#I am so not normal about her

[mixdoesstuff]

People have been obsessing over jimmy not dying first, which fair, but lizzies death is so tragic on so many layers. The way jimmy and joel are responsible for her final death, jimmy killing her directly causing her spiral into villainy, and joel being an omen to her deaths, giving her the mission that led to her going to the end and dying. The setting, where she tried to get everyone to join her in before the sleepover, how she says no one will hear or notice scotts death, only for the same to happen to her. How this season lizzie has been defined by her failing, failing her tasks, failing to get allies, failing to be remembered. How she was nust starting to succeed, getting the revenge she wanted only for her to fall. Falling and failing the final time, being forgotten, overshadowed by the curse being broken, for her killer living in exchange for her dying.

[gwinwe]

mad, stubborn, lovely girl (i am so normal about her)

[hazyla]

I was gonna draw more characters but got tired so here you go

someone wrote an ID!

[iliadeleart]

Eris from hades 2 save me, save me Eris from hades 2

[claremikas]

there truly will never be another character like her

[red-dead-disaster]

We should apprechiate how Rockstar constructed the missions and the narrative purposes they have (and my own thoughts (because this is my account and i'm telling you what to think))

Most missions in the game follow the format of "go to x, do y, get z" and most of them center around the gang because that's what the plot demands. Obviously.

The format doesn't really change because if it did this would be like an rpg and it'd be too happy. The ones involving Dutch or other members of the gang rarely change, you do as is told. You can only really control what guns you have and how quickly you go do them.

Towards the end of chapter 6, we start getting to make choices. Arthur thinks for himself, he can make choices on what he does.

But this isn't the first time there are canon significant missions where you can decide on what to do. There has been someone throughout the game who has always been a choice. Where the gang is always mandatory, it comes first.

No matter how stupid or wildly evil the mission is, Arthur does it because he has to. Saving Micah was never a choice, despite it having even in realistic numbers killed at least 5 people for the sake of Micah.

The side missions, however are not. Some play into the wider plot, but they don't really count in this case. These are random people you don't have an obligation to.

Yet when it comes to Mary, seeing her is not a choice but she always is. No matter how big the problem is, Arthur (within the narrative) has a choice between helping her or not. This something you don't see with anyone else, you don't get a choice in wheteher or not you help Dutch rob the cardinal or whatever he has decided to do.

I think this poses an interesting plot point too, it shows how things might always have been like this. It can also showcases how Arthur puts himself second when it comes to Dutch and the squad.

Their needs come first. I think something similar used to go on where he (and by extention Mary) always has their relationship off the priority list.

But despite all that, he can go help her out with some shit nobody seems to take seriously. When your little brother joins a suicide cult he's serious about and your dad is an abusive alcoholic things are pretty serious and she shouldn't be shamed for asking for help.

He does care for her despite what a lot of the fandom seems to headcanon.

I also think the mission structure was an interesting choice by rockstar because it shows that she is not forcing him into anything. He has a choice halfway through whether to fuck off or help.

He's really the one with the choices, or at least the reasonable and rational choices. John left the gang, he was accepted back.

Arthur seems to sense a lack of control in his own life and that he owes loyalty to a gang.

She does not. Leaving a shitty family can be done by marrying some guy or, well, that's pretty much it, isn't it? Doing something else would completely ruin most relationships she has. Marrying Arthur when he isn't changing is a really stupid idea. You can love someone but that doesn't mean you can't think their choices are shit.

Anyway, it could just be feelings to but i find it improbable.

Remember, you aren't doing it for idiot brother npc or asshole father npc, you're doing it for wife npc and her quality of life to remain... okayish relatively speaking because this is a relationship in the game that cowboy pc is supposed to care about enough to make the choice to help her.

i have a lot of thoughts on her but i'm scattering them around so come eat, chickens

[morganmnemonic]

I can't stop thinking about the relationship between Jon and Helen as perhaps one of the most important ones in the entire show. They are narrative parallels for each other, and they both know it. They've both known it from the very start!

Helen walks into the Archives, paranoid, unsure of who to trust, and Jon sees himself in her. And he thinks "If i can help her, maybe there's hope for me too." Then he can't save her. The next time they meet, she's a monster. They're both monsters. There was never any other way their stories could have gone, their fates entwined from the very start.

And Helen answers his original thought with one of her own: "Maybe if we can help each other, there's hope for us both." But Jon looks at her and sees everything that he fears becoming, and so he turns her away, and refuses to accept that their stories are still one and the same.

Helen went to the last person who was ever kind to her, the only person who both knew her as a human and had the context to understand what she'd become, and he hated her. He hated her because he liked Helen, and told her that she couldn't be Helen.

So she stopped trying to be Helen, and embraced being a monster. Reveled in it even. Then Jon wakes up from a six month coma, more monster than person, and tries so hard to cling to the things that mattered to him when he was human. Even with no support, even with the entire archives staff against him, he chooses humanity and compassion over and over again.

And this is a direct threat to Helen's world view. Their stories are entwined. If Jon can continue to be a person even after everything he's been through, then she could have clung to her humanity too, if only she'd tried a little harder. And that terrifies her! She wants to conceptualize herself as someone who was completely overwhelmed by forces beyond her control, who never had a choice but to become a monster. She want's to be an innocent victim. But Jon argues with his actions that they'd both had choices.

And, Jon, in turn, holds out hope that she might make better choices until the very end.

This is the conflict between them for all of season 4 and 5. Jon wants to prove that they can both be decent people, and Helen wants to prove that they were never going to be anything but monsters. This is why she's so devoted to trying to goad Jon into enjoying his newfound godhood. She knows that they are the same, and wants that to mean that he has a spark of evil inside of him, and not that she was always capable of doing good.

When Jon kills her, she loses her life, but wins the argument. Helen is nothing but a dangerous monster who needs to be killed for the good of everyone, and in the moment he decides that, Jon dooms himself to the same fate. Their stories are one and the same. "If i can help her, maybe there's hope for me too." he thought. But he couldn't help her, refused to, even, in the one moment when it actually mattered. And thus, there was never hope for him.

[thatrandomblogsays]

RIP Annabeth, I just know Percy sacrificing himself for you, after knowing you for a week, after telling you that you’ve done more for him this week than his father ever has, is permanently altering the brain chemistry of your avoidant attachment self

[taikk0]

pomnis room got me thinking thoughts

[from-the-stone-art]

There’s something like the anticipation of a kiss, then the pleasure of being cloaked in peace~

Bonus

[loe-does-stuff]

and so, the princess and the knight lived happily ever after.

[rosekasa]

i think what i adore about ladynoir beyond high school age (18 and over) is the opportunity it leaves for some of the most DELICIOUS best friends to lovers scenarios. because, like, two people who've been fighting side by side for years? who've known each other long enough to make jokes about it, haha remember when we were fourteen and you-- we AGREED to never speak of it!!!! who've spent so long learning each other inside out, even, in chat noir's case, getting over feelings, that the idea of anything romantic between them is so far off the radar that they don't feel the need for certain boundaries, because why would it matter if they made jokes about how attractive they find each other, about getting married, about how they could totally mess with the rest of the miracle team by pretending they're hooking up because it's so far out of the realm of possibility.

but then there would be that imperceptible shift. the moment where one of them makes a joke and it feels just a bit more loaded than it should. gazes lingering where they never lingered and playful smiles turning curious. the sudden awareness that, while maybe they were cuddling on a rooftop with their best friend, they were also wrapped up in the arms of someone they trust with their lives, and is extremely attractive, and, wait, if the only reason it was platonic before was because there were no feelings, what does THIS mean?

THE TENSION. THE PINING. THE INHERENT MESS OF BEING IN YOUR TWENTIES. PLEASEEEE

[y2dolle]

kuina is my BABE fr

[guiiay]

mercenary’s scar

[carnivalcarriondiscarded]

more of the dapper lad! i Cannot get him out of my brain

[poatop]

🪻Tali'Zorah Vas Normandy🪻