#Direct Reference Theory

[omegaphilosophia]

The Philosophy of Direct Reference

The philosophy of direct reference pertains to the theory of how language, particularly names and certain kinds of expressions, refer directly to objects in the world without the mediation of descriptive content or mental representations. This theory challenges earlier views in semantics and the philosophy of language, particularly those inspired by Frege and Russell, which proposed that names refer through a bundle of descriptions or senses.

Key Concepts:

Direct Reference:

Names as Direct Designators: In the theory of direct reference, proper names (like "Aristotle" or "Venus") are understood to directly refer to objects or individuals without the need for an intermediary description. The name "Aristotle" refers to the individual Aristotle, not to any particular set of properties or descriptions he possesses.

Rigid Designators: Philosopher Saul Kripke, in his influential work Naming and Necessity (1972), introduced the idea of rigid designators, which are terms that refer to the same object in all possible worlds where that object exists. For example, "Aristotle" refers to the same person in every possible world where he exists, regardless of whether he was a philosopher, a teacher, or had different life experiences.

The Rejection of Descriptive Theories:

Against Frege-Russell Views: Prior to direct reference theories, philosophers like Frege and Russell held that names or terms referred to objects through descriptions (e.g., "the student of Plato" refers to Aristotle). Direct reference theories reject this, arguing that names do not need a descriptive intermediary; they refer to objects directly.

Causal Theory of Reference: A key element of direct reference theory is the causal theory of reference, which holds that a name refers to an object because of a causal chain of communication that leads back to the object. When someone names a child "Aristotle" at birth, the name gets passed down through a causal chain from speaker to speaker, with the name continuing to refer to that individual.

Kripke’s Modal Argument:

Rigid Designators and Possible Worlds: Kripke's argument for direct reference focuses on the modal properties of names. He argues that a name refers to the same individual in all possible worlds where that individual exists, making it a rigid designator. Descriptive theories, by contrast, allow for terms to refer to different individuals depending on whether they fit the associated description in different possible worlds.

Necessity vs. Contingency: According to Kripke, certain facts about individuals are necessary (e.g., "Aristotle is Aristotle"), whereas descriptive theories would struggle with this distinction because a description might not necessarily pick out the same individual in all worlds. Thus, direct reference theory can explain why some statements are necessarily true (e.g., "Aristotle is Aristotle") while others are contingently true (e.g., "Aristotle was a philosopher").

Philosophical Implications:

Semantic Externalism: Direct reference theories contribute to the view of semantic externalism, which holds that the meaning of terms and reference are determined by external factors—such as the environment or the causal history of a term—rather than by internal mental states or descriptions known to the speaker.

Mental Content and Reference: Direct reference theory has implications for how we understand the relationship between thought and language. It suggests that when we use names, we don’t need to have a fully fleshed-out mental picture or description of the object; the name directly refers to the object simply by being part of the causal chain that leads back to the object.

Critiques and Alternatives:

Problems with Identity Statements: Critics of direct reference theory often point to the difficulty in explaining how identity statements like "Clark Kent is Superman" can be informative. If both names directly refer to the same individual, how can it be that someone learns something new upon hearing such a statement?

Descriptive Content in Communication: Some argue that in actual communication, speakers often do rely on descriptive content to ensure successful reference, suggesting that a purely direct theory might oversimplify how reference works in practice.

Applications in Philosophy of Language:

Indexicals and Demonstratives: Direct reference theory has also been extended to certain indexicals (e.g., "I", "here", "now") and demonstratives (e.g., "this", "that"). These terms are said to directly refer to objects or individuals based on the context of utterance, without the need for descriptive content.

The Role of Context: Direct reference places significant importance on the context of utterance and the causal history of names, arguing that reference is more about these external factors than about internal thoughts or descriptions.

The philosophy of direct reference argues that certain terms, particularly proper names and some indexicals, refer directly to objects without the mediation of descriptions. Developed in response to earlier descriptive theories of reference, direct reference theorists like Saul Kripke proposed that names are rigid designators, referring to the same object in all possible worlds. This view shifts the focus of meaning from mental representations and descriptions to external factors like causal chains and the context of use. While direct reference theories have been influential, they have also sparked debates about how reference, communication, and identity work in practice.

[raspberryjellybrains]

hey guys can we not. call the most recent dandadan arc the "space globalists arc." i think there's much to be explored regarding the covert and outright anti-semitism of conspiracy theories given their central role to the series (which i would like to put a bit more thought to before articulating) but not only is it an objectively incorrect usage of even the most generous definition, its a term often used by the alt-right to derogatorily refer to jewish people. those aliens were imperialists or colonizers, not globalists. they didn't seek to unite anything, they sought to steal and destroy, and conflating those two—especially with this term, specifically!—seems like a very bad idea, to say the least. i don't say this to attack people, but to correct anyone well-meaning but lacking context. if you want to get defensive about it, i would invite you to ask yourself why.

[rioblitzle]

wont know for sure that pauline is the only odyssey nod in mario kart world until the direct and/or actual release of the game but it's kinda funny to me that it's clearly taking a few points most recently relevant to odyssey to build on (the outfits, the importance of exploration, the general theming of travel and trying to ground the mario world in a more plausible and immersive way) and yet i havent seen hide nor hair of any characters or species or objects or locations introduced after like mario galaxy

[shannonsketches]

This interview confirmed

The point of the wilds era games is showcasing mechanics, the 'core' of both games was to build and walk around

There will be no DLC

There will not be another direct sequel

The ultrahand will not continue in future games

The timeline is intentionally unclear to make the game accessible for new fans and the development process (tl;dr All Zelda games are intentionally AUs to a degree)

The producer and director both deny intentional references to prior games in the story, but then say that these similarities represent the soul of the series and the overall myth of The Legend of Zelda (pick a lane)?

The timeline doesn't matter, outside of specific sets of games it's irrelevant on purpose. Whatever you think about the timeline is correct. Continuity is not the point. Maintaining the form while creating something new is the point.

Fujibayashi really only cares about mechanics and Aunoma is totally cool with that

[please-picturemeintheweeds]

…

[sonsband]

I hate when a book is so good but there's so much in it that you're like do I get in front of this before recommending it orrrrrrr

[chainlink32]

Ya boi got the last fnaf poster at the theater!

It was entirely what I expected lol- the whole theatre sang at the end and we had 4 separate clapping moments

[darkmatilda]

𝐛𝐚𝐜𝐤𝐬𝐭𝐨𝐫𝐲 𝐬𝐭𝐮𝐟𝐟 | 𝐬.𝐫𝐞𝐢𝐝

𝐬𝐮𝐦𝐦𝐚𝐫𝐲: spencer needs your help examining a crucial piece of evidence...but the moment he sees you, his mind goes blah blah blah...proper name, place name, backstory stuff...

𝐜𝐨𝐧𝐭𝐞𝐧𝐭𝐬/𝐭𝐰: spencer reid x diva!chemist! female reader, same reader as in pick your poison but you don’t need to read that first—there aren’t any major references, suggestion that the reader engages in casual hook ups, reader has a belly button piercing and a described outfit, spencer's pov only

𝐰𝐨𝐫𝐝𝐬: 2k

𝐚/𝐧: requested by @trulymadlydarling it was slowly gathering dust in my inbox 😭 sorry!

"I think the threshold of my lab isn't exactly the best place for camping."

A woman's silhouette cast a shadow over Spencer as she appeared right above him in the dimly lit hallway.

Spencer sighed in frustration and hauled himself to his feet. As he brushed off his pants, he kept his eyes off the woman in front of him.

"Well, I didn't think you'd make me wait fifty-eight—"

"Oh, just say the hour. Is rounding numbers really that hard for you?" she scoffed, her voice carrying a trace of genuine curiosity. She swiped her access card, unlocking the door to the lab. With her back turned to him, he took in her appearance—an oversized fur coat draped over her shoulders, a designer handbag hanging from one arm. His gaze drifted downward, and to his surprise, he noticed…pajama pants and slippers?

"You should be grateful I even bothered to show up at this hour," she added.

"This is really important," Spencer replied as she led him inside.

She moved through the space with effortless familiarity, heading straight for the light switch. Well, this was her domain, after all—the place where she spent most of her days.

"I don't care," she replied. "Unless you've found proof that Marilyn Monroe was the Zodiac Killer all along—then, well, I care a little. Honestly, you have no idea how much you owe me for showing up..."

He rolled his eyes.

"Should I be thanking you on my knees, or...?"

"I could have been busy. I could have been out with the girls at a club. I could have been having the night of my life..."

"I get it, you made a huge sacrifice answering my request, but can you now—"

"I could have been in bed already. My own. Or not my own," she glanced at him over her shoulder. "Though in that case, I wouldn’t have picked up."

Spencer simply sighed. By now, he was used to it—the way most of their conversations followed the same pattern. How she always set the pace, steering the direction as she pleased. How she sometimes deliberately ignored his words and didn’t care if it made her seem rude. How, in general, she didn’t care what impression she left on others.

He had witnessed it countless times, found it irritating every single time, and yet—every single time—he kept the conversation going. Funny.

She switched on only one of the lights, leaving the room bathed in a soft twilight. Her handbag landed on the long counter beside one of the microscopes, and she tossed her fur coat next to it, completely unconcerned about knocking something over.

Sometimes, he watched her with quiet fascination—the effortless confidence in her movements—and wondered if she had ever, even once, smacked her hip against a doorframe. Or stubbed her toe on a cabinet. Those small, mundane humiliations and everyday mishaps simply didn’t seem to fit with who she was.

He tightened his grip on the plastic bag he had brought with him, the one containing something that needed to be examined. The team didn’t know about it yet.

The thought, the theory, had quite literally yanked him out of sleep. He couldn’t function without checking this lead immediately. But he knew that if he went through the lab, he’d have to wait until morning for the results…so he decided to ask for a friendly favor.

Okay friendly was a big word.

They had known each other for a few months, worked together on several cases, gone on a date, slept together.

Not necessarily in that order.

He was just about to open his mouth, say something, hand her the bag… when, for the first time, he actually saw her in better light than the dim glow—or rather, lack of it—in the hallway. Against his own will, his gaze started its journey over her.

From the slippers on her feet, up the loose pajama pants that ended just below the piercing in her navel, the black camisole with thin straps, to her face—completely free of makeup.

Until now, he had only seen her in two versions. One was her usual, elegant work attire. The other was her evening look—form-fitting, designed to turn heads and keep them there.

On second thought, there was also a third version. Without clothes.

But he had never seen her like this. Casual, comfortable, dressed for nothing more than wandering the walls of her own apartment.

She lifted her arms to tie her hair into a ponytail, and her shirt rode up slightly.

“If my piercing fascinates you that much, I can give you my piercer’s number,” she offered dryly, a fleeting smirk on her lips as she caught his stare. He immediately snapped his gaze back to her face, cursing internally when he realized he probably looked like he had been caught staring. Which, of course, he hadn’t been. “Excellent work. Full professionalism. Experienced hands…”

"I need you to check this stain," he interrupted, raising the bag.

They had been talking too much, and he really needed to know if his suspicions were correct.

She stepped closer to take the bag from him.

“Is this a crucial piece of evidence, or can I touch it?”

“You can touch it…”

She stopped just a step away, shifting her weight onto one hip and tilting her head to get a better look.Spencer instinctively straightened, feeling a strange tension along his spine.Earlier, he had been looking at what she was wearing. Now, what caught his attention was how she looked.

There’s a certain kind of beauty you never quite get used to, no matter how often you see it. The kind that, every time, knocks the air from your lungs for just a second—that fleeting disbelief that someone like this actually walks the earth.

She had it. She radiated it.

And she was just a step away.

She took the garment out of the bag. It was a red turtleneck sweater. She lifted it higher toward the light, furrowing her brow as she examined the stain.

Spencer’s gaze fell on her beautiful face, her eyes shimmering slightly, her lower lip slightly pursed in thought.

Suddenly, she scoffed, snapping him back to reality.

"Mystery solved, and I didn’t even need a microscope," she said, shoving the sweater back into his hands. As he took it, his fingers brushed against hers, catching him slightly off guard. "It’s foundation. I’d recognize that stain anywhere. So, hooray, happy to help, no need to put me in the case report, have a good night, and see you—"

He grabbed her wrist before she could step away, stopping her in place.

"This isn’t a joke," he said, his voice dropping, tinged with sudden irritation.She raised an eyebrow at both his tone and the way he—unintentionally—closed the distance between them. As usual, she looked him straight in the eyes, and as usual, it was hard not to be drawn in. But he tried, because this case was really consuming his thoughts. "Listen, I called you because I need someone to actually test it. Not just glance at it. It'll only take a moment, and then you can go back to crawling into bed with whoever you want. Can you do that?"

The second-to-last sentence made her expression shift slightly.

For a moment, they stood there, unwavering, eyes locked without so much as a blink. Then, the corners of her lips tugged upward—just barely. But it felt more like a forced gesture, an attempt to maintain her carefully practiced expression, rather than a sign of genuine amusement.

"Alright," she replied softly. Not to be mistaken for shyly. There was nothing shy about her, a fact he was reminded of constantly.

"I’ll test it, since it matters so much to you. And then I’m going back to bed." A slow blink before she yanked the sweater from his hands. "With whoever I want."

Why did swallowing suddenly stop being an automatic reflex and turn into something he had to consciously work through?

"That’s great," he said shortly, dryly. He could feel himself slipping into the trap again, letting her toy with him. "Have fun."

"I will."

With that simple assurance, she walked away, and the very particles of air around him seemed to loosen, finally allowing him to breathe again. He turned after her instinctively, the way a swivel chair spins when someone sets it in motion.

She crossed the lab table and leaned over an empty workstation—empty, like all the others. The entire width of the counter separated them now, along with the return of cool detachment to her face. Slowly, Spencer rested his hands on the smooth surface, watching as she got to work. Watching as her hair bounced slightly with the shift in position. Watching as her jaw tensed in concentration. Watching as she leaned over the workstation slightly.

"So," she began flatly, not pausing her work or even looking at him.

Spencer gave his head a small shake, realizing that this time, he really had been staring. At least she hadn’t seen it.

"What exactly am I testing?"

His gaze drifted to her again.

"Something related to the case."

"Wow, I never would've guessed."

He was too distracted to mentally slap himself for how pathetic he was. 

"Uh, it’s not exactly groundbreaking," he began.

He could focus—he just had to try hard enough. He just had to clear the lingering trace of her scent from when she’d stood so close. Had to shake off the echo of her words. With whoever I want, she had said. The more he thought about it, the more accurate it seemed. He firmly believed she could have whoever she wanted. With that confidence. With that face. With that body…

"That’s why I’m checking it after hours. Just, you know…backstory stuff…"

A sound escaped her lips—somewhere between a scoff of disbelief and a startled laugh. She looked at him—no, she pinned him with her gaze.

"Backstory stuff?" she repeated, her lips curling into a smile. Not even a mocking one anymore. She was genuinely amused. "Did you, Doctor Spencer Reid, when asked what the evidence pertains to, actually respond with backstory stuff…?"

“No, I…I mean…”

“Oh God, it’s a good thing they don’t put you in front of cameras. Imagine you, at a press conference. Just casually dropping backstory stuff on national television…”

“I can handle myself in front of cameras,” he clarified, feeling an odd warmth creep up the back of his neck. “But there aren’t any here. And besides, I didn’t realize you wanted me to recite the entire case file from memory…”

“That won’t be necessary,” she said with another amused snort. “Backstory stuff is actually a surprisingly accurate term. You know, very professional.”

He rolled his eyes, feigning irritation, though what he really felt was more akin to embarrassment.

“Speaking of professionalism, maybe you could get back to work?” he suggested.

“I don’t have to,” she replied, flashing him a sweet smile. “I already checked everything. And I was wrong. It’s not foundation—it’s nitroglycerin.”

Spencer’s jaw practically hit the floor.

For the first time since stepping into the lab, his mind was running at full capacity.

"Nitroglycerin? Are you sure?"

"Well, I don’t get these things wrong," she said, almost offended.

"Nitroglycerin," he repeated in a whisper.

Oh, for heaven’s sake. Suddenly, everything made sense.

She leaned her elbows on the table, watching him with interest.

He wanted to kiss her.

No—he did not—

"Thank you," he blurted out, her words becoming background noise as his thoughts raced. "Thank you for coming. This…this really helps. I have to tell the team—"

He turned toward the door, dazed by the realization.

Something stopped him.

"Spencer," she called gently.

She didn’t seem angry that he was leaving so abruptly. If anything, there was a certain soft glint in her eyes, a quiet fascination with his sudden revelation. Standing in the doorway, he looked at her one last time, feeling himself freeze in place again. He said nothing, sensing that she wanted to say something instead.

She tilted her head slightly.

"You owe me a favor," she said.

There was something about the way she said it—something that sent a slow, deliberate shiver down his spine. Not even a shiver. More like a careful march of cold fingertips down his vertebrae.

So, naturally, he did what any grown man with an IQ of 187 would do.

He parted his lips slightly and nodded.

[omegaphilosophia]

Theories of Direct Reference

Theories of direct reference focus on how certain linguistic expressions (such as proper names, demonstratives, and indexicals) directly refer to objects or entities in the world without the need for intervening descriptive content. Here are some of the main theories and approaches within direct reference philosophy:

1. Causal Theory of Reference

Key Proponent: Saul Kripke (with contributions from Hilary Putnam and others).

Summary: The causal theory of reference holds that a name refers to an object by virtue of a causal chain of communication that links the name to the object. The chain begins when the name is originally assigned to an object, and subsequent speakers refer to that object through this causal link, even if they don't possess full descriptive knowledge of the object.

Example: The name "Aristotle" refers to the historical figure Aristotle because there is a causal history connecting the use of the name to the actual person, regardless of whether the speaker knows all details about Aristotle.

Key Features:

Rigid Designators: A name refers to the same object in all possible worlds where that object exists.

No Descriptive Content: Reference is direct and not mediated by a description or mental representation.

2. Direct Reference Theory of Names

Key Proponent: Ruth Barcan Marcus.

Summary: Ruth Barcan Marcus advocated for a direct reference theory where proper names refer directly to objects, not through descriptive meanings but as "tags" or labels that identify the object. This theory refutes the descriptive view of names put forth by philosophers like Bertrand Russell, who argued that names function as shorthand for descriptions.

Example: "Venus" refers to the planet regardless of any specific description (e.g., "the brightest planet visible in the sky"). The name refers to the object directly.

Key Features:

Rigid Reference: Like Kripke's rigid designators, names refer to the same object across all possible worlds.

Meaning vs. Reference: The meaning of a name is not determined by descriptive content but by its reference to an actual object.

3. Kripke’s Rigid Designator Theory

Key Proponent: Saul Kripke.

Summary: Kripke introduced the concept of rigid designators, arguing that proper names are rigid because they refer to the same object in every possible world where the object exists. His famous "modal argument" suggested that names must refer directly because they maintain their reference even when considering counterfactual or hypothetical situations.

Example: In every possible world where Aristotle exists, the name "Aristotle" refers to the same person, even if in that world he may not have been a philosopher.

Key Features:

Distinction Between Necessity and Contingency: Kripke distinguished between necessary and contingent truths, using direct reference theory to argue that some facts (like "Aristotle is Aristotle") are necessarily true, while others (like "Aristotle was a philosopher") are contingently true.

4. Millianism

Key Proponent: John Stuart Mill (as an originator).

Summary: In Mill’s theory, a proper name has no meaning or descriptive content but serves only to refer to the object it names. This position, called Millianism, views proper names as "denotative" terms that only serve the function of pointing to their referent.

Example: The name "Homer" refers directly to a specific individual (if such a person existed) and does not carry any additional meaning or descriptive properties.

Key Features:

No Connotation: Names are devoid of descriptive meaning and refer purely to their objects.

Contrast with Descriptive Theories: This approach contrasts with theories that associate names with sets of descriptions.

5. Putnam’s Twin Earth Thought Experiment

Key Proponent: Hilary Putnam.

Summary: In his famous "Twin Earth" thought experiment, Putnam argued that the meaning of certain terms (such as natural kind terms like "water") is determined not by descriptive content but by external factors in the world. This supports the view that reference is a matter of causal-historical connections rather than internal mental descriptions.

Example: On Twin Earth, where "water" looks like water but is chemically different (XYZ instead of H2O), the word "water" on Earth refers directly to H2O, not to XYZ, even if it has the same superficial properties.

Key Features:

Semantic Externalism: The meaning and reference of terms depend on the external world and the environment, not just the mental state of the speaker.

Natural Kinds: Terms like "water" refer directly to the kind in question, based on their real essence, even if speakers are not aware of all its properties.

6. Kaplan’s Theory of Indexicals and Demonstratives

Key Proponent: David Kaplan.

Summary: Kaplan extended direct reference theory to indexicals (e.g., "I", "now", "here") and demonstratives (e.g., "this", "that"). Kaplan argued that these terms directly refer to objects or individuals in the context of utterance, without needing descriptive content.

Example: The word "I" refers directly to the person speaking, without the need for a description of who they are.

Key Features:

Context-Sensitivity: The reference of indexicals and demonstratives depends on the context of utterance, but their reference is direct and does not rely on descriptions.

Character and Content: Kaplan introduced a distinction between the character of a term (a rule that determines reference based on context) and the content (the actual referent).

7. Donnellan’s Referential/Attributive Distinction

Key Proponent: Keith Donnellan.

Summary: Donnellan distinguished between the referential and attributive uses of descriptions. In the referential use, a speaker uses a description to directly refer to a specific object (even if the description is incorrect). In the attributive use, the description is used to identify whatever object fits the description.

Example: If someone says, "The man drinking a martini is my friend," they might refer to a specific individual (referential use), even if the man isn’t actually drinking a martini. In this case, the speaker’s intention determines reference, not the truth of the description.

Key Features:

Referential Use: In the referential use, the description is used as a tool to refer directly to an object, even if the description is inaccurate.

Attributive Use: In the attributive use, the description serves to identify an object that fits the description.

Theories of direct reference emphasize that certain terms (especially names, indexicals, and demonstratives) refer directly to objects in the world without the mediation of descriptive content. These theories challenge earlier views that tied reference to descriptions or mental representations, offering a view in which context, causal chains, and external factors play key roles in determining reference. Major contributions come from Kripke's rigid designators, Kaplan's theory of indexicals, and Putnam's causal theory of natural kind terms.

[reidrum]

the prophecy part 1:

cards on the table, mine played out like fools in a fable | s.r.

A/N: trying something new…..this one’s been on my mind for too long and the angst hurt too good. sorry in advance ! perhaps a part 2 who’s to say ..,,,..,. ?

cw: bau!fem!reader, spoilers for prison arc, implied talks of SA (referring to when lindsey doses spencer in mexico), maeve donovan, just angst bro this doesn’t end well

summary: you and jj accompany spencer to cat’s correctional facility to play her games, except there’s more than one loser

wc: 2.1k

part 1 part 2 part 3

——————————————————————————

Cat Adams’ taunts and demands have led Spencer, JJ, and you to visit her in her correctional facility to play whatever game she has for him. Emily had you and JJ go with him given his erratic state from just being released, in hopes that you both could regulate and monitor the whole meeting.

You and JJ watch Spencer walk in stoically, sitting down across from Cat as she smiles at him. He angrily demands for his mother’s location, but she gets upset and tells him that he doesn’t get to treat her like a criminal. She only agrees to tell him the location if he plays her game, and figures out the secret she knows about Spencer.

Spencer’s brain works overtime to figure out what he’s missing, what Cat could possibly be holding against him that would make him deny the truth of it. He runs through all the scenarios; Spencer being able to now understand how it feels to have a parent used as a pawn, Cat wanting him to admit his love for her. But she shakes her head and reveals that a clue was left in a scrapbook in Spencer’s apartment.

You remember you took a picture of it when you went with Spencer to scope it out, and pulled it out to show JJ.

“Is that an X and a Y?” She ponders, “What could that mean?”

“I think it’s…” You stop halfway, realizing what it means. Your face drops and you look back in the room to watch Spencer come to the same conclusion.

“We’re pregnant!” Cat sings.

You and JJ look at each other in shock, the blonde’s voice slowly drowning out as you sink further into the Cat shaped hole. You vaguely hear her mention going to the guard to find her medical records, but all you can think about is how she could be bearing Spencer’s child.

Spencer and you had been together for a little over two years now. While still in the relative early stages, a lot about your relationship had been figured out and solidified. It was the most secure you’d ever felt with anyone, and despite the road bumps with Mexico you felt that you both came through it as well as any couple would in that situation.

You loved Spencer, and Spencer loved you. Right now was just another one of those road bumps, just like Mexico. That’s what you needed to tell yourself.

JJ bursts through the door with the medical documents, “I got them.” breaking you out of your spiral. You both anxiously look at the paper to find a little (+) sign ticked next to the pregnant box.

Cat Adams really was pregnant. You think you could be sick, you feel JJ’s hand grip your arm in an attempt to tether you back down, but it’s a futile effort. Your brain has already taken the information and ran a billion different directions with it, each coming up with a more crazy conclusion.

You stare blankly into the interrogation room as Spencer vehemently denies the child being his, denying any such way that it could even be his. The disbelief is ruling his words as he shuts down any theory that gives it truth, until Cat reminds him of the heavy dose he was given in Mexico. It hit him then, if he could barely remember the third person in that room, he had no bearing on whatever else transpired.

Spencer tries not to let the anxiety and shock show on his face as he sits down to face Cat in the eyes, “How did you do it?”

“I gave Lindsey very specific instructions to get you in the mood.”

“She pretend to be you?”

“Why, would that have worked?”

“No.” he says sternly.

She pauses, ego clearly bruised, “Yeah, I know. I know. Believe me, I know exactly where I stand on the Spencer Reid "Hot or Not" list. I told her to pretend to be Maeve. Maeve Donovan, who had her brains blown out right in front of you before you two could even kiss.”

Spencer’s face falls. No, he thinks, no no no. He looks back at the one way window behind him, knowing very well he can’t see you but you’re watching everything unfold disastrously.

Your heart drops so fast it could have very well been seismic. To your horror, Cat continues.

“I thought about telling her to pretend to be your little BAU girlfriend,” she chuckles, “But then I realized, you only had one love of your life. and you won’t let anyone else measure up.” She leans in closer, “By the way, I know that you still think about Maeve when you’re, you know, with your little crime fighter over there. But don’t worry, your secret’s safe with me.” She gives an over exaggerated wink to the window.

Spencer feels like he’s seeing white, anger coursing through his body as the reality of his situation comes to a head. He’s definitely not thinking when he pushes the table aside harshly, grabbing Cat by the collar and pushing her against the wall. He’s only able to stop when JJ is beside him suddenly attempting to pull him back, reminding him that she’s pregnant.

His fists are clenched and without a second thought he storms out of the room, his tunnel vision taking him right past you and JJ.

JJ doesn’t know what to do, she looks back into the room to see Cat smirking to herself, and god if she didn’t have morals she’d finish what Spencer started. She thinks it’s wise to go after Spencer and check on him, knowing that Cat’s timer is still ticking and the faster he gets back in there the sooner they can find his mother.

But then she looks at you and suddenly her feet are rooted next to yours.

She lays her hand on your shoulder and gently speaks, “Hey, I’m right here okay?”

You nod mindlessly, hoping you can keep the ocean of tears at bay with whatever resolve you can muster. She squeezes her hand at your acknowledgment and doesn’t move.

How is she supposed to even comfort you? How are you supposed to process this?

You knew how important Maeve Donovan was to Spencer. The whole thing had happened a year before you joined the team, only having heard the story through your teammates. It was tragic, there was no other way to put it, and your heart clenched for Spencer for having to go through that by himself. When you both first started dating, he disclosed the more intimate details to you, wanting nothing to be left unspoken about his past to affect his future with you.

What a cruel twist of fate.

“I—I think,” you stutter, “I have to go, JJ, I can’t be here right now.”

“But—“ She starts.

You cut her off, “No, JJ you have to go talk to Spencer and get him back in there. The longer his mom is with Lindsey…” you trail off.

She nods, understanding that you’re thinking about the priorities right now, “Okay, okay I’ll go find him. Where are you going to go?”

You could go home, the one you share with Spencer. Or you could go back to the office, the one you also share with Spencer.

Every realization adds another needle to your stack, and you’re about to crumble under the weight. “I—I don’t know.” You whimper.

JJ closes her eyes to think quickly and grips your shoulders, “Go back to the BAU okay? I’m going to call Emily and tell her to expect you back, you go straight there, do you understand me?” she emphasizes. JJ is smart enough to know that you cannot be alone right now, and that Spencer wouldn’t be able to scrounge up whatever focus he could into getting answers from Cat if he knew you had left by yourself to god knows where.

All you could do was nod, and hope and pray that your feet would carry you to the car and back to the bureau. JJ was nervous having you drive back, but she really didn’t have a choice. All she could do was notify Emily, as well as Penelope for tracking purposes, that you were headed back, and to not ask you too many questions.

After you left, JJ stood in the waiting room for a brief moment before going to find where Spencer went. She finds him sitting on the floor of an unused interrogation room with his head tucked into his knees.

She speaks quietly to not startle him, “Hey.”

He looks up at the voice, JJ noticing his eyes flit around and behind her as if looking for something, or someone. His eyes sulk back when he’s unable to find it.

Spencer opens his mouth to speak, “Is she—“

“She’s going back to the BAU, Emily knows she’s on the way,” she cuts him off already anticipating his question, “Listen, whatever you’re feeling about what just happened right now has to be paused. You need to focus and finish this stupid game with Cat so we can find your mother and be done with her.” She grits out.

He sighs shakily, he doesn’t even want to think about what must be going through your head. As much as it pained him to experience her vitriol first hand, you were on the other side of that window listening to every word Cat spewed out. And somehow, knowing you watched all of that hurt worse than Mexico, worse than Tobias Hankel, and even worse than Maeve Donovan.

Cat was playing a deeply fucked psychological game with him, and she had now called you in as a pawn. You, his darling girl. The one who made him see the light of the sun after it was constantly being put out, the one who loved him through his mother’s illness and wrongful imprisonment, the one who is, with all and every bit of certainty, the love of his life.

If the velvet black box in his sock drawer was any testament to the power that love held, he hoped it would take mercy on him in this moment.

He stands up and paces the room for a moment before kicking the chair to the other side of the room. JJ startles, her eyes widening but attempting to remain neutral faced as Spencer sorts out his emotions.

“Spence, we need to focus,” she reminds him, “Time is running out.”

“I know,” he mumbles and paces the room hoping to have a stroke of insight, “I have an idea.”

———

You must be no better than a zombie in the final apocalypse when you walk into the bullpen, stumbling around with glassy eyes, no regard for what’s in your way. The apathetic coping mechanism you’ve deployed almost makes you seem as mindless as those monsters, if it weren’t for Penelope to show up and steady you.

“I gotcha, honey,” She makes eye contact with Emily, acknowledging that she’s got you, before turning back to you again, “Come here, let’s sit down.” Penelope sits you down in the nearest chair and drags another one for her to sit right next to you.

You don’t speak for an hour after sitting. Penelope doesn’t ask, only checking in every ten minutes to see if you want a snack or some water, to which you shake your head no every time. She’s too busy typing away on her laptop getting information that could help the team find Spencer’s mother, the last thing you want to be is a bump in the road for them.

Another hour passes before the team exits the conference room, alerting you and Penelope that they think they’ve found the cabin where Diana and Lindsey are. Emily gathers everything they need before approaching you in the bullpen.

“Do I have to be here when you guys come back?” You ask quietly.

Emily sighs, understanding the gravity of your circumstance, “No, you don’t. Will you let Garcia drop you home though? Give us all a peace of mind.” She chuckles humorlessly, unknowingly squeezing the other shoulder JJ didn’t.

You know the ‘all’ she’s referring to really just means one person. It doesn’t make you feel any better, but you don’t think it’s meant to. She brings you in for a tight hug, “I’ll check on you after, okay?”

You nod and release from her embrace. Penelope gathers her things next to you and you both walk to the elevator.

“Honey,” It pained Garcia to see you like this, and she didn’t know how she could help, “What can I do?”

You sniffle and shrug, there isn’t much she can do. There isn’t even much that you could do. Not that anything you could do would be enough, it was never enough. Not for you, not for the team, and not for Spencer.

With a bitter chuckle you answer Penelope’s question,

“Bring back Maeve.”

[toastedclownery]

Speaking of the Florentine Codex!!!!!!!!!

His left arm is flayed here. His left arm specifically.

You mean to tell me that after going on and off about Shrike's gun possibly being Xiuhcoatl for months I find a translation of the Florentine Codex where it says Huitzilopochtli also had a "turquoise spear thrower"?

[ssahotchnerr]

Hello, I have a request. How about Aaron going costume shopping and Aaron loses her FOR A MINUTE before he finds her where all the princess and fairy costumes are. Like she is completely mesmerized by costumes that she doesn’t notice Aaron picking her up and saying “I’m reconsidering making you a leash kid, you know” but he doesn’t really mean it and she’s just pointing at a costume “I want this one, daddy!”

jumpscares

i changed this up a tiny bit but the overall concept is still there <33 cw; fem!reader, protective girl dad!aaron (small angst), jack calls reader mom, references to your usual cm violence, halloween and fluff!! wc; 1k

"Dad, c'mon." Jack whined in slight impatience and excitement, prying the door open and hanging back slightly on the handle.

"We can only move so fast bud." Aaron responded, maintaining his current pace. We as in Ellie. Her tiny legs limited her speed, she was practically skipping to keep up with just him. "The costumes aren't going anywhere."

With the holiday quickly approaching and Jack's insistent worries the cool costumes will be gone soon - while you ran necessary errands of your own, he had been tasked with taking the kids to the Halloween store.

Upon entering, Aaron lost Ellie's hand almost immediately as she halted, causing it to slip abruptly from his grasp.

She was frozen in place with her gaze directed forward, keeping a generous distance from the frightful animatronics greeting the three of them at the entrance.

A scowl was on her face; it didn't appear she wasn't necessarily scared, but a mix of disgust and worry were vividly present instead.

"They're not real sweetheart." Aaron tried to reassure, his gaze softening. "They're just decorations."

"I don't like that one." Ellie grabbed his hand, using her other to point at the menacing, horrific clown. "He looks mean."

"He does, doesn't he?" Aaron agreed, his mouth drawing into a pensive line as he played along. "But that's okay. They're meant to be for fun."

"They're not very fun."

The three began wandering through the display of frightful animatronics, led by Jack, a good idea in theory. Jack disciplinarily left Aaron's mouth a few times, as he attempted to get his sister to step on the sensors in order to get spooked.

Ellie ended up in his hold, gripping onto the collar of his t-shirt while Jack indulged himself in getting delightfully jumpscared. She merely watched, each burst of sound causing her to scoot closer into her father, more like her shield.

"Alright, let's find what we came here for." Aaron placed Ellie down, Jack beginning to browse as they reached the costumes. "It is a school night. We can't be out too late."

Selecting a costume, or even brainstorming an idea was bound to a lengthy task, the two of them utterly indecisive. Ellie adored every costume they passed, had to stop, look and point it out. Jack, on the other hand, was pursuing a more silent, observational strategy.

"Anything sticking out?"

"Maybe Spiderman?"

"You never stick to Spiderman." Aaron reminded him with a small smile, the fond memory of when Jack dressed up as him coming to mind - easily within his top five Dad moments of all time.

"Yeah... so maybe not that." Jack breathed out a huff, his eyes continuing to peer around. "Or we can all be superheroes." He poked an adult Batman costume, causing it to sway. "You can be this, and then Mom can be Wonder Woman or something."

Aaron nodded slowly, although he personally didn't plan on dressing up. But could he be persuaded by you and the kids? Maybe. "That could be fun."

"And then Ellie could be Spidergirl-"

Speaking of Ellie, she had grown suspiciously quiet - her chatter stopping altogether. Aaron's eyes shot down, only to find Ellie not besides him.

Jack was the one who verbalized it, his eyebrows crinkling in confusion. "Where'd Ellie go?"

Panic immediately swept through him, his heart rate heightening and his body succumbing to a numbing freeze. Fuck.

Suddenly, he didn't know whether or not his knowledge of child abductions were an advantage or disadvantage; knowing how to act quickly, but also the unfortunate outcomes.

his mind instantly shot to the conversations he had with victim's familiies with what felt like daily. The scenario had turned- he was in their shoes. And just as they all stated in their interviews: He should've been paying closer attention. He only looked away for a minute. He knew these things - why did he look away?

Attempting to push the statistics in the back of his mind, he was on the move, Jack following right at his heels.

"Ellie?"

Luckily the fear was short lived; she was two aisles over, captivated by the girliest costumes one could imagine, very Ellie-esque.

"Eleanor." Aaron breathed out in relief as he saw his piggytail-headed daughter, sweeping her right off her feet again. "You know better than to wander off."

"I wanna be this." Ellie pried a princess costume off the rack, Aaron paused as he lifted her so she could remove it successfully. "Can I Daddy? I really wanna."

"Well, let's make sure it's your size." He took it, doublechecking and allowing his heart rate to calm down. Upon confirmation, his eyebrows furrowed. "Are you sure you want to be this? Or do you want to be a superhero with Jack?"

"I wanna be a princess." Ellie insisted, a pleading tone within her voice. "Pretty please?"

"Sure, if that's what you want. We'll have to find you a crown too, or use one from home, it doesn't seem to be included." She nodded as Aaron tucked the packaging under his elbow, allowing him to hold both it and her. However, his demeanor switched over to one more serious. "But hey, look at me please."

Her adjacent brown eyes met his own; a touch of fault, and sincereness. She knew she had disobeyed in one way or another. And whenever she did, it was written all over on her face.

"No running off, okay?" He instructed sternly, but gently. "It's really important I can always see you, and you can always see me. We don't want you getting lost, yeah?"

She shook her head. "That would be bad."

"Very bad. Mom would not be happy with me if I came home without you." Aaron affirmed, eyebrows raised. "Do we have an understanding?"

"Yes we do." She replied cheerily, oblivious to the heart attack she had just given her father. "No running away."

"Thank you." He pressed a kiss to the top of her head, exhaling and the tension in his shoulders alleviating. Ellie was fine. No need for further panicking. Everything was fine.

And Jack, ever the dear, comically inputted, a witty grin plastered on his face. "Maybe Ellie should be the Flash instead."

[sapphicides]

although i doubt that this theory will end up being true, i’ve always loved the idea of the antler queen being some kind of supernatural entity/mass hallucination shared by the girls at the height of their insanity in the wilderness. what i mean by this is not that they’re all literally seeing this figure, but that they all feel its presence and worship it like a god. they offer pieces of their hair to it so they can keep it happy, in exchange for blessing or protection. their shared belief in the wilderness as a concept keeps them grounded out there, and maybe it manifests in the form of the “antler queen”

of course, this conflicts with what direction the show is going in, though. the draw of the queen card coupled with natalie being referred to as “my queen” by shauna implies that the antler queen will likely end up being a person (my bets are on shauna if we’re being realistic), but that doesn’t necessarily mean it has to be a living person. the girls who have already died out there haunt the narrative, with jackie in particular being honored as a “guide” by lottie in 3x01. in many ways, her death represented the loss of any remnants of civilization the girls had left in them, and her haunting them represents the mark the wilderness left and continued to leave on them

all that is to say, if the antler queen does end up being a supernatural being (or a mass hallucination that they interpret as being a supernatural being), i want it to be jackie. i want her character to come full circle; from being assigned the role of leader, to being dethroned as they descended into the throes of the wilderness, to becoming their leader yet again in death. i want her to serve as a symbol for what they’ve lost and what they eventually become, an ever-present reminder of the horrors they partook in. i want her to enact one last form of revenge by guiding them into further derangement, just to disappear when they need her most. i want jackie taylor to be the antler queen

i doubt she will be. but it would be so fucking cool if she was

[mariasont]

Lip Gloss - S.R

a/n: wow this is really short and i feel like i overuse the lip gloss shtick but

masterlist

‧₊˚ ✩°｡⋆♡ ⋆˙⟡♡ ⋆˙⟡♡⋆｡°✩˚₊‧

pairings: spencer reid x bimbo!receptionist!reader

summary: in which spencer really likes your sparkly lip gloss

warnings: none? fluff

wc: 0.5k

Pink. Sparkles. Lip gloss. Those were the only thoughts running through Spencer's mind as he walked into the break room. Which this was a surprise to him because usually his mind was running a mile a minute — mathematical equations, book references, and case theories. But when you were near that was all reduced to a heaping pile of nothing. Especially now, as you leaned casually against the counter, in pink pumps and matching skirt that definitely wasn't up to the dress code, but he wasn't sure if you cared.

Cradled between your hands was a white mug, its side inscribed with the words 'Britney survived 2007. You can handle today' in stark black letters. He had no idea what it meant, but he noticed it was your favorite, a staple in your daily routine, unless it found its way to the top self, an inconvenience Spencer would subtly always rectify when he went to pour his own cup.

The focal point of his attention, however, was your lips, more precisely, the sheer layer of shimmering gloss that clung to them. Words were forming on those same lips, presumably directed at him, but they seemed to dissolve before reaching his ears, his gaze transfixed by the glistening movement of your mouth.

"Huh?"

With a smile, you pressed your glittering lips together and took a step in his direction. He managed to clear his throat, trying to redirect his attention to your eyes, but his gaze remained helplessly planted.

"I swear, half my routine is just reapplying this stuff after every sip," you said while your thumb worked diligently to wipe away the sparkling smudge from the mug.

"Considering the non-Newtonian fluid dynamics of the lip gloss's polymeric substances, which exhibit both viscous and elastic properties, it leads to a higher propensity for adhesion and cohesion on substrates with varying thermal coefficients."

Your fingers absentmindedly toyed with your earlobe as you cocked your head, a bemused furrow forming above your eyes, but your smile remained undiminished.

"Sorry, that went right over my head," you laughed, nose scrunching in the process. "But it's sweet of you to assume I caught all that."

"Oh, sorry, well, lip gloss is made of oils and waxes that give it that shiny appearance. However, these ingredients don't fully absorb to your skin, so when you press your lips against something, like a hot coffee cup, the excess transfers over."

Heat suffused his face as he registered the unwavering attention you afforded him, as if you were hanging on his every syllable. He sensed your struggle to comprehend, but your effort was evident. He really liked having your attention.

"So, with all that brainpower, do you have any tips for keeping my gloss on my lips instead of my mug?"

"Maybe a straw?"

Your laughter was like music to his ears, filling his senses as your hand, perfectly manicured, lightly touched his arm. A rush of warmth flooded his neck, and he looked at you, momentarily lost for words, as you murmured, "I'll try that out, thanks, Dr. Reid."

"Spencer," he corrects.

"Right, well, thank you, Spencer," you said, standing on tiptoes to plant a kiss on his cheek, before twirling on your heels, your smile lingering in the air.

Spencer could feel the stickiness on his skin, his fingers pressing against the spot you had left, feet glued to the ground. He starting to think he really likes lip gloss. 

[sirfrogsworth]

The original image is stupid. That's a given. I guess they are trying to ask why the Moon doesn't have a bright spot and dark edges.

But the Community Note isn't much better.

The short answer is... the Moon is bumpy and the Sun is far away.

The long answer requires me to do some math. So I apologize in advance if I get some numbers wrong. But I promise you will learn some neat things about light if you are into that.

First, I have no idea why they brought retroreflectiveness into this.

Retroreflection is when light is reflected back at the angle of incidence. Meaning no matter what angle you shine light from, it will always reflect straight back to you.

It's a bit of an optical magic trick. It is how street signs and highway markers work.

Weirdly enough, astronauts placed a manmade retroreflector on the Moon which people can use to reflect lasers and disprove the fake Moon landing theory.

The Moon may have retroreflective properties, but that effect would only really be noticeable if you were to shine a tight beam of light like a laser or something. Retroreflection would be more apparent from the perspective of the Sun, not the Earth.

You know what, I should just read the source and see what they are talking about.

"The edges of the full moon seem as bright as the center, without limb darkening, because of the reflective properties of lunar soil, which retroreflects light more towards the Sun than in other directions."

Hey, I was right about the Sun.

But this is a bad explanation. A rare L for Wikipedia. I even checked the primary reference and it doesn't even talk about retroreflectance. It does seem to be a factor, especially for the very outer edges, but looking at other sources my initial answer of the Moon being bumpy and the Sun being far away is much better.

So... let's learn some shit about light.

First we should talk about surface texture as mentioned. You have glossy surfaces and matte surfaces and a spectrum in between.

A glossy surface reflects light very directly (specular). A matte surface scatters light in many directions (diffused). This has to do with how smooth or bumpy the surface is.

The Moon is very rocky and bumpy and dusty, so it has a very matte surface. And I'm guessing since some rays bounce back toward the Sun, we don't get as many direct reflections that would add specularity. Perhaps there is a Moon expert who can weigh in on how much that actually diffuses the light beyond the matte surface texture.

And the reason the Moon is so evenly lit has to do with the distance of the light source. Again, the Sun is super duper far away.

When light is very close to something, it falls off very quickly.

When light is far away, the falloff is very gradual.

From the camera's perspective, the edges of the sphere are farther away than the center. When the light is closer, the edges of the sphere appear darker. But when the light is farther away, the edges of the sphere appear to have a similar intensity compared to the center.

The surface of the Moon is not a consistent distance from us. It is a spheroid so the edges are nearly a thousand miles farther away than the center. But the edges don't fall off into shadow from our perspective.

This is a property of the inverse square law.

Let's say you wanted to light two people and the light was very close—one person might end up in the light's falloff.

But if you move the light farther away and crank up the power, the two people will seem evenly lit.

You can think of light a bit like a shotgun in a video game. When you are close to something the shotgun has a very tight spread and is more lethal. When farther away, it has a larger spread but the lethality is decreased.

The first shotgun blast is very intense directly in the center but has no effect on the edges. The second blast has more even coverage, but the intensity is spread out and diminished.

From a point light source, light starts out very concentrated but the photons spread out over a distance. This dilutes the intensity of the light. The inverse square law says for every doubling of distance, the light becomes 1/4th as bright.

You have the same amount of photons but a larger area to light up. So coverage increases but intensity decreases.

Check out the background in these images.

In the first photo, the light is very close to her face. The intensity of the light is very concentrated. From the perspective of the camera, her face is super bright, but the background is very dim in comparison.

But as you move the light farther away, the photons spread out. If you leave the light on the same power and the camera at the same exposure, the photo on the right would look very dim—probably just pure black. So you'd have to compensate by increasing the power of the light (more photons) or adjusting the exposure of the camera (higher sensitivity) or both. But once you make those adjustments the background and her face seem very evenly lit.

In the first photo, relative to the light source, the background is far away compared to her face. The light might be 5 feet from her face but 10 feet from the background. It has to travel double the distance to hit the background so the intensity of the light hitting the background is 75% darker than the light hitting her face.

The majority of photons are hitting the face and only a few are escaping to the background.

But if the light is 20 feet from her face and 25 feet from the background, the light only travels 25% farther to hit the background. So the background is only 36% darker than the light hitting her face.

To achieve the same exposure the number of photons is increased substantially, but they are spread out and not concentrated in one area.

If you increase the distance enough, the difference gets less and less perceptible.

Now imagine the light is 93 million miles away. The background would only be 0.0000000004% darker than her face.

From the Earth's perspective, the edge of the Moon is roughly 1000 miles farther away from the center of the Moon. And about 0.001075% farther from the Sun. The falloff of light would be impossible for our eyeballs to detect.

To review, the Moon has edge-to-edge lighting with no specular highlights because the surface is bumpy and scatters light and the Sun is ridiculously far away. I'm sure there are other optical effects at play due to the atmosphere and reflective properties mentioned, but by and large, that is what's going on.

It's the same reason the face of a large boulder in direct sunlight doesn't have any bright spots or quick shadow falloff.

Can you use this knowledge to help your photography?

Yes!

Lighting indoor group photos can be very tricky.

You often have several rows of people. If your light source is too close, you may have difficulty getting a good exposure on all of their faces because of the varied distances involved. The back row of people may appear very dark. But if the light is too far away, you may end up getting harsh shadows.

Large light sources produce softer, more flattering light.

Small light sources produce harder, harsher light.

Distant light sources produce even light.

Distant light sources have a smaller apparent size.

Which means you need really big modifiers so you can put the light far enough away to get soft AND even lighting. You have to make the light sources bigger to compensate for the distance.

If all you have is a flash, you can bounce it off the ceiling or a large white wall to increase the size of your light source. Just make sure it is far enough away from everyone to get a proper exposure of all their smiling faces.

[lynaferns]

An overanalization of a 3 second clip of the Ruin DCA for drawing references.

The ruin trailer - slowed and brightened clip - my design idea before the trailer came out (<- I'm still sad about this) - Updated analysis

I loved doing the hand page :)

Now do whatever you want with this information I'm throwing at your faces.

If I find something new I'll update the post.

When the DLC comes out I'll probably do a character ref of the whole endo.

UPDATE MAY 28:

I've been reading people theorys and ideas.

I think the eyes simply has a LED ligth that alternates between yellow/white and red.

I don't think they could ever blink, if you take a look to the original pre-ruin design there is no space for eyelids.

I've seen people talk about their mouth moving. I personaly think that if their endo was supossed to have a moving mouth then, those teeth are actually holders for more polished teeth, and the mouth wouldn't open but the teeth would move to make it apear they are moving their mouth.

Those shadows behind the teeth, I toke a better look and I do think they are holes! There are some positions they don't make sense as shadows so it must be some kind of rack or grating, posibly for the voice box.

A few people have comented about the shock absorbers in the legs, I didn't thought about that, it makes so much sense.

UPDATE JULY 26 (after dlc release):

So, I got right that the teeth moved, just wrong with the direction lol, why do they move to the outside and in that wave animation?

Also, there are no holes behind the teeth, they were actual shadows (I still think that it would have been cool if they were holes that faintly illuminated when they talk)

The spring of the broken leg is hanging without the support of the foot, that's why it was so hard for me to figure out the shape in the trailer (I'll put screenshots when I get to the pc)

Moon's hat is missing the bell :(

And the eyes aren't completely broken like I thought, just very dirty.