#THERE DOESN'T NEED TO BE A REASON

[revenantghost]

Every time I see someone baffled at the almost-entirely female cast of Signalis, and yet never see any questioning of the common almost-entirely-male casts of other games, I’m just like

[nerdpoe]

It's Dash's first time out of Amity Park, and he's just found another ghost! But like, one that's like Phantom! More solid and stuff!

He had to be smuggled out by his mom's sister twice removed, and he had to pack a lot of stuff. The entire time they were whispering about "going to ground" and "it's for his own good", but Dash was way too excited about leaving Amity Park to pay too much attention to that stuff.

The outside world is wild. Lots of people have powers like him, and the cops don't beat the shit out of them for it!

Okay well some do, but not like in Amity!

The internet is so much bigger and better than inside Amity, he has a rectangle with a screen that he can touch and it's a phone, there's this thing called tiktok, bluetooth is a thing that exists and that's wild, and...he's just really having a great time.

But!

During a...ghost attack? Maybe not a ghost, just some dude with powers and issues throwing a tantrum.

While that guy attacks the twice removed aunt Dash is with, a ghost hero like Phantom shows up!

He has to talk to this dude!

He waits until he's finishing up wiping the floor with the idiot to speak up, though. Super rude to interrupt a fight.

"Hey! Hey, there's more of you guys?! I thought Phantom was the only one!"

In a blink, the ghost-like-Phantom is floating in front of him, eyes weirdly intent.

"There's other Kryptonians?" he asks, sounding shocked.

"Is that what you're called? Yeah, Phantom; he's in Amity Park."

"I've never heard of that place."

"Well yeah, no one's allowed to leave."

"Superman," his twice removed aunt speaks up, tugging Dash until he's behind her. "Please. The entire town is being targeted by the government, and anyone who tries to report it ends up missing."

The hero, Superman (what a lame name), hesitates, and then nods.

"Alright, lets get you folks to safety. We'll sort out the rest later."

[sualne]

first meeting and now

[clown-owo]

🤨

bonus:

[uncanny-tranny]

The whole "breasts shouldn't be politicized because the primary purpose of breasts is to feed babies!" can be a fine jumping-off point, but I really wish people thought deeper than that when we talk about the ways in which bodies are politicized and restricted.

Like, why's it that when we talk about breasts, they must have some Higher Purpose? It's true that breasts aren't inherently sexual, but they aren't valuable solely because they can potentially feed a baby. A human body doesn't have to serve a Higher Purpose in order for it to not be legislated against or policed, and I just wish people would remember it isn't always about babies, about other people, about anything else other than the people who have that body.

[marikodraws]

equipping Akechi’s tie to fight Shido 👊🚢

[kaladinkholins]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[inkskinned]

one of the things that i think we should pay attention to, socially, about the disney v. desantis thing is that it is really highlighting the importance of remembering nuance.

in a purely neutral sense, if you engage in something problematic, that does not mean you are necessarily agreeing with what makes it problematic. and i am worried that we have become... so afraid of any form of nuance.

disney isn't my friend, they're a corporate monopoly that bastardized copyright laws for their own benefit, ruin the environment, and abuse their workers (... and many other things). this isn't a hypothetical for me - i grew up in florida. i also worked for the actual Walt Disney World; like, in the parks. i am keenly aware of the ways they hurt people, because they hurt me. i fully believe that part of the reason florida is so conservative is because it's been an "open secret" for years now that disney lobbies the government to keep minimum wage down, and i know they worked hard to keep the parks unmasked and open during the worst parts of Covid. they purposefully keep their employees in poverty. they are in part responsible for the way the floridian government works.

desantis is still, by a margin that is frankly daunting, way worse. the alternative here isn't just "republicans win", it's actual fascism.

in a case like this, where the alternative is to allow actual fascism into united states legislation - where, if desantis wins, there are huge and legal ramifications - it's tempting to minimize the harm disney is also doing, because... well, it's not fascism. but disney isn't the good guy, either, which means republicans are having a field day asking activists oh, so you think their treatment of their employees is okay?

we have been trained there is a right answer. you're right! you're in the good group, and you're winning at having an opinion.

except i have the Internet Prophecy that in 2-3 months, even left-wing people will be ripping apart activists for having "taken disney's side". aren't i an anti-capitalist? aren't i pro-union? aren't i one of the good ones? removed from context and nuance (that in this particular situation i am forced to side with disney, until an other option reveals itself), my act of being like "i hope they have goofy rip his throat out onstage, shaking his lifeless body like a dog toy" - how quickly does that seem like i actually do support disney?

and what about you! at home, reading this. are you experiencing the Thought Crime of... actually liking some of the things disney has made? your memories of days at the parks, or of good movies, or of your favorite show growing up. maybe you are also evil, if you ever enjoyed anything, ever, at all.

to some degree, the binary idealization/vilification of individual motive and meaning already exists in the desantis case. i have seen people saying not to go to the disney pride events because they're cash grabs (they are). i've seen people saying you have to go because they're a way to protest. there isn't a lot of internet understanding of nuance. instead it's just "good show of support" or "evil bootlicking."

this binary understanding is how you can become radicalized. when we fear nuance and disorder, we're allowing ourselves the safety of assuming that the world must exist in binary - good or bad, problematic or "not" problematic. and unfortunately, bigots want you to see the world in this binary ideal. they want you to get mad at me because "disney is taking a risk for our community but you won't sing their praises" and they want me to get mad at you for not respecting the legit personal trauma that disney forced me through.

in a grander scheme outside of disney: what happens is a horrific splintering within activist groups. we bicker with each other about minimal-harm minimal-impact ideologies, like which depiction of bisexuality is the most-true. we gratuitously analyze the personal lives of activists for any sign they might be "problematic". we get spooked because someone was in a dog collar at pride. we wring our hands about setting an empty shopping mall on fire. we tell each other what words we may identify ourselves by. we get fuckin steven universe disk horse when in reality it is a waste of our collective time.

the bigots want you to spend all your time focusing on how pristine and pretty you and your interests are. they want us at each other's throats instead of hand in hand. they want to say see? nothing is ever fucking good enough for these people.

and they want their followers to think in binary as well - a binary that's much easier to follow. see, in our spaces, we attack each other over "proper" behavior. but in bigoted groups? they attack outwards. they have someone they hate, and it is us. they hate you, specifically, and you are why they have problems - not the other people in their group. and that's a part of how they fucking keep winning.

some of the things that are beloved to you have a backbone in something terrible. the music industry is a wasteland. the publishing industry is a bastion of white supremacy. video games run off of unpaid labor and abuse.

the point of activism was always to bring to light that abuse and try to stop it from happening, not to condemn those who engage in the content that comes from those industries. "there is no ethical consumption under late capitalism" also applies to media. your childhood (and maybe current!) love of the little mermaid isn't something you should now flinch from, worried you'll be a "disney adult". wanting the music industry to change for the better does not require that you reject all popular music until that change occurs. you can acknowledge the harm something might cause - and celebrate the love that it has brought into your life.

we must detach an acknowledgment of nuance from a sense of shame and disgust. we must. punishing individual people for their harmless passions is not doing good work. encouraging more thoughtful, empathetic consumption does not mean people should feel ashamed of their basic human capacities and desires. it should never have even been about the individual when the corporation is so obviously the actual evil. this sense that we must live in shame and dread of our personal nuances - it just makes people bitter and hopeless. do you have any idea how scared i am to post this? to just acknowledge the idea of nuance? that i might like something nuanced, and engage in it joyfully? and, at the same time, that i'm brutally aware of the harm that they're doing?

"so what do i do?" ... well, often there isn't a right answer. i mean in this case, i hope mickey chops off ron's head and then does a little giggle. but truth be told, often our opinions on nuanced subjects will differ. you might be able to engage in things that i can't because the nuance doesn't sit right with me. i might think taylor swift is a great performer and a lot of fun, and you might be like "raquel, the jet fuel emissions". we are both correct; neither of us have any actual sway in this. and i think it's important to remember that - the actual scope of individual responsibility. like, i also love going to the parks. Thunder Mountain is so fun. you (just a person) are not responsible for the harm that Disney (the billion dollar corporation) caused me. i don't know. i think it's possible to both enjoy your memories and interrogate the current state of their employment policies.

there is no right way to interrogate or engage with nuance - i just hope you embrace it readily.

[rassicas]

Thank God splatoon 3 didn't end up introducing a playable cuttlefish dlc like I feared last year (I honestly don't think we need more new playable species, would've been too sudden, my expectations were on the floor after rotm) but the cuttlefish visuals are still so suspicious to me. This hat has to be on purpose. That's absolutely not a fucking squid or octopus

And this is undeniably a cuttlefish (and the double fin shape resembles the hat)

Like how the lack of mammals in the splatoon world and ark Polaris was something suspicious in the previous games, and characters like marigold and Glen fiddler and lil judd are suspicious now.... It's way more subtle but I think this could be the splatoon team planting some seeds in case they decide to introduce cuttlefish as a separate species in the splatoon world. ill be keeping it in the back of my mind

[nightwonder7]

"Welp, wouldn't wanna be him."

[theerurishipper]

I feel like people really underestimate the importance of Dick being the first Robin. Like, reverse Robin AUs are interesting and such, but I just hope people realize that in the context of canon, they would never work. The reason Batman and Robin ever works is because the first Robin was Dick Grayson specifically. Because Bruce would never have taken in any child if Dick's tragedy hadn't specifically happened to mirror his own experience. Dick Grayson was the only one Bruce truly saw himself in first, because the fundamental event that defines them is the same. And he sees the opportunity to help someone the way he was never helped, to make sure that Dick didn't go down the dark path he did. So, my point here is that the only one Bruce actually made the choice to take in, the only one who could kickstart it all, is Dick Grayson, because he is the only one with whom Bruce could immediately empathize and connect with.

This never happened with any other Robin. He took in Jason because he missed Dick, he took in Tim because Tim forced himself into the role, he took in Steph because he was trying to make Tim come back to being Robin, and Dick made Damian Robin. Of course, he loved all of them, and they all have their unique relationships with Bruce that are very important and inform their characters, and he does need them too. But he specifically formed this connection with Dick that made Dick the only person he ever considered taking in. It took a very specific set of circumstances in Dick's backstory that made Bruce commit an impulse adoption that just isn't really present in any other Robin's story. And the reason Jason or Tim or Steph or Damian or anyone else whom Bruce has taken under his wing even got that chance is because of the work Dick Grayson put into Bruce Wayne.

Before Dick, Bruce was reckless and didn't care at all about himself, to the point of almost being borderline suicidal. He was more brutal, more violent, etc. The reason all this changed, is because of Dick Grayson specifically. He was the one with whom Bruce opened up, with whom Bruce was forced to grow up, to take responsibility and learn to take care of both Dick and himself. Dick, to Bruce was the one who brought "color to their [his and Alfred's] monochrome lives." Dick Grayson's specific brand of happiness and joy changed Bruce for the better. Dick gave Bruce hope. This is true for other Robins too, but only because they followed the precedent that Dick Grayson set, only because they slid into his role (they have their own interesting relationships with Bruce, but this specifically is from Dick that other Robins carried on. A legacy, if you will). Dick Grayson turned Bruce into the kind of man who would become a serial adopter.

Without his influence, without his precedent, there would be no Batfamily, because Bruce would never have gotten to the point where he would be able or willing to take in someone else and care for them properly (It took living through his trauma again to get him to take Dick in lmao). Hell, there would be no Batman because Bruce would have gotten himself killed a long time ago if Dick hadn't helped him learn self-care. Dick knows Bruce best, because he understands him on a fundamentally deeper level than anyone else in the world. And he's the only one who can make Bruce open up at his rawest, most downtrodden state. He is the only one who can give Bruce at his lowest that kind of hope. There is no Robin without Dick Grayson. It's literally a tribute to his parents, using their colors and the name his mother called him. He created that identity as a symbol of hope. He helped Bruce become the kind of man who could and would let other people that he had to care for into his life. Without Dick Grayson, you can simply forget about any other Robin or the Batfamily as a concept even existing.

[nerdpoe]

To prove to Jason that Bruce replaced him, Talia hacks a CCTV livefeed of Batman with his new Robin. But she mildly fucked up.

Because it's also got audio, and it's very clearly catching Bruce telling the new Robin that he doesn't need a Robin, and that the kid needs to go the fuck home.

It catches the new Robin do something completely unhinged in response to that, along the lines of solving a case right then and there to prove a point, and then jumping through a window into a gunfight before Bruce has even processed what he said.

"I mean," Jason starts tentatively, looking very Concerned, "At least that's one way to make sure the kid doesn't get himself killed, if he's got a minder."

The plan backfires, spectacularly.

Now Jason is concerned about this new Robin, and keeps filling Damian's head with ideas.

Ideas like Damian needs to force Drake to go to bed, Damian should help Jason make sure Drake eats more, Damian should help Batman hide trackers on Drake, Damian should get an adult if it looks like Drake is about to do something stupid.

Basically, instead of clearing the path for Damian to take the mantle of Robin, Damian is instead being taught to care for Drake like one would a domesticated wild animal.

[aroaceleovaldez]

one of my favorite Percy headcanons is that even after he no longer has the Curse of Achilles, the small of his back is still his Achilles' Heel. It won't kill him but it's still his weakest point.

Like, he hates if anybody even brushes against there unless it's Annabeth because it's too sensitive and it basically physically hurts him. He has to be the little spoon Always because it makes him feel like his back is protected. If anyone hits him in the small of his back even without a lot of force, like a friendly slap on the back, he will crumple like wet paper. His friends poke him in the small of his back just cause every time he will immediately stumble and start complaining at them and they find it funny. If someone actually smacks him in the back with any amount of real force he will be on the ground immediately and stay there. If he gets actually scratched there he will be bedridden for days. The curse may be gone but he will always carry it with him.

[literaryspinster]

I hear a lot of talk about how Hollywood isn't comfortable with showing romantic relationships, interracial or otherwise, without a white person involved. But I'm not sure that fans are actually comfortable with that either? And I don't think they're comfortable without a significant white (white male specifically) presence in their favorite genre shows.

[tinyavenuesailor]

Crack Fic! Where Everyone thinks Merlin is the reasonable one.

Everyone loves Merlin and thinks he’s the sweetest person, who couldn’t hurt a fly. So, they’re all annoyed when they see how Arthur treats him. The King is constantly overloading his manservant with work, ordering him to do massive tasks and coming up with ridiculous excuses to keep Merlin from taking a break. So, the knights and others constantly try to find ways to pull Merlin away from Arthur’s side and give him a break but Arthur always finds a way to mess up their plans.

Gwen and the other maids sometimes try to help Merlin with his chores

Gwen: Arthur you can’t actually expect Merlin to clean the entire throne room by himself

Arthur: *shrugs* Yes. I’m hardly asking him much

Gwen: It usually takes five maids to thoroughly clean the throne room. It’s ridiculous to ask one person to do so much work and then, to place Lancelot as a guard to make sure none of us can help him. 

Arthur: Lancelot wouldn’t have to guard anything if you all weren’t so ready to disobey my orders. I said Merlin will clean the throne room ALONE and that is final

Gwen: I never knew you could be such a cruel person and to Merlin of all people

*Gwen storms off*

Gwaine, Leon, Percival, Elyan and some of the other knights try to steal Merlin away to the tavern to relax

Gwaine: Come on Princess. I’m sure you can survive one night without Merlin 

*Gwaine tries to pull Merlin to their side but Arthur grabs hold of Merlin and pulls him back*

Arthur: Need I remind you, Merlin is my manservant and doesn’t have time to play around. He still has very important duties to complete

Elyan: What could he possibly have to do at this time? Most servants have gone home for the day?

Arthur: Well Merlin is the King’s manservant as I keep reminding you and still have very important things to do

Gwaine: Like what?

Arthur: *pauses* For one, he needs to clean the mess he made in the closet

The knights: *trying to process the bullshit Arthur just told them* 

Arthur: *crossing his arms, 100% serious, daring them to challenge him*

Merlin: It’s fine guys really, probably next time *pulling Arthur and himself back into Arthur’s chambers and locking the door*

Or when something terrible happens to Merlin like the time he got kidnapped and everyone went into full panic

Arthur: *staring hard at Lance* Merlin’s been kidnapped?

Elyan: They ambushed us out of nowhere and before we knew it they were off with him.

Leon: Don’t worry sire, I’ll gather a search party immediately to have him found.

Gwaine: We’ll make them sorry they ever thought to mess with our Merlin

Arthur: *holding up a finger and turning to Lance again* Merlin’s been kidnapped?

Lance: ..... That is the story

Gwaine: Princess, have you not been listening. We need to hurry every second counts. 

Arthur: I heard, just wondering why he couldn’t have chosen a better day to get himself kidnapped

*Everyone gawks at Arthur in disbelief*

Basically, everyone thinks that Arthur doesn’t appreciate Merlin and that their cinnamon roll deserves better and formed a protection squad to help Merlin get the treatment he deserves.

Meanwhile in Reality....

Arthur knows about Merlin’s magic. He is fully aware of how powerful Merlin is and finally sees that his manservant isn’t an idiot. He’s just a bloody madman.

===In the throne room=== 

*Arthur and Merlin both staring at a dark purple swirling vortex on the floor*

Arthur: *takes a deep breath* Merlin, why is there a hole in my throne room?

Merlin: Well, it's not a hole. It’s a sort of gateway to the dark dimension.

Arthur: Oh, okay. Why is there a gateway to the dark dimension in my throne room?

Merlin: ..... I can fix it

Lancelot: Arthur, I heard you- *looks down at the menacing purple gateway on the floor and then back to Arthur and Merlin* 

Lancelot: Should I go guard the door?

===After Gwaine, Elyan and Percival tried to take Merlin out for drinks===

Merlin: You know we both could use a break. I am a bit hungry. Been a while since I had a drink too

Arthur: Well maybe, we can join them after you explain why my Uncle is tied up in my closet

*Arthur opens his closet doors revealing a tied-up and gagged Agravaine making muffled noise*

Merlin: You told me to get evidence that he was working with Morgana

Arthur: And your solution to that was to kidnap him?

Merlin: What better way to hear it than from the man himself? 

Arthur: What’s going to happen when people realize he’s missing

Merlin: Don’t worry, one memory wipe spell and he’ll be back tomorrow in his chambers like nothing ever happened

Arthur: You told me those spells were dangerous

Merlin: *laughs* Well, yeah, I’m not using it on us

Agravaine: *making muffled and panicked pleads to Arthur*

Lancelot: Sorry, Arthur, Gaius told me that Merlin needed m- *sees a tied-up Agravaine* 

Lancelot: *nods* I’ll go stand guard

=== Arthur, the first to find Merlin after his “kidnapping” ===

Arthur: *folds his arms and looks behind his manservant to see a trail of bodies* Kidnapped?

Merlin: Well they did try to kidnap me. I just decided not to resist. 

Arthur: *sighs* Is everyone dead?

Merlin: I was supposed to leave someone alive?

Arthur: *rolls his eyes* Come before I have to explain how my “innocent”, “weak” manservant took out a group of mercenaries.

Lancelot: *already standing guard* 

[riacte]

Stress and Iskall are unironically one of the most consistently funny duos on Hermitcraft. It doesn't matter if their jokes don't land that well, because their infectious giggling bounces off each other too well and their interactions end up being funny anyway. Sometimes they don't even need a bit or a joke. All it takes is Iskall going "aha? AHA??", then Stress dissolves into helpless laughter, and he laughs because he made her laugh, and she laughs because he's laughing and