#My mother is... something else

[dunbarreviews]

Do you have a good relationship with your family unlike your game counterpart? /genq

Honestly? My relationship with my family is quite terrible, I must say.

I wasn't close with my mother, but we used to get along. That was, until I found these... paintings she'd make of myself and my sister, sometimes together. After that, my main focus was just to get out of there. The second I was out of school, I ran off to live with my girlfriend's (at the time) family. Until I went to college for a bit.

I vaguely remember being close to my father as a kid, but he was out of the picture some time after my sister was born.

And I wouldn't say I'm close with my sister but I do try to call her from time to time. Sometimes, I help her out when she needs it, but that's about it.

We used to be close as kids, not really sure what made us drift apart...

[autisticrosewilson]

Anyway if you guys get pissy at Jason for being a drug dealer in utrh, I know you have no genuine working knowledge of addiction and I think you should die and I am not joking.

People die from quitting cold turkey. Lots of addicts are self medicating because the healthcare system has failed them. Stopping the drug trade completely would be not only completely ineffectual (Jason's entire philosophy is that crime can't be ended only controlled and he is completely right) but it would also cause so many more problems than it would fix. Especially because in a place like Gotham there is little to no support for these people, except maybe Leslie's clinic, which is already understaffed and overfilled and is still only a hospital. It's not a rehab, and it's not a pharmacy. They can't give you prescriptions for free, especially painkillers, stimulants, and antidepressants.

Please take 10 seconds to actually think about the issues you're talking about before you post an incorrect quotes or "gotcha!" Where you say that Jason actually doesn't care about his community and is just as bad as Black Mask or whatever because *checks notes* he's realistic about crime reduction.

[lgbtlunaverse]

So I've said multipe times now (here and here) that thinking nmj is just so blinded by privilege he doesn't undertand that acting out of line gets people killed is, in my opinion, a misunderstanding of his character that ignores the part where he's, you know, actively dying the whole time and thinks that's a good thing. But that doesn't mean I don't think privilege plays no role at all in how he views the world.

Specifically, his view that death (at least premature or violent death) means something.

Death isn't always a tragedy to NMJ, but it is always meaningful. If you kill an evil dangerous person for your righteous cause, that death had meaning. There was evil in the world and now there is less of it. Similarly, if you die in the pursuit of your righteous cause, that death has meaning, because the sheer dedication you gave to it that you were willing to die for it will further that cause, and your bretheren will be invigorated by your sacrifice to fight even harder.

If a death isn't meaningful, that's an injustice and it is up to the living to give it meaning. That's what cuts so deep about his father's murder. There were no consequences, no changes, no meaning. Wen Ruohan was just going to get away with it! He fights and wins an entire war to make it mean something, to make it so that the unjust murder of Nie Mingjue's father is part of Wen Ruohan's downfall.

But this is a view he can only hold because he's the kind of person who's death will be meaningful. Most ordinary people's deaths are meaningless. Not ontologically, not inherently, but they are made meaningless because no one cares. For death to be meaningful you either have to be so powerful that anything you risk your life for will be impacted in some way. (Like, say, if you sacrifice a long life for immense martial power in a faustian bargain with a blade) Or if people with that kind of power care enough about you to do so for you. For most people, this isn't true. A starving street kid has no power to change the unfair world that put them there, even if they risk their life trying, and no one will do it for them once they die.

Nie Mingjue knows this in abstract, and of course rightfully believes it's wrong. But all that does is make it yet another righteous cause people should be willing to die for. Everyone's deaths should mean something, we'll make it so or die trying!

This is what the conflict between nieyao is about at its core. Because Jin Guangyao, fundamentally, cannot conceive of his own death as meaningful. Nie Mingjue grew up around powerful men who could change the world but refuse to do so because god forbid they risk a single hair on their perfect heads. Meng Yao, on the other hand, grew up in an environment where no one of importance would blink twice if you died. He was surrounded by meaningless death. Indeed his entire early life is defined by that lack of care.

Meng Shi dies and no one cares. Meng Yao gets thrown off a flight off stairs and no one cares. He has to be the one to do the caring, and once he's gone no one else will do it for him.

So he has to live.

Jin Guangyao eventually gets far enough that he actually does aquire the power to change some things... as long as he's alive. If he changes too much, holds on too tightly to his ideals, he'll die and it'll all be for nothing. He can't sacrifice himself for his goals because doing so would immediately render those goals unobtainable. No one will care about what he tried to do. He won't be a heroic sacrifice, he'll just be trash that finally cleaned itself up.

And well... Nie Mingjue dies, and someone makes it mean something. Makes it mean so much that the entire story of mdzs would not exist without it. Jin Guangyao dies and it doesn't mean anything. Most people are glad to be rid of him, and the few that are not don't do anything to change that.

[spacesheeeeeep]

Actually so tired that people mainly focus on the bdsm when they talk about La Pianiste when we literally have this dynamic right here. Like, that's insane.

What if you were a little girl in her 40's who couldn't grow up because of your mother-wife who made you sleep in her bed and forced you to repress every sexual desires and thoughts of becoming your own person just to keep you close to her ? What if you fought back and yearned for dangerous things out of her reach ? But also, what if you let her because it's all you've ever known and been taught to want ?

[jevilowo]

I love dates in the tf2 lore. I love knowing exactly when stuff happened. Which makes THIS THING I JUST FOUND a BEAUTIFUL MIRACLE

You've seen this image before, but have you noticed the dates on the prison card thingies? Presumably this is written the American Way (the writers are so american they make Scout and Sniper both call their mothers "mom" despite preferring "ma" and "mum" respectively, as shown previously SEVERal times), so Spy and Scout were arrested on

The 7th of September, 1972.

We can do a lot with this information.

Mann Co was taken over by Grey and Olivia half a month before this: roughly the 23rd of August

Contrary to popular belief, most of the comics have to take place in 1973! Seeing as 6 months after late August is late February.

This also means Scout had to have been born in 1946/7. Not sure about Sniper, I have yet to overanalyse the New Zealand timeline paragraph. I'll get to it eventually.

Medic implies in comic 6 that our mercs have worked together for "at least eight years", while talking about the lore breaking Demo eyeball halloween thing. Assuming the "at least" confusion is over the 1972 Halloween they missed while not working together, the Teufort Nine were hired in 1964.

(I've almost mentally rationalised the lore breaking eyeball as a thing they do at like 4am after regular Scream Fortress shenanigans. Almost.)

Scout claims he has known Ms Pauling for six years. During the War! update, Demoman is unfamiliar with Ms Pauling (he knows she works for the administrator, but thats it), so we can assume that is the point she started working more closely with the mercs, and also 1966/7

I really need to go back to actively working on my timeline instead of passively wondering at 11pm "hey what time of year is it in the comics" and going down a rabbit hole.

Uh if you want to build off this, feel free to, but tell society twas I, the great and nobel Jevil_Owo, who first conceptualised all this.

UPDATE! This post seems to be picking up reblog steam again, so now is a good time to say I was WRONG about the mercs being hired around 1964.

This blog post from 2009 claims the WAR update took place in 1962, meaning the mercs have to have been hired in early 1962 at the latest.

Seeing as Scout would have been 15/16 in 1962, and as that's kind of the youngest one can be hired for just about anything, I'd assume it actually is 1962 they were hired. Ok thats enough I just felt it was my duty as Person Timelining to update people on this Discovery.

SECOND UPDATE!!

Okay this is lowkey blowing up again and I just wanted to add that Valve themselves are not aware of the comics taking place in 1973. Idiots! This is why "7 years later" is 1979 instead of 1980 like it should be. Sigh.

I had already figured that out from a few other things (see the timeline in my pinned post, I point it out a couple of times), but this solidified it lmao.

[coquelicoq]

it's about...longevity? stability? it's about natsume believing he'll be somewhere long enough to plant flowers and see them bloom. it's about him taking touko seriously when she asks him to tell her what flowers he wants to plant. it's about making something with his own hands, building a future with the fujiwaras. it's about him repairing a rundown home for someone else, restoring it because it's beloved to them, because it's the home of someone they love. it's about him seeing touko's joy and thinking about the youkai saying we'd like to look upon her happy face forever. it's about the box garden making him think of the fujiwaras' garden and his parents' garden, about the flowers being both the memory of flowers that bloomed there before, and the flowers that he and the youkai planted earlier that day. it's about him waking up in both worlds with sensei. it's about touko finding the petal in his hair. it's about him feeling how he falls short and the youkai saying, but you have such gentle hands...

[gingermintpepper]

For the longest time, the quintessential song describing Apollo's wrath and consequent murder of Coronis for me was Marah in the Mainsail's 'Your Work isn't Done'.

It's dark. It's seething. Its image of Fate pushing the scorned speaker to complete his foul, terrible work of killing the man who stole his lover away from him is particularly powerful and it's always evoked this gruesomely tragic evolution of a glassy eyed Apollo stumbling through the streets, weak-legged and trembling from the betrayal growning more and more wrathful 'til he can think of no other course than to aim his bow and shoot. The price of betraying his trust is death and Coronis betrayed so much more than just his trust by taking Ischys as her lover.

The song itself captures that sensation of building wrath so well too. From the lonely guitar and vocals at the beginning which evoke this lonely, stripped back but distant grief to the way the singer is practically screaming his refrain of "Your work here isn't done" by the end, accompanied by the full blasting of instruments and an omnious chorus at his side, everything about this song is centered around building stakes, building realisations, building tensions and it creates this feeling of the speaker growing closer and closer with each new verse and chorus that adds to his anger.

There's also the absolute treasure trove of lyrics that work so well for specifically this tale. A brief overview of some of my favourites include;

- There's a crow overhead singing "Oh, Death is my friend."

- And though you think your time has come, the wheels of Fate have spun. Death has declared your work here isn't done.

- There's a girl on my heart safe ashore in her lover's arms

There's just such a vivid image to be drawn here - of Apollo's emotions being swallowed by his rage, of his resolve to end everything the more he bears witness to Coronis' brazen affair. There's even a strong female voice in the first two verses which seem to egg the speaker on in his spiral - a perfect opening to include Artemis who wishes for her brother to hunt that which brought him such pain alongside her. An Artemis who reinforces just what Coronis has done, an Artemis who does not want her brother to repress his anger after such grave an insult just because love was once there.

To me, it was perfect. Apollo's killing of Coronis was a crime of passion, an execution he sometimes cannot even bring himself to commit according to who is telling the tale. It's a wretched situation, harrowing, suffocating and cruel but if not by Apollo's hands, Coronis would simply die by another's. She cannot live after what she has done. The gods simply would not allow it.

AND THEN MY BIAS WAS COMPLETELY WRECKED BY LORD HURON.

Now, let it be known, I am a huge Lord Huron fan. Strange Trails is perhaps the most Apollo-coded album I've ever heard and songs like Yawning Grave and The Balancer's Eye capture such a visceral, gorgeous portrait of cosmic grief and anger that they haven't really left my brain since I first listened to them. Still, 'Setting Sun' from their Lonesome Dream album completely flew under my radar. Maybe it's because the commercial version is so much snappier than the Alive from Whispering Pines recording, maybe it's because I just hadn't listened to Lord Huron's discography in a while but my god. My god.

This song has it all; a quiet menace in its music, a strong male singer who sounds only barely restrained, an absolute HOST of lyrics that are so wonderfully perfect for the scenario -- after getting over how wonderful the song itself is, I immediately dethroned Your Work isn't Done because ultimately, 'Setting Sun' has something in abundance that 'Your Work isn't Done' minimised in order to focus on the wrath driving the song forward.

And that's love.

Setting Sun is so powerful because it's not just a revenge ballad - it's a dirge, a breakup song, a lament, a regret manifesto. So many times during the song, the speaker wonders when his lover stopped loving him. He recounts intimate moments and wonders if his lover was thinking of the other man when she was enjoying herself, wonders if anything she'd said was even real. And I love that so, so much.

Ultimately, Apollo adored Coronis. As inevitable as her death was, he regretted every second of it. No matter how angry, no matter how betrayed, no matter how intensely he was shamed, he still loved her. He weeps for her when she dies, he screams and grieves and cries when he's faced with her corpse. In some tales, no matter the cocktail of emotion driving him, he simply cannot bring himself to kill her. He'd rather cry in Artemis' arms and take his anger out on his own servant than hurt her. His own father has to dispatch Ischys since Apollo can't even bring himself to hurt that which Coronis once loved. Of course, in this case, Apollo's going to kill someone but the point is, it's not a decision of pure anger so much as its this complicated, horrible mix of resolve and lost love.

And my god does Setting Sun capture this conflict, passion, grief and love so well. UGH, I'm vibrating just thinking about it -- there are so many points where I hear its lyrics and can vividly picture Apollo, jaw clenched looking Coronis in her eyes and quietly confronting her.

Coronis, returning home at twilight after spending the day with Ischys to Apollo stringing his bow, "Oh? Is he ready to die for you baby? No, but you know I would."

Coronis lying to him about who she's spent her time with and Apollo's soft, near pained, "Does it hurt when you lie to me? If you asked, I would set you free."

I even really love the image of a Coronis who runs away from Apollo upon realising what will soon happen, not to escape his arrows but to warn Ischys who does not know what will happen. Of Apollo getting into his stance, taking aim at them and gathering his strength as the final refrains rings out "I know I'll never reclaim your love and that's as hard as it gets, so I'll be taking a life when the sun sets."

Other favourite lines of mine include;

- Oh, is he ready to die for you baby, now that the deed is done?

- Tell me when did I lose your love? Was it him you were thinking of?

- And I could never betray your love, you had me heart and soul. You might never have known it girl, but I was all yours.

And ultimately, I just like this conflicted portrait of premeditated murder much more than the crime of passion 'Your Work isn't Done' paints. Crimes of passion - especially when Apollo is concerned - are tragic in their own right, but in Coronis' case, I think I prefer it so much more when there's no way for Apollo's action to be misconstrued for anything other than what it is, especially since he goes on to cut Asclepius from his mother's corpse then carry on with building her funeral pyre. I think there's something so much more impacting about Apollo being unable to hide away from Coronis' blood on his hands and him having to raise Asclepius with those selfsame hands.

Love of the mortal does not supercede the responsibility of the divine. If Coronis' sentence no matter what is death, who better to lead her gently to the knife than he who still loves her?

[strawberrysundi]

Fun little subtle detail I never noticed before!

So, MOTHER 3 actually has a couple different voice blips for dialogue. There's 5 in total, and the thing I'm looking at distinguishes them as Young Boy, Young Girl, Man, Woman, and Non-human. Idk if those are what they're referred to internally, but presumably that's how they're more-or-less distributed throughout the game (I wouldn't read into the names too much, the Magi apparently use the Man blip for example, so they're not objective in any case).

Anyway, what's fun is how they use these with Porky!

So, for most of his dialogue, Porky uses the "Boy" blip. He uses this whenever he taunts you over the intercom in the Empire Porky Building, the fake Porky you meet before fighting all the Mecha-Porkies uses it, all the way up to "I'm the most clever, most charming, and most trouble-making boy ever..."

But in his next lines after the shot pans up to the mass of machinery in the roof ("I welcome you once again"), his dialogue suddenly shifts into the "Man" blip.

And finally, once he's fully revealed, the rest of his monologue is accompanied by the "Non-human" voice blip.

It's pretty easy to catch if you're looking out for it (especially when he starts speaking with the Non-human blip, that one's really distinctive), and I think it's a really neat detail!

(Oddly enough, he actually switches back to the Man blip after this, during his battle and the cutscene leading up to it.)

So yeah, that's a pretty cool way to build up to the big twist with him, I think it's really clever ^^

[chio-chan2]

An alternative perryshmirtz version of Tangled...

I just love the thought of them singing "I see the light" 🥺

Maybe instead of magical hair, Heinz has magical hands or something (lol yeah I picture Heinz being Rapunzel and Perry would be Eugene)

[faaun]

what draws you back to your country what draws you back to your land when i was a kid i told myself if i ever left iran i'd never go back 2 years into living in the UK i started looking at news on iran again 10 years in and i visited it for the first time again and today i heard an iranian mother talk in farsi to her child on the train to london the way my mother used to and i wanted to cry i wanted to ask her whether they're still cutting the mountaintops whether the lakes are still drying today i showed the person i was with pictures of waterfalls and palaces and forests and snow-white north something odd pulls me back with increasing force i can't ignore it ever again

[finleycannotdraw]

can anyone hear me

[ahamkara-apologist]

okay disclaimer: ik that categorizing female characters as the 'mom friend/figure' is a legit disease in fandom caused by general misogynistic views of female characters, and it's something that personally greatly irritates me bc its not only awful to do, it also tends to ruin the characters its put upon. ESPECIALLY in D2, which is outstanding in its cast of strong female characters

however. in the case of Eramis, I do believe that the fact that she was a mother and is a genuinely caring, nurturing person at heart is something that is a deeply important core part of her character, as well as thematically important to the future of the Eliskni moving forward. It's important because in her case, I believe that her motherly inclinations are why, pre-Witness-whispering-through-the-Darkness, Eramis was such a successful kell- because unlike some other kells who sought a future for the Eliksni via domination, her main focus for them was to create a haven for her people that could be defended from Lightbearers. Riis-Reborn wasn't something to sniff at- it was the closest thing to an actual Eliksni city in a very long while. What got her was her trauma of the Whirlwind and her desire to destroy the Traveler to level the playing field for everyone involved- trauma that the Witness preyed upon in order to get to us. Like a parasite, seeking its secondary host. Eramis certainly is not the only Eliksni who lost her family during the Whirlwind, but I think that her specific brand of anger is closest to that of a mother lion whose cubs are in danger, and is lashing out in a furious fight-or-flight reflex at anything that she perceives as a threat. It's just that in this case, her 'cubs' were the Eliksni as a whole, and the threat she perceived before the Witness started torturing her was the Traveler.

I also think that her relationship with parenthood also makes for a very interesting character contrast to Misraaks (aka the other successful kell viewed as a source of hope for the Eliksni), and helps to set them up as antiparallels to each other. Eramis was a gentle, nurturing mother with a reverence for the Traveler who turned into the bitter, cunning warrior we see now when she lost access to her wife and children; Misraaks was a fearsome, ruthless pirate before he became a father, which gentled him and turned him towards being more pious. Eramis represents the old ways, and offers hope to the Eliksni who cannot bear to cohabitate with humanity; Misraaks represents a change in the tide, and kells the open-minded Eliksni who are willing to lay down their arms to live among the humans of Sol. Misraaks is of Light (change, forgiveness, moving forward), while Eramis is of Darkness (memory, control, looking back). They're opposites in every way except for the fact that both of them were/are amazing parents, and I'd argue that their ability to nurture and overlook others is what led to their success as kells.

Most importantly, however, is their relationship to Eido, who represents the future of the Eliksni. Misraaks was her father, and he did his best to raise her to be kind and openminded, but he also shielded her from the horrors of the past a little too well. She's outgrown that, and now that she's strong enough to handle said horrors, Eramis has been acting as a mentor to fully introduce her to the tragedy of what she lost and why elder Eliksni are so angry about it- and I don't think that she would have been receptive to Eido attempting to talk to her if it weren't for the fact that under all of her prickly armour, she's still that nurturing person at heart. It's her desire to care for others and to see a better future for her people that has kept her going despite her having no hope for herself, and it's that loving heart that has saved herself and her people from utter destruction at both our hands and Fikrul's- because if she didn't look at eido and go 'oh this child is the future of our people and i must protect her with my life', then both her and the rest of House Salvation would have been marked for death. And now here she is, continuing to care for Eido even as her father declines by telling her stories about Riis and helping her track down an apothecary to try to cure him, despite her not believing in his ways. I don't think it's entirely because she used to be a mother, but...I do think that it's playing a huge role in it.

(I also think it's personally fascinating to see how someone who used to be known for being a doting, sweet mom to her hatchlings and a caring mate to her wife can turn into someone who's a terrifying warrior on the battlefield and a cunning, politically saavy ruler, but even then, that doesn't surprise me all that much- if you've got a dearth of experience wrangling hatchlings, then being kell of a house is basically just wrangling a bunch of grown-up hatchlings. Same principles, just upped a level or two in complexity.)

[galactic-rhea]

Wow you guys won't even let padmé take matters on her own death because it's too selfish because she's a mother and of course she needs to live only for the kids, how dare she die, wow the woman has kids and she's still too sad to keep going wowwowow

Her death could've been written better like almost everything in sw but i honestly think story-wise it works better than 'and then she spend the rest few years of her life depressed and sad in alderaan' it's anticlimatic and frankly that's even more of a disservice to her character, and frankly sadder because it prolongates her suffering but whatever that's not even my point! My point is that padmé chosing to die instead of 'chosing to go on bc she's a mum and all mums are like that' goes against this hyper idealized and flanderized idea of mothers's inmaculate self-sacrificed perfection that give everything for the kids, just let padmé be human goddamnit.

The amounts of stress she went through these last few months, then weeks, AND THEN DAYS?? You have an idea??? No, I actually hope none of us have an idea of that like damn, I just feel so bad for her, it was hell. Her husband choked her, while pregnant, after he murdered hundreds of people, in literal Hell Planet. And then gives birth, and we can assume it was a stress-induced birth because having been choked, and then she dies out of the extreme amount of sadness and loses the will to live, she dies at the exact moment 'anakin' completely dies and full-Vader surges and that actually is meant to show you how the survival of one was key for the other, but that's not motherly enough, that's not what a cool brave strong woman would do, that's not what tiktok-feminism is! Because it's stupid and weak!

The fact that after having to re-take over her own palace, after so many many many assesination attempts since age 14, a literal war, and having been force-choked by Anakin on a planet with toxic air, and giving natural birth, the thing that really killed her was her choice because her heart got broken is actually meaningful for the fairytale-like story, and people are just stuck on how dare she die while having kids, that's so selfish and cold and uncaring, she would be a terrible mother. Ahhhhhhhh, I'm going insane.

[idkwhatimdoingbutslay]

Caitlyn literally went to war for the cooch. Caitlyn LOST AN EYE FOR THE COOCH. She set the bar imo.

[ra-vio]

Its that time of the year again

[mabaris]

“men are always willing to believe two things about a woman: one, that she is weak, and two, that she finds him attractive.”

truly insane to have a character say this and then make them actually attracted to men in any capacity. btw.