#I also think it could be really interesting to write someone who

[tater-tot-jr]

Yapping time! Spoilers for DRDT C2E14

So the entire episode was great, but there’s one part I’d like to talk about most. David’s monologue towards the end. Specifically the second half, where he gets away from his logical stuff and into the more interpersonal stuff. I’ll break it down line by line.

“All I want is for Teruko to distrust others.”

Okay we are starting off interesting. Now, due to David’s nature we can’t trust him to be honest. We cannot take this as explicit confirmation of any sort of goal. With that said, his goal appears to be fucking up the class trial in some manner. We don’t know his motive, but that goal seems consistent enough to work with. So let’s work with it. Teruko is literally one half of this classes helpful trial participants. Her and Charles are the entire brain of this class. Charles can be killed, he has a glaring flaw in a debilitating fear of blood, he’s easy enough to deal with when the time comes. Teruko is stupidly resilient. To everything. The one thing she obviously struggles with is her trust issues/paranoia. If you’re looking to get under her skin that’s where you gotta go. Saying this is a clear demonstration he intends to poke at Teruko emotionally, which is an interesting thing to admit out loud. If I had to guess, it’s because he’s trying to kill two birds with one stone and make the class start to distrust Teruko as well.

“That’s why I’m doing this, telling such obvious lies.”

This is him saying he’s lying about seeing the body, I think. He’s doubling down on inciting paranoia, in both Teruko and the class. It’s interesting he would say this out loud. He’s hyper focused on fucking with Teruko and it shows. If you take out the brain, the body goes as well. It’s certainly a strategy of all time.

“There is no other proof of Eden’s innocence.”

As far as we know, this is a true statement right now. Unless I’m unaware of something that was the biggest piece of evidence meant to clear her name, and he brought it into question.

“As long as there’s a possibility that the evidence is false, as long as there’s even the slightest reason to distrust others, then Teruko cannot trust Eden.”

Oof, he’s got her dead to rights. I don’t think there’s a good faith argument for him being wrong. It’s cool to see how much he understands the cast. It’s an interesting way to show how Teruko’s thoughts process works without betraying her guarded nature. Having a character so ready to pick at her weakness is a good writing choice, and I hope they keep David around for a time. Teruko is the least trusting character I’ve ever seen in any fangan game, granted I haven’t played them all but still. There’s a chance the story doesn’t have any sort of lesson, and we’re just gonna watch Teruko suffer. The idea that she can’t bring herself to trust if there’s even a 0.001% chance of something being false is such a good character flaw. She’s clearly terrified of risk, and she doesn’t know how to get rid of her paranoia, even though I think she wants to.

“Isn’t that right, Teruko?”

Ohohoho you smug piece of shit. You fucking dick. This is more proof he’s not just saying these things in an objective way. He’s just trying to hurt her, as far as we can assume.

“…”

Yeah she’s fucking rocked. Teruko really doesn’t take things lying down. Befitting of her backstory, she’s the type to struggle and fight back against anything she can. But here she has nothing to say. David has read her for filth and they both know it. Now that I think about it, this probably also plays on her fear of being vulnerable. What could possibly be more vulnerable than someone telling you your own exact thought process?

“It’s in your nature to distrust people.”

This is a more interesting statement than it appears at first glance. Specifically because he says it’s in her nature. To him, this isn’t a choice she’s making because of the killing game. It’s not circumstance that has pushed her into this. No, this is who she is, and this is who she’ll always be. Which is a horribly insulting thing to say, because it’s within most humans nature to trust each other somewhat, and it’s life circumstances that push them away from collaboration. He’s saying that Teruko is so fucked in the head that she’s fundamentally different from the standard human baseline.

“Everyone you know has already betrayed you. There’s no one in this world who won’t hurt you. Even the people you love will turn their backs on you in the end. You know that well enough, don’t you?”

…Jesus Christ. He really is just the devil on her shoulder. These are her worst thoughts said out loud and back to her. Do you think she considers someone dying on her and leaving her alone a betrayal? Is that a part of this? Him saying “even the people you love” is interesting, does she really even have anyone she loves in the cast? Or does she just tolerate them. He’s making grand, sweeping statements about her life potentially before the killing game and hitting the nail on the head every time. An impressive feat of manipulation and perceptiveness.

“So distrust in others. Because that’s the only way you know how to live.”

Ow. Ouch. Owie. Not only is this a banger way to end the monologue but it’s just so telling. Teruko doesn’t even say anything in response she just waits for Charles to change to subject. Also, is he even really wrong? She tried to afford people trust and then she got stabbed and everyone else blamed her. She’s definitely swung too far the other way, but it’s not like she was good at knowing how much trust to afford people. This life is really the only way she knows how to live. How things are now, she’ll suffer any other way. It’s such juicy character writing. Damned if you do damned if you don’t. David has definitely been watching Teruko’s behavior, and quite frankly he has her figured out. He’s perceived her, and she hates it. I think we all know Teruko is lonely, she deeply wants people around her. But between being a danger to them and all her trust issues she shuts herself away. David is doing everything he can to keep her as far away from forming meaningful connections as possible. He’s clearly got some sort of plan.

—

There’s also a few things I want to talk about that I didn’t have the ability to put under a spoken line, so I’ll yap down here.

Firstly, Teruko extending some “trust” to Eden doesn’t prove David wrong. If anything, it strengthens his argument. Looking at the actual content of Teruko and Eden’s back and forth, it’s barely a scrap of trust and it’s completely conditional. Teruko basically said “because you helped me last trial I will trust you enough to investigate you second” which is still incredible progress for her, but it’s nothing close to genuine trust. This is not to diminish the progress Teruko made in that scene, but it’s nothing close to countering David’s claims.

Secondly, THAT VOICE ACTING HELLO?!?? David’s VA has always been great, but combined with DRDTdev’s wonderful writing and sprite design/choices he really brought this scene to life. He was perfectly smug and condescending. He had a voice that really portrayed that “I’m 100% right about you and you can’t do anything about it” vibe. Just a total piece of shit. 10/10 would listen again.

[humbledragon669]

S2E1 - The Arrival Write Up P3 - the Present Day from the introduction of Maggie and Nina up to The Box

Alright, I’ve already written two whole blogs on this episode and I haven’t even gotten through the first 15 minutes of it so let’s jump straight in with Nina’s opening line:

NINA: See anything you fancy?

I mean, if that’s not a blatant display of foreshadowing, I don’t know what else you need. And given Maggie’s rather shy disposition, I have to say I think she handles it pretty well. Goodness knows what must be going through her head. Actually, I think I know exactly what’s going through her head:

I think she pulls it off. Just. What I find interesting about Nina’s response is that she simultaneously manages to flatter Maggie by remembering her order and highlight that she’s completely distanced from her by referring to her as the drink she orders.

NINA: You’re a skinny latte.

I mean, I don’t know about you, but I’d much rather the love of my life call me by my name, rather than by the coffee I order. Maggie doesn’t seem to care though, she’s just delighted that Nina remembers anything about her:

That delight lasts all of a few seconds before Nina manages to give her another label that she’s probably not looking for – that of “a regular”. It’s a little painful to see the joy on Maggie’s face dissolve into disappointment as she realises that the reason her coffee order has been recalled is more to do with the frequency of her attendance in the coffee shop than the object of her desires actually paying her any attention.

Now I don’t know about you, but I had already formed an opinion about Nina by this point in the show, and that opinion is that she’s not very nice. Here’s the line that did it for me:

NINA: You work in the record shop don’t you? Don’t know who actually buys records in this day and age.

I mean, really? The owner of a boutique record shop, one of your customers, someone you barely know, has come to support your own local business, and you repay their loyalty by undermining their career choice? At the very least, I’d call that rude. There are a couple of extenuating circumstances around this that I would like to look at, and they are pretty starkly contrasting – let’s start with the bad vibes first.

I have seen it said before that female characters in the creator’s work are grossly subject to sexist bias. I can fully understand that stance – if we look at the female characters in the original Good Omens novel, we can see that women are characterised as inherently “bad” (the nuns), stupid (Madame Tracy was explicitly described as such), or overly sexualised (the physical appearances of both Anathema and War are regularly described with regards to their attractiveness). If that’s true, we can see those characterisations continuing here – Nina is the “bad” character, Maggie the “stupid” one (not my personal opinion!). This all makes me very uncomfortable.

The good vibes scenario is to do with positive representation of neurodivergence. We know that both characters are based on the real-life personalities of the actors playing them; it’s largely why they both kept their own names. We also know that Maggie Service herself is neurodivergent, which her social awkwardness could potentially be attributed to. What if Nina (the character, I make no claims about Nina Sosanya) is also neurodivergent? That might explain her bluntness in this particular situation – she’s just saying what she’s thinking after all. Given that that the author himself has confirmed that both Crowley and Aziraphale show neurodivergent behaviours, and that it’s fairly common fandom opinion that Nina and Maggie are a mirror for Crowley and Aziraphale, that would strengthen that theory. Not to mention that the show as a whole works to showcase equality for all, whether it be in terms of sexuality, ability, or race/creed.

I think we would all say that we’d rather the latter of these two possibilities is actually what the show is aiming for. There’s just something about the first possibility that nags at me though. I want to believe it’s the second thing (even if that makes me quick to judge), I really do. Perhaps recent events have just made me very cynical. *sigh* Shall we move on to naked John Hamm?

Can we just take a moment to appreciate how tongue-in-cheek accurate the exclamation that both Maggie and Nina choose to use is? Gabriel being both “holy” and, from what we’ve seen so far, an absolute “shit”. Love it. On another quick side note, somebody forgot to make sure that this extra knew how to use a phone convincingly:

What exactly is she doing, smashing away at her phone screen like that? Multiple pictures perhaps, but it seems unlikely.

Continuing on Gabriel’s skyclad promenade, we’re introduced to some no longer inanimate tomatoes. I feel like there has been quite a lot of discussion about that shot, which is not surprising given that the editors have gone out of their way to include it. Maybe the stall was knocked by somebody on their way to try and get a glimpse of the naked man (not unlikely), but we don’t get any suggestion of that. A few of them even roll across the road, causing Gabriel to step over them. Honestly, I don’t have any theories about this single shot, but I do wonder if there might have been a bit more in the original script for the episode. Having completed the script-to-screen comparisons, it was evident that the author wrote (often unnecessarily) extensive stage directions; perhaps there was something in those that would have explained this singular shot. If anybody has any thoughts, let me know – I do like the idea of Gabriel “upsetting the apple cart” but I don’t know why they wouldn’t just have used apples in that was the case, particularly as there are already some right there on the stall:

Alright, next point of note. Gabriel goes directly to the bookshop door. Do not pass Go, do not collect £200. He walks straight past the door in the pub that we later come to see is the door to the elevator to Heaven. Something to bear in mind here is that we don’t actually know where Gabriel has come from to get here and he already has quite the following as he walks down Whickber Street. How long has he been walking through the streets of London in his state of undress?! Considering how little information he has retained from his tenure as supreme archangel, he must have some sort of strange homing beacon to know to go to Aziraphale’s bookshop.

Next question – why does Aziraphale treat his record so roughly when he’s interrupted by Gabriel knocking on the door? Considering the fact that he explicitly says that this type of record can be difficult to obtain, and the pleasure he clearly gets from listening to them, why risk scratching the one playing with his actions? As a matter of fact, have we ever had any indication that Shostakovich is one of Aziraphale’s favoured composers? He wasn’t on the list that Crowley reeled off in St. James’s Park all those years ago when the Antichrist was born, not even on the slightly extended version in the book. Urgh, there’s that ridiculous thought again – that’s not Aziraphale. I seriously can’t see how that thought could play out long term, but this is certainly uncharacteristic behaviour from our angel.

Alright, that’s quite enough of the questions for now. Let’s have a look at this delicious sequence of micro-expressions from Aziraphale when he opens the door:

Aside from the fact that the first thing he pays any attention to (despite the fact that Gabriel is standing not more than a foot away from him) is the crowd of people amassed outside the book shop (something I think is probably influenced by what I take to be a reflexive look to the Bentley’s usual parking space), what I find very interesting about this is that he doesn’t register any shock until he sees Gabriel’s face. Let me repeat that for a second and let it sink in – he’s not shocked that there’s a naked man on his doorstep, he’s shocked that it’s Gabriel. And if that wasn’t enough food for thought, tell me these are the hands of a being who isn’t hardwired to return an embrace:

Those fingers are curled people. Reflexively grabbing. He’s also raised them to return the embrace (when you look at the previous shot, they’re relaxed by his sides). Probably good for him that his common-sense kicks in and stops him from completing the action he has started instinctively – maybe that’s something to do with whatever it is that catches his attention here:

I want to talk a little bit about Gabriel’s demeanour in this sequence. It’s clear that he has no idea that nakedness is a thing that isn’t really done in public. In fact, he appears not to even understand the concept of being naked at all:

GABRIEL: Who told you I was naked?

A little while ago, I’m pretty sure I read a post about this particular quote being a biblical reference to Adam not knowing what nudity is, or its connotations, until after he eats the apple. If anybody knows where this is, I’d be grateful for the link, as I couldn’t find it. Google has informed me that the Christian lore is that Adam felt no shame about his nudity until after eating the forbidden fruit. What I find really interesting about the parallel with this scene is that whilst Gabriel feels no shame for being naked, Aziraphale is fully aware of the connotations with nakedness in human society. More importantly, he’s clearly experiencing an emotional response to the situation. I take this to be a clear indicator that he has truly “left the garden” and embraced humanity; my thinking is that the knowledge of nakedness might prompt the angel to inform Gabriel of the nakedness but wouldn’t invoke an emotional reaction. Which, to be fair, he might not be feeling so strongly if he would just stop LOOKING AT IT.

So I lied, I do have one more question about this scene, and it’s to do with Aziraphale’s response to Gabriel asking if he can come in.

That’s a pretty strong, even physical, response. What I’d quite like to know is how much of it is because Gabriel is naked, and how much is that Gabriel is… well, Gabriel. Personally, the latter of those two options doesn’t sit right; Aziraphale doesn’t really know what’s going on with Gabriel at this point, but he does know that he doesn’t appear to have any memories that would make him a threat. And let’s not forget to mention the change in his eye colour – they were purple in the first season, now they’re just John Hamm-coloured (which makes me wonder what exactly it is that causes the eye colouration in the first place). It’s clear that the man standing on the bookshop doorstep is not the supreme archangel that Aziraphale had come to fear in season 1, and Gabriel has actually been more than pleasant (nudity aside) up to this point. So that would suggest the violence of that reaction is largely to do with the nakedness, which brings us back to the whole “Aziraphale has left the Garden” point I made earlier. Not to mention that having a naked man in his shop, regardless of the identity of said man, is not going to go down well with his husband Crowley. But I’m getting ahead of myself.

Quick point to reiterate what I was saying about Nina earlier on.

I mean, this just feels downright rude to me. It’s not the deliberate attempt to keep Maggie at a distance by insisting on referring to her as her coffee order, it’s the dismissive “I know who you are” (which is delivered immediately after the two of them seem to share a joke between them). Honestly, I feel like Maggie could do better for herself at this point. Anywho.

Moving swiftly through the tiny scene with Michael’s celestial telephone conversation, the next thing we see is Aziraphale being a lovely host to his new naked manfriend.

Ah lovely. Wait, what? Doesn’t Gabriel abhor the idea of consuming human food and drink?

 Yes, yes he does. So what initially appears to be a charming gesture of welcome from the principality is actually a beautifully subtle (and actually quite malicious, given Gabriel’s acute vulnerability here, what with the memory lost) “fuck you”. And all delivered with some helpful information about what it’s called and what to do with it. Just another little reminder that Aziraphale is very capable of indulging in some deliciously demonic characteristics when it suits him.

I’m really interested in how this whole memory loss thing actually functions – it’s clear that Gabriel has no idea who he is (he explicitly says so) and has no memory that drinking human drinks is something he doesn’t partake of. That said, he does seem to understand that “drinking” is something he’s never done before, and that hot chocolate is something he hasn’t experienced (see the cautious sniff he gives the mug). To make things all the more confusing, he also seems to understand certain social cues – he knows that Aziraphale recognised him when he arrived at the bookshop. That latter point is somewhat ironic, given his previous lack of knowledge around human social conventions.

And let’s not forget that change in eye colour (which reverts in later scenes where he actually manages to access some of his old memories, despite him not “opening” the fly). What exactly is it that has been extracted from his being and stored in the fly? Because it sure doesn’t feel like “his memories” really covers all the bases. I don’t think it’s that important, it’s just something I wonder about.

Alright it’s time to talk about a moment that has already been discussed A LOT:

GABRIEL: You know what it’s like when you don’t know anything at all and that you’re totally certain that everything would be better if you were just near one particular person?

Other than adding to my wondering about what exactly Gabriel has had extracted into the fly (seeing as this is how he is describing his instincts to go to Aziraphale), his side of the conversation here is fairly obvious. What we’re all more interested in is Aziraphale’s reactions to the question, more specifically his facial expressions because the King of Micro-Expressions is about to put his superpower to work. But first a warm-up. Have a look at this look of disbelief (not to mention the start of a tiny headshake “no”) at the first half of the question:

My take on the subtext going on here is something along the lines of “well, no, I really don’t know what that’s like. I’m far too intelligent and clever for that to be the case. What a ludicrous suggestion”. And I have come to that conclusion because that is exactly what I would be thinking in that situation :D Let’s move on to the second part of Gabriel’s question and move into micro-expression time!

What’s that Aziraphale? You know exactly what he’s talking about now? Your tiny head nod “yes” has somewhat given the game away on that one. I’ve slowed that GIF down massively so you can see it, and if you’re still in any doubt, just watch the lock of hair in the middle of his forehead when that scene plays at full speed – it’s undeniable. And if you thought that micro-expression was tiny, let’s have a look at the next one.

That GIF is slowed down to a tenth of the original speed. Which means the original expression flies across his face for less than a third of a second. I don’t have the words to express how impressed I am at this. That third of a second tells us that not only does Aziraphale know exactly how this feels, but that it’s a happy place for him to be. That tiny smile, combined with the accompanying script, tells us more about what he feels for Crowley than an entire season could.

This extreme reaction has me interested. I think the reason behind it could be one of two things; the first possibility is that Aziraphale thinks he’s being tricked into leaking some pretty revealing information. Feasible, but given that Gabriel’s memory is well and truly absent, this seems unlikely. My second thought is that he’s concerned that Gabriel feeling that way towards him indicates some sort of arrangement that he does not want to commit to. This feels truer to me, not least because he goes out of his way to distance himself from the subject matter, in both verbal and physical ways. There’s a feeling that he wants to vehemently discourage any exploration of what Gabriel’s feelings towards him could be, and what the consequences are. And, to be fair to him, he only has his own feelings to base that assumption off of; after all, if Gabriel feels about him the way that he feels about Crowley this mystery person that makes everything alright, there are certain human conventions about where Gabriel might be expecting things to be headed. And this is some classic Aziraphale flustering, isn’t it? Get into an uncomfortable situation, it’s time to make exaggerated physical gestures (not to mention unnecessary mouth movements) to try and dispel the tension. Those little sub-conscious giveaways will become very important later. But I’m getting ahead of myself again.

In this particular situation, he undoes his flustering hard work with a dreadful little nervous smile.

Honestly, this angel is totally incapable of not wearing his heart on his sleeve. It’s a good job that Gabriel is both clueless and harmless at this point. Let’s have a look at one last micro-expression before I get out of the weeds.

What… what is this? Because the thing I feel like it looks like the most is disappointment – the shallow intake of breath, downcast eyes, THE GULP… All topped off with the expression at the end, which we’ve seen before:

One major difference – the last time we saw it, he had reason to be disappointed, having mistakenly believed that angelCrowley was calling him gorgeous. I can’t understand what Aziraphale would have to be disappointed about here, unless it’s an ego thing. Perhaps I’m misinterpreting the whole reaction to being told the only reason Gabriel said what he did was actually more to do with the bookshop than the person in it is because he feels like he’s just dodged a bullet (pun totally intended), but that just doesn’t sit well with me.

I think I’ve droned on about this tiny section of this episode for far too long already (I knew this season was going to be something of a mission!), but I do want to touch briefly on the way that Gabriel reacts to drinking his cocoa. Aside from this being a really charming representation of the experience of drinking a hot, sweet cup of hot chocolate, what Gabriel’s reaction re-enforces the idea that these are sensations he’s never experienced before, which circles me back around to that whole logistics of memory wiping thing again. Don’t get me wrong, I love this version of Gabriel – there’s a childlike innocence about him that’s probably closer to humanity’s version of innocence than Heaven’s version, and the resulting comedy is gold – I just struggle with the specifics of this particular story-telling device. That said, we do get to see (and mostly hear) Aziraphale go into complete panic mode just because Gabriel has never experienced hot liquid arriving in his tummy before.

A Clue for the eventual end of season 3 or terrible ironic foreshadowing for the end of season 2? Probably 50/50 to be honest. Or at least I really hope so.

Oh, one last thing, and this one I didn’t catch until this write up. When we see the box on the doorstep of the bookshop (how adorable is it that Gabriel says his arms were getting tired from carrying an empty box by the way?), the fly is not in the box. You read that right, the FLY IS NOT IN THE BOX. This one was difficult to catch – I tried to GIF it, but it wasn’t clear enough, so a couple of images will have to do, and you can go back and watch it with the tip of your nose an inch from the screen like I did.

It is SUPER hard to see. It might look like the change in position is to do with the change in camera angle, but not so – the fly actually walks across the top of the box, and right at the end, disappears into the tiny gap were the flaps of the box meet. So to recap, not in the box whilst it sits on the doorstep (was it ever in there?) but definitely in the box when Aziraphale picks it up and takes it in inside. Again, this is one of those things that I don’t necessarily think is important, but it is a really lovely little Easter egg for the eagle eyed.

I definitely have rambled on too long for this section (how can this be part 3, and I’m not even half way through the episode yet?!), so I’m wrapping it up there. As always, questions, comments, discussions, always welcome. See you for the next one – I really will try not to be so ridiculously microscopic.

[vixnprince]

// I’ll be honest, I kinda wish I’d projected my apprehension around sex onto this oc. There’s something liberating about writing Sion as a bit of a hoe sometimes, but I’ve struggled to process my own feelings around being thirty and still too terrified and unable to connect with anyone enough to take the plunge that is having sex. Bc that’s something I’ve noticed about myself lately. I don’t think I ever will have sex, and that’s fine, but part of me is also kinda sad that I feel too self conscious and uncertain and insecure to trust anyone enough to share that kind of intimacy. I’ve been single for my entire adult life, and I think that’s had an effect on me, and I wanna explore that

[luc1ferian]

Hi I'm thinking about writing a h2g2 and gravity falls crossover fic. I saw your post awhile ago and I was wondering if you had any idea on how the two fords would interact.

Oooh this is a really good idea!

Hm, I haven't properly watched Gravity Falls in a while (I KNOW IM SORRY), but comparing their personalities from what i know they have a couple similarities and differences.

For first interactions I'm not entirely sure how or where, neither of them are naturally social but if someone were to start a conversation it would be Prefect, and once they realize they're both named Ford P. they'd hit off perfectly.

I think they'd love to go out for a small drink and talk about their outlooks on life, about space, their own traumas and relationships, about their research and studies with their respective books (Pines to the Journals, and Prefect to the Guide), and about their plans for future. This interaction could also be a lot funnier depending on the tone you wanted to take.

Ooooh they could also rant about their annoying family members (Zaphod and Stan)

They would also engage in an epic game of Dungeons & More Dungeons no doubt

[icewindandboringhorror]

finally finished all of one character's entire quests/optional dialogue/questions/etc.... 100,000 words... .... aughhh

[bloomingbluebell]

man... rhoam's "redemption" in aoc really sucked, huh?

like botw SHOWED us, several times, how much pressure rhoam put on zelda to unlock her powers, despite her telling him, several times, that it wasn't working. he got angry and banned her from doing not only something she saw as useful, but something that she was clearly very interested in and passionate about because she "wasn't dedicating enough time to her prayers." yes, his diary expresses regret for it, but at the end of the day, if zelda saw that it wouldn't mean much to her. the actions rhoam took, and the way zelda grew up under so much pressure that she nearly died as a child in one of the springs (this is in urbosa's diary, iirc) mean so much more than his regrets and his intentions. it took him nearly 10 years to realize that he fucked up, and by that point it was too late. the calamity had returned, and rhoam had lost any chance he had at making things right with zelda.

meanwhile, in aoc, all that's there is some half-hearted scene in the temple of time that's supposed to make everything better? yes, aoc had a very different and arguably better outcome than the calamity that led to botw, but the damage was still done by rhoam. it's still the same hurts and abuse and trauma that he put his daughter through all because of the prophesized calamity.

[street-corner-felines]

Zero Day Director commentary - With actor Andre Keuck

[bijoumikhawal]

I'm thinking again about how much it annoys me when fics make Parmak a follower of the Oralian Way and Garak a scornful atheist when the material they draw on for that characterization portrays Garak as religious and as this being apart of his heritage- and connects Parmak to the Oralian Way in no way whatsoever. Aside from my general feelings about Hebitians and class in Cardassian society it makes my eye twitch because it almost feels like its implying they're like this because of their respective moralities and implying religious people are inherently good and kind and atheists are... whatever you want to call Garak... is pretty fucked.

[unproduciblesmackdown]

also marble hornets fun fact #92 like it's fun that for once the neurotypical agenda accidentally got a win: when in that s1 "interview" episode apparently there was no particular plan to have tim be a recurring character before a strong audience response of speculation that there must be something more going on with this guy because his fidgeting with a notebook all throughout the video was indication of Liar's Anxiety or whatever; in reality tim sutton was not making any acting choice (to serve then-nonexistent writing) but was spontaneously being someone often fidgeting with paper. then call that unfolding developments

[triglycercule]

guys i havent written since may (for killer's birthday) but stupid silly swapinverse has been on my mind for a little bit and i threw together this silly (he has a panic attack and throws up) little short draft 4 swapinverse horror!!

-

“hah… ah… oh god… no, no, nonono…”

he ran. sprinted through the forest like a frightened deer, his demeanor that of prey, although his previous actions aligned more of a predator. panting and shaking, his mind cycled through countless variations of how to react to what just happened, what he just did.

how should he react? how could he react? it was impossible to tell for him in the panicked state. and as the trees in snowdin slowly began to surround him (but weren't they always doing that?), paranoia couldn't run anymore. he was surrounded, he was blocked off, he couldn't escape. not from horrortale, not from snowdin, not from the dusty graveyard he had just left it, and not from the blood smeared across his mouth.

“no, i- what did, what did i do? paps, snowdin, even-undick, no, it-”

paranoia’s incoherent rambles brought his hands to wander across his face, tugging at the massive hole in his skull spanning majority of the left side of his head. picking at the chipped bone didn't help, it never did, but a nervous habit was unbreakable, and he was more than nervous in this moment. in fact, quite terrified. everything was terrifying. he was terrifying. and as the slightest hint of red blood touched his sleeve, the once red, now magenta eye quickly locked onto it, and he couldn't hold it back anymore.

“fuck- oh god, no, aliza-!”

falling to his knees, a disgustingly gorey mess of red, pink, and black spilled from his mouth. sounds of retching and hurling were all that filled the empty forest, and paranoia couldn't bear to look down and see the mess he’d made. the mess he’s caused. wasted food, he would've said. but that statement normally only applied to others. he never imagined using it on himself. choking on his spit and certainly not his blood, tears fell from his eye, joining the vomit and blood seeping into the snow. strange. paranoia didn't think he had enough magic to even shed tears anymore. just for the bare necessities. he managed to surprise even himself, after all this time.

but could it be could be considered surprise, or rather terror? he fit up to his name, certainly horrified at his own actions. forcing out as much of the grossness he could that he’d just consumed, paranoia couldn't help but look down at what he’d done.

red. a lot of red. too much red. he’d never been queasy before, never. he had to adapt to it, being the one to hunt down humans that ran or sneak up on those when times got desperate. there was no time or need to be queasy at what he even considered his job before. a duty he had to do.

but now, there was too much red. far too much red. and he didn't know why, although he totally knew, but paranoia couldn't stomach it. he just threw his guts out (shouldn't they be aliza’s guts, or no?), and here he was, wanting to throw up until his SOUL shattered. his SOUL cycled through those strange 4 shapes, unsure of which to settle on. he couldn't blame it. paranoia himself was unsure of what was even going on anymore. he wanted to run, but was frozen. he wanted to scream, but didn't know who at.

everything was contradicting. everything was going on, and not enough was given for paranoia to understand how to deal with it. and with a muttered curse, he flopped on his side onto the somehow dry snow, losing consciousness in the haze of fear now intermingled with his SOUL.

-

ik theres probably grammar mistakes i wrote this on my phone,,,, but like idk. had idea for a little moment in paranoia's lore and i sure as hell didn't wanna draw it so i wrote it as an easier media! god this is so much easier compared to drawing idk why i dont do this more often (because youre lazy silly!) anyways swapinverse silly i love swapinverse. i've only thrown up like never so i dont know if this works. also never had a panic attack (i think) and AGAIN i dont know if this is accurate but whatever i dont write to be good i write for expressing my ideas. like everything i do

[themyscirah]

Started thinking about the Amanda Waller + Ben Turner relationship again.... fuck, I'm gonna need a minute

[lasarcasticpanda]

while the whole hospital scene is an example of the joel that everyone has been wary of, it's also a joel that hasn't been seen in 20 years. like, the whole episode is.

this joel is joking and gentle and attentive to try and cheer up his daughter. he's worried and fumbling a little in the excusion but diving headfirst in trying to comfort her and show how much she means to him and asking her to allow him to help her find/be a reason to keep fighting to be here. just like she is for him.

and then people in uniform with guns threaten her (again) and he has this moment of helplessness (again). only. only.

this time, it's not an immediate death. he has time this go around to actually do something.

and he does it without a second thought. in the aftermath of the opening of this reprise, he becomes the one man army he couldn't be for sarah. yeah the hospital is the joel everyone has been wary of, but its that joel with the purpose of joel-from-before and god help any motherfuckers who get in his way.

in the game, when marlene and joel are talking, she tells him: "this isn't about you, or even her - there is no other choice here."

she was right. there was no other choice, never was, not for joel.

[lettersiarrange]

Since I just checked my ask box for the first time in a hot minute:

Just a note that tumblr doesn't tell me when I have new asks or messages and I rarely check my notifications. Helpful corrections of misinformation/any messages in good faith are appreciated (though it's possible I won't see them until weeks later, sorry), but if something I reblog angers you enough you feel the need to get hostile in my askbox on anon, I reccomend the unfollow button.

I'm also not comfortable posting asks asking for any sort of donations/directing people to your blog for donation purposes, sorry :// I just don't have time to vet asks like that

[theghostofashton]

.

[vadlings]

Represention of Autistic Frustration in Laios Dungeon Meshi

Like many other autistic people, I related strongly to Laios Touden while reading Dungeon Meshi. This post isn't going to spend time disputing whether he displays autistic traits or not—while I could do that, I want to focus on why specifically his portrayal struck a chord with me in a way the writing of most other autistic-coded characters has not.

Disclaimer: as the above suggests, this post is strongly informed by my own experiences as an autistic person, as well as the experiences of my neurodivergent friends with whom I have spoken about this subject. I want to clarify that in no way am I asserting my personal experience to be some Universal Autistic Experience. This post is about why Laios' character feels distinct and significant to me in regard to autistic representation, and while I'm at it, I do feel that I have interesting things to say about autistic representation in media generally. This also got a bit long, so I'm sticking it under a read more. Spoilers for up to the end of chapter 88 below.

The thing that stands out most to me in regard to Laios' characterisation is the open anger he displays when someone points out his inability to read other people. This comes up prominently in his interactions with "Shuro" (Toshiro Nakamoto):

The frustration pictured above (Laios continuing to physically tussle with Toshiro, using crude language toward him) becomes even more notable when you remember that this is Laios, who, outside of these interactions, is not easily fazed and often exists as a lighthearted contrast to the rest of the cast. Then we get to Laios' nightmare.

In Falin's words: "Nightmares love emotional wounds. Wounds you hold in your heart. Things that give you stress, or things that were traumatic for you. They aggravate memories like that and cause the dreamer to have terrible dreams." (chapter 42, page 10.) (damn. i'm properly citing for this post and everything.)

Thus, Laios' nightmare establishes an important fact: even if he is unable to recognise social blunders while he's making them, he's at least subconsciously aware that other people operate on a different wavelength to him, and that he's an outsider in many of his social circles (both past and present). His dream-father's disparaging words stress the impact this has had upon his ability to live up to the expectations set out for him, and we also get a panel of kids who smirk at him (presumably former bullies to some degree). Toshiro's appearance only hammers home how much Laios is still both humiliated and angered by his misunderstanding of their relationship.

I've thought a lot about anger as concomitant to the autistic experience. When autistic representation portrays ostracization, it's generally from an angle of the autistic character being upset at how conforming to neurotypical norms doesn't come easily to them; as a result, they express a desire to 'get better' at meeting neurotypical standards, a desire to become more 'normal' (whether the writing implies this is a good thing or not). In contrast, not once does Laios go, "I need to perform better in my social interactions, and try to care less about monsters, because that's what other people find weird." His frustration is directed outward rather than inward, and as a result, it's the people around him who are framed as nonsensical.

The Winged Lion starts delineating Laios' anger, and Laios' reaction is to think to himself, "It can sense all my thoughts, huh?" (chapter 88, page 16.) This is the scene that really resonated with me. I'm not saying I have never felt the desire to conform to neurotypical norms that is borne from insecurity, but primarily, I know that I don't want to work toward becoming 'normal'—I don't want to change myself for people who follow rules I find nonsensical. It's the difference between, "Oh god, why can't I get it," and, "WHY CAN'T YOU GET IT?" (phrasing here courtesy of my friend Miles @dogwoodbite). And for me personally, Dungeon Meshi is the first time I've seen this frustration and the resultant voluntary isolation from other people portrayed in media so candidly. Laios' anger is not downplayed or written to be easily palatable, either.

The culmination of Laios' frustrations in this scene wherein we learn that Laios has fantasised about "a pack of monsters attacking a village" drives home just how alienated he really feels. I need not go into his wish to become a monster himself, redolent of how many autistic people identify/have identified with non-humans to some degree as a result of a percieved disconnect from society (when I was younger, I wanted to be a robot. I still kind of do.)

Obviously, wishing death upon other people is a weighty thing, but the unfiltered nature of this page is what deeply resonated with me. The Winged Lion is laying Laios' deepest and most transgressive desires bare, and they are desires that are a product of lifelong ostracization by others (whether intentional or unintentional). This is the brand of anger I'm familiar with, and that my neurodivergent friends express being familiar with, but that I haven't seen portrayed in writing so explicitly before—in fact, it surprised me because most well-meaning autistic representation I've experienced veers toward infantilisation in trying make the autistic character's struggles easy for neurotypicals to sympathise with.

Let's also not neglect the symbolism inherent to Laios' daydream. "A pack of monsters attacking a village". Functionally, monsters are Laios' special interest—he percieves everything first and foremost through his passion for monsters. His daydream of monsters attacking—killing—humans, is fundamentally a daydream of the world he understands (monsters) overthrowing the world that is so illogical to him, that has repeatedly shunned him (other people). I joked to my friends that it's an autistic power fantasy, and it actually sort of is. And in it, his identity is aligned with that of the monsters, while his anger manifests in a palpable dissociation from the rest of humanity. This is one manga page. It's brief. It's also very, very raw to me. I think about it often.

To conclude, I love Laios Dungeon Meshi. This portrayal of open frustration in an autistic character meant a lot to me, and I hope I've sufficiently outlined why. Also, feel free to recommend media with autistic representation in the notes if you've read this far—I would really like to see if there is more of this nature. Thank you for reading. I'm very tired and should probably sleep now.

[unproduciblesmackdown]

one in a million when i watch smthing in the horror genre and don't end up disappointed to/and/or pissed off about it so like "also yeah i liked it. ooo" is like relative to that an off the charts rave review of media of the millennium. also i did think about mh a lot along the way so would recommend its affect/effect if you like mh's horror too