is family. It's not her parents, but this is how it is now. She's mean to Nani, and Nani is mean back, and then they eat dinner. She's mean to her friends, and they're mean to her, but they don't let her play dolls so they need to be punished. Stitch is mean to her, and she desperately tries to prove that he isn't that bad. She knows that she shouldn't be so violent, so mean, but she doesn't know how not to, and she knows that her behavior is part of the reason she might get taken away.

Lilo projects heavily onto Stitch. She likes him because he's a weird little freak, but he's also HER. he's alone. He has one person who wants him, who cares. One person who gives him chance after chance and tries to get him to be good. If she can prove that Stitch can be good, then she can be good. She can get better, and not be such a burden to Nani. If Lilo can keep Stitch, then Nani can keep Lilo.

Lilo wants to stay with Nani, but she can't stop being the way she is. She can't stop screaming, and being violent, and running away and nor doing what she's told. She has very little emotional regulation due to the trauma she's endured, and she sees that in Stitch. She can teach him to control himself. She can be good. She can stay here with her one and only sister, all she has left. She begs Nani to like her more than she would a rabbit. I'm gonna cry