When you have been trying to get love from that one persone sens the age to 10 but dont even get it in death even tho you had 100 hearts and where dating
25 notes
·
View notes
someone probably said this already but in spiderverse i think it's interesting how when pavitr was first introduced everyone thought something bad was gonna happen to him bc of how confident and optimistic he was. and then in the actual movie we see that something bad was supposed to happen to him (police chief dying!) but it doesn't! miles stops it! and miguel berates miles for this, says it's going to cause the universe to collapse or whatever.
there's this idea that tragedy is inherent to spidermans growth, and while it's true that some spiderpeople learn important lessons through loss, no one stops to ask, is it really necessary? yeah, maybe the chief was supposed to die. but why does spiderman have to be formed through tragedy? why do we (as heroes) have to let people die? pavitr didn't lose anyone, and he's still a good spiderman! maybe, if he doesn't suffer, he'll end up better off for it!
so while miguel is arguing for all this big picture stuff about saving the multiverse he's lost sight of what it really means to be a spiderman, he's not looking out for the real individual people. yeah it's just one person who would die, but that one person means something to someone. shrugging and saying "stuff just sucks sometimes, we can't do anything about it" is the opposite of what superheroes do. pretty obviously, miles arc is also a reflection of the struggles people face in real life, working within unequal systems, where it's easy to shrug and say "that's just the way it is" and not ask "but why does it need be this way? can't we do something about it?"
miguel is arguing that you can't have your cake and eat it too. presumably, miles and co. are going to find a way to get around that and change things for the better (and maybe that's why miles has that line about two cakes in the advisors office!)
9K notes
·
View notes
What drives me even more insane about this scene is how you'd expect Gojo to imagine High school era! Geto in the crowd. Or at least not the cult leader, worst of all the curse users Geto Suguru. But no, it's the cult leader Geto. It's Geto as Gojo last remembered him. As Geto last was. Whatever choices Geto made, wherever his choices led him and them, however he was, whoever he was, traumas and messed up ideas and bad choices and ill reputations and scorns and all. Gojo wanted Geto Suguru there. Not any ideal version. Not any "what if" version. Not any "at some point in time before things went downhill" version. Not any "when your hands weren't stained with innocent blood" version. He knew very well what he wanted. And he wanted it all the same. He wanted Geto Suguru. However he was. He just wanted him to be there. He just wanted him to be.
And he didn't want him to help him, he didn't want him to fight with him even if they were strongest together and always fought together for a while. He just wanted him to be there in the crowd and cheer him on. He just wanted him to stand there and give him one of his sweet, heartwarming smiles that shaped his eyes into crescent moons. He just wanted him to be. Then even if Gojo had died in the end anyway, he would have been satisfied. It would have been worth it. Only if Geto was there.
1K notes
·
View notes
BREAKING NEWS!!! Local idiot ghost absolutely blown away when boyfriend gives him a nickname for the first time, more info after this broadcast.
Bonus pet-name edition:
(Yeah I know it's ooc for grovyle to EVER use the term "babe" but lets go ahead and assume he's done it accidentally a few times rather than intentionally. He's deeply in love with the dumb ghostman, ok. Sometimes it just slips out.)
Dusknoir is still recovering from hearing it. And when he finally calls grovyle "love" himself on accident a few days later, he falls deathly ill for two weeks cause his body couldn't handle the aftermath and started rapidly shutting down on a molecular level.
575 notes
·
View notes
Alright new Jason Todd headcanons in a dpxdc setting:
Danny is a "liminal" ghost, rather than a "half" ghost. He's alive and dead at the same time. (He's like Jesus Christ (in the church denomination I grew up in), fully ghost and fully human.) Danny, in human form, can go through a ghost shield, because he IS a living human.
Jason, however, is a reanimated corpse. He isn't a ghost, wouldn't have a ghost core, etc, he has a normal human system that runs ON ectoplasm. Jason CANNOT go through a ghost shield, because he is always an ectoplasmic entity. Danny can go through the Fenton Ghost Catcher and be split into a ghost and a human; if Jason went through the ghost catcher, he would straight up die.
(For my purposes I'm gonna say that Jason became an ectoplasmic entity upon his resurrection, but wasn't very stable. Dunking in the Lazarus pit stabilized his system but also poisoned his ectoplasm.)
I do think that Jason could learn certain ghost abilities if he learned to harness his ectoplasm, especially if they detoxed him off the Lazarus waters. He's probably already enhancing his stealth and strength in ways he hasn't really noticed. I think he's held back by the amount of physical matter he's lugging around, so maybe he couldn't fly, but I'm imagining temporary invisibility, or intagibility of like, a limb at a time. Maybe he can't walk through walls, but in a fight he can dodge by instinctively making the targeted part of his body intangible.
173 notes
·
View notes
been thinking about how in a couple of different interviews, barry has brought up that he played five different olivers chronologically thru the movie. i've been fiddling with my theories as to where each oliver ends and a new one begins and have roughly landed here but would love to hear other ideas:
oliver 1: oxford, watching and wanting felix. an outsider, batting up against the window, just desperate to get in. begins observing everything: details of felix's life, details of farleigh's life, begins orchestrating his performance for felix, setting the stage for whatever will get him into the spotlight.
oliver 2: saltburn, pre-bathtub, the best few months of his life, living in felix's light. this is the dream. he will cling onto it and comb over it and jerk off to it and wonder how he could ever get it back.
oliver 3: saltburn, post-bathtub, post-pamela, understanding how precarious his position is, losing felix quickly, making risky, desperate moves in an attempt to regain his attention. eating holes in everything and becoming a toy that felix doesn't want to play with anymore.
oliver 4: saltburn, post-confession, post-licking-the-fucking-plate, confused by his own obsession and pivoting toward preserving and not letting anyone remove him from what he thinks is rightfully his: felix's space and felix's role and felix's memory
oliver 5: post-post-saltburn, monologuing to his final victim, justifying his actions in any way possible, an obsession that has festered for more than a decade, re-realized in his obsession with his self and his work. oliver in his most catton-like state. denying that the desire was ever there. has a complete and utter horror of the ugliness he's committed. a beautiful man in his beautiful house, surrounded by beautiful things. finally free from want.
335 notes
·
View notes