#and she doesn't notice or care

[nei-ning]

No offensive, but I don’t get my mom most of the times in these days anymore. After she started to be with her current boyfriend (like 10 years ago) it seems like she just has become more dumb - pretty much the same what and how HE is as well. More under the cut since this is a bit “long” post.

When mom comes to visit me once every day (because she spends all her time at his place otherwise), first thing what she does is go to the fridge and eat. Eat, eat and eat some more. Those few hours what she’s with me, most of it she spends on eating.

I honestly have asked from her: Is she starving herself at his place? Isn’t he letting her eat? What she eats per day? All this because I have faint memory of mom telling me years ago how this guy, while being drunk, had nagged at mom about it how much she eats. What comes to her eating at his place, she just says: “Oh, but I have eat! I ate oatmeal in the morning, during the day I drank a cup of coffee, at the afternoon I ate few slices of bread. (or few potatoes with tiny bit of sauce)”

I have told her many times THAT’S NOT ENOUGH and that she needs to eat! At least 2-3 warm meals per day! Especially since she has diabetes (mom has had it for decades but it doesn’t give her any symptoms like dizziness etc.) she needs to watch her eating.

Also, some weeks ago mom showed me her toenails and, my GOD! Big nails were brown, other nails lighter brown, her nameless- and little toes’ nails being VERY thick and yellow! And the SMELL! OH GOD, THE SMELL!! That horrible stink lingered in the house for HOURS after she left back to her boyfriend’s! She’s literally rotting and she doesn’t notice or care! (she has other health issues as well which she just hasn’t taken care of)

I told her she, with 100%, has nail fungus and that she NEEDS TO get them treated! Properly! (Note: I watch a lot of professionals’ videos about pimple popping, nail fungus etc. on Youtube. My favorites are Enilsa Brown and Toe Bro, just few to mention).

For ONCE she listened to me, calling to a hospital she needs to see a podiatrist. You can’t get appointment otherwise. Mom is still waiting for her call.

Now, I don’t know what kind of professional this new lady is (hopefully great!) but the previous one who mom visited years ago... I question her a lot since she had told mom that she DOESN’T need any treatment! Like why?! She had nail fungus back then already!

And then mom... She is a person who always listens doctors etc. bending in their will instantly instead of standing up for herself, demanding treatments - like she should had done with that first podiatrist. Tell her she NEEDS and WANTS her toenails to be treated - because NOTHING was done to her toenails. No trimming, lotion, meds, nothing!

So, I really hope this new lady takes mom and her nail fungus seriously, helping mom to get rid of them.

[fl00mie]

something i did when i saw a post of joku talking about this topic: it's an interesting concept but practically impossible because nothing stops artists from continuing to create (this is convenient for ink), based on this i tried to adjust the words of the creator of dreamtale herself to her characters under an objective truth— there is no limit to the multiverse

here's the post and the translation

[cassandracain52]

My Batfamily piercing headcanons

(note: these are just my personal headcanons)

Dick: Has thought about getting a piercing but always ends up deciding against it because he doesn't like needles

Jason: Got his nose pierced when he was 14 and never told Bruce(don't ask how he hid it idk readers choice). Was pissed to find the hole had closed after his dip in the Lazarus pit, so he got it re-pierced but doesn't wear it often, usually just at night. And no of course it doesn't have anything to do with the fact he still hasn't told Bruce. Nope not at all

Tim: Got his left ear pierced when he was 15 because Steph told him a bunch of other skaterboarders were doing it and he ended up liking it. (she lied she just thought it would make Tim look hot. She was right) He doesn't wear it on patrol or for important meetings, but he still makes sure to wear it often enough to not let it close

Stephanie: Has both her ears pierced as well as a double helix piercing and a smiley piercing. She wants to get more but keeps changing her mind as to where.

Cass: Only has her ears pierced and that's only because Steph and Babs did it for her. Doesn't trust needles (see Batgirls #2)

Barbara: Has both ears pierced and got her belly button pierced when she was a teenager. Her belly button piercing ended up closing after she kept it out too long when recovering from getting shot and hasn't gotten around to getting it redone.

Duke: Has no piercings or a particular desire to change that fact, but he isn't really against the idea either. (Stephanie is determined to get that boy an eyebrow piercing because he would "totally own that look")

Damian: Went kinda crazy with it after Alfred died and he went off on his own. First Nika convinced him to get his eyebrow pierced and it just escalated from there. At present he has a grand total of 7 piercings with plans to get more. His piercings currently include his ear lobes, snake bites, his eyebrow, his nostril, and his septum. When Dick first saw him with all his piercings in he nearly passed out

Bruce: Had some wild teen years and got his ears, tongue, and septum pierced. Stopped wearing them when he traveled to train and they ended up closing. The only evidence they ever existed is a few stray paparazzi photos/videos and Alfred's word(he is sworn to secrecy)

Alfred: Everyone thinks the answer is a big fat "NO" as to if he's ever had a piercing but in reality he has had exactly One. When he was very young, before he met the Wayne's, he lost a bet and let an army buddy pierce his nose. A great deal of alcohol was also involved. He took it out after a few weeks when it got infected because the needle hadn't been sterilized and they were still out traveling around North Africa with little supplies. They never spoke of it again.

[chayannesegg]

I think Tallulah is lying to herself when she says she's scared of the new eggs. Not completely, I don't doubt they make her nervous, but I'd bet Sunny and Tubbo are the root of her fear and she doesn't want to admit it.

I'd bet Tallulah doesn't like that she doesn't like Sunny. She wants to like everyone, but she doesn't like Sunny. So it must be because the eggs are new, right? All the new eggs are scary. Because they came from that horrible island. Because we don't know what they want from us. She couldn't possibly dislike Sunny just because she's loud and brave and loved by someone who used to put her first.

We know Tallulah was overwhelmed the first time she met Sunny. Sunny came up and tried to say hello first thing and Tallulah got barely anytime between that introduction and discovering Sunny is Tubbo's kid.

She was overwhelmed that whole time through meeting Em and Sunny, but one of the only times we see her relax is when she's teasing Tubbo about relationships. Because she loves Tubbo; he always works to make her feel seen. Then he leaves immediately off with his daughter.

Then yesterday, we heard Tallulah's concerns re: the new eggs. She also expresses concern over Niki and Tubbo's reaction over her hesistance. Especially Tubbo. She brings up Tubbo the most. While she really loves Niki, they haven't spent that much time together. When Phil left, Niki was supposed to watch Tallulah but instead Tubbo cared for Chay and her by himself. That last week before they left, Tubbo spent the whole time making sure they stayed alive. He comforted her on that last day. He shooed the others away and brought them to uppies and sang Jort Storm!

And then on that island, he stayed by her the whole time in that awful room. Waving and dancing and keeping her attention even when things were confusing and her papi wasn't there and they were in danger.

But now he has a daughter. A daughter he's going to put first, the way he put her first. A daughter she saw with her own eyes who seems louder and cooler and braver than she's ever felt. Where does that leave her? Another person gone from her life? Left behind for something better?

Why would she want to know the egg that's taking someone else from her. An egg her papa says steals and takes and wants. An egg who stole and took and wanted Tubbo. An egg we don't know the background of.

Today I think showed proof of Tallulah's underlying insecurities with regards to Sunny and Tubbo. She was totally fine to ignore Pepito when he woke up. He didn't interact with her, but she stayed in the area. It could just be that he didn't interact with her so it was okay, but that's the point. Pepito isn't trying to take anything from her.

Sunny though? We saw Tallulah get upset and leave at the mere mention of Sunny when she asked about Tubbo's crown. Tubbo who's showing his daughter's ownership love of him at all times. She turned around and left immediately after he said that.

We haven't seen much interaction with Tallulah and the new eggs, for obvious reasons. That said, I bet when we do it'll become clearer that her concern is centred around one egg in particular! And it'll be GREAT angst because Tallulah doesn't want to dislike someone, but she does. What happens when she can't hide behind fear of the other eggs? Or her grounding? What does she do then?

[sincerely-sofie]

You're scared you'll never care about someone. You're scared you never have. You don't know how much love is held in your chest. You never will.

[thoughtfulchaos773]

Carmy- Know your Why

[anghraine]

melyzard replied to this post:

You know, given that P&P was published in 1813 before the 1696 window tax was repealed, she might just be admiring both the outdoors AND the expansive and numerous windows themselves. I mean, good windows really were a big sign of wealth and consequence until 1851 when the tax was finally repealed. But yeah,also,yeah, she's definitely more interested in the outdoors than the Great Chimney Places of the Wealthy

It's true that windows were a major status symbol at the time and long before, but I don't think Elizabeth much cares about that, in all honesty! That is the relevant historical context for Mr Collins's rhapsodies over Rosings' windows, for instance:

she could not be in such raptures as Mr Collins expected the scene to inspire, and was but slightly affected by his enumeration of the windows in front of the house, and his relation of what the glazing altogether had originally cost Sir Lewis de Bourgh

He's silly but he's not mistaken in identifying the windows as a significant status symbol (which without that cultural context can seem like just another Mr Collins absurdity). But Elizabeth specifically, as a person, is consistently not very interested in these kinds of status symbols (though she knows they're there and understands what they signify). She is attracted to natural beauty and unassuming elegance, which is the overwhelming note at Pemberley:

She had never seen a place for which nature had done more, or where natural beauty had been so little counteracted by an awkward taste.

Even when it does come to Pemberley's expensive interior, she focuses on the aesthetic dissimilarity to Rosings and, even more, about what is suggested about Darcy's relationships to other people dependent on him (Elizabeth's takeaway from the pretty interior decorating project for Georgiana is "He is certainly a good brother" and not how much disposable income this represents, say).

The fuller quote when she first approaches the window is pretty clear about what Elizabeth is focusing on, IMO:

Elizabeth, after slightly surveying it, went to a window to enjoy its prospect. The hill, crowned with wood, from which they had descended, receiving increased abruptness from the distance, was a beautiful object. Every disposition of the ground was good; and she looked on the whole scene, the river, the trees scattered on its banks, and the winding of the valley, as far as she could trace it, with delight. As they passed into other rooms, these objects were taking different positions; but from every window there were beauties to be seen.

[money-and-dandellions]

adding on the silly headcanon, Lester has permanent tremor in his hands which gets worse when he is stressed

he is stressed most of the time, which makes it even harder to do anything

it gets so much worse at night because he can't hold a shit and he can't control it at all and they just shake and hurt a little, aching

[bitchthefuck1]

you know what, I actually will talk about this because it's bothering me. The issue with focussing so heavily on syd and carmy's potential for a romantic relationship isn't that there's something inherently unintellectual about romance or whatever, it's that a lot of people seem incapable of doing that without immediately flattening the story and ignoring or intentionally misreading any and all nuance for the sake of that romance. Every scene suddenly becomes about how it impacts their relationship, every analysis is done through a romantic lens, every frame or line of dialogue becomes about finding some easter egg or hint that "proves" these people should start dating. Their dynamic is absolutely a fundamental part of this show, but if you can only see it as a will-they-won't-they, you miss so much of what the story is actually trying to say with these two.

There are good versions of this story where their relationship is romantic and there are good versions of this story where it isn't, but as soon as you decide them being together is "the point," you lose the ability to actually judge the story for what it is, not what you want it to be.

[data-is-my-favorite-android]

Thoughts on The Ghoul

So I think all the characters in the Fallout show are spectacular, but I had some thoughts on The Ghoul/Cooper Howard in particular that I just wanted to put down. Owing to his 200+ years of history, he's a downright fascinating, dynamic character, and I can't wait to see what they do with him next.

Anyway, here's my thoughts/character analysis of The Ghoul:

One of the things I found most interesting on my second watch-through of the show was how everything The Ghoul does is motivated by ruthless pragmatism, not cruelty. It can appear like cruelty--sometimes it tips over into cruelty--but cruelty is not the point. The point is always survival. He must survive to find his family. That is his goal and his one guiding tenet. Nothing else matters, everything else is fluid. Whatever it takes to survive.

Getting rid of the three bounty hunters who dug him up? Survival. Two of those guys were already one twitch away from killing him on the spot for being a ghoul, and the other threatened to harm him if he didn't show enough gratitude. Coupled with some of the other things he was saying, it seemed possible he would double-cross or kill The Ghoul the moment it suited him. No doubt The Ghoul has worked with the type before, and knew trouble when he saw it.

In Filly, he only shot people who were shooting at him. Cooper loves dogs, but he stabbed CX-404 because she was actively trying to kill him. On the surface, he healed her for equally pragmatic reasons: she could lead him to Wilzig. But he also seemed to respect, too, that she clung to life despite her debilitating wound. She's not his dog Roosevelt, so he tries to maintain a cold detachment from her (at first), but he has a soft spot for dogs.

He was willing to shoot Lucy in Filly, but he hesitated--which is more than he did for any of the other people threatening his life. Possibly he wouldn't have killed her (she was armed with a non-lethal weapon) until Maximus showed up on the scene and changed the calculus (dispatch the girl and deal with the newer, bigger threat without having to worry about her finding a lethal weapon and killing him with it). He didn't kill Maximus when he had the chance, either. He didn't need to. Maximus had already shown himself to be incompetent with the power armor. It was simple enough to damage the power armor and watch him tuck tail and run.

When he meets Lucy again, he uses her with the same casual, indifferent efficiency as he would any other tool. The point of dunking her in the water was to lure the gulper. It had the unfortunate side effect of also being torturous for Lucy, but the cruelty wasn't the point. Getting the head back was. The head=caps, caps=meds, meds=survival, survival=eventually find family.

We don't know what The Ghoul would have done if they had retrieved the head from the gulper and his medicine hadn't been destroyed. Probably it would have depended on what Lucy did. If she seemed likely to come after him and the head, he probably would have killed her or incapacitated her and left her for dead. If she had explained she needed to trade it with Moldaver for her dad, Hank MacLean, hoooo boy, he would have beelined for Moldaver's with Lucy in tow. Whether Lucy came along as his partner or his captive/extra bargaining chip would also probably depend on Lucy's behavior.

But they lose the head and The Ghoul's medicine is destroyed. The math changes. He can come back for the head, but he needs meds now, which means he needs caps now, and the only thing of value he has on hand is this pampered girl from a fucking vault who seems patently unwilling to do the things that need to be done to survive in the Wasteland anyway, so if she's gonna die, he might as well profit from it. He needs meds to survive. He needs caps for meds. It's simple, brutal math.

While he's hauling her to the Super Duper Mart, though, he does several interesting things that are degrading for Lucy, yes, but are simultaneously teaching her how to survive the Wasteland, testing to see if she'll adapt. First, he mercy kills Roger and butchers him. It's important to note that The Ghoul didn't have to take a detour from his all-important mission to obtain medicine--he could hear it was Roger, he could tell Roger was going feral and didn't have any meds-- but he went anyway to help ease an old friend's passing. And he made sure Roger's last thoughts were pleasant, too.

Then, because this is the Wasteland and the one law is survival, he wastes no time switching gears. There's no waste in the Wasteland, and a fresh dead body presents an opportunity for those willing to seize it. The Ghoul, mind you, has had 200 years to learn that he can't be picky. Ghouls are unwelcome in most "civilized" parts of the Wasteland, barred from the simple comforts and safeties and securities that other people can enjoy if they reach those scattered, precious oases. The Ghoul has had to eat people. It sucks, but it's that or die.

But Lucy doesn't understand that. She arguably doesn't understand what a ghoul even is because nobody's taken the time to tell her. She doesn't know what the last 200 years have been like. She's appalled--and then she has the audacity to voice her disgust. The Ghoul hands her the knife to keep butchering Roger in part to humble her, to drag her down into the dirt with the rest of them, but he's also teaching her a stark reality of the Wasteland. It was a lesson and a skill that he had to learn the hard way. (Interestingly, while nearly everyone in the Wasteland is disgusted by cannibalism, it's also a known thing that happens all the time. The Ghoul and Lucy are in the interesting position of being some of the only people in the Wasteland who were raised in societies where cannibalism truly was unthinkable).

On the walk to the Super Duper Mart, he refuses to give her water. On a pragmatic level, there's no reason to waste water on the equivalent of a dead woman walking--he's leading her to get her organs harvested, after all. (He is pretty petty when he pours out the last drops instead of giving them to her, though). But also, whether he is actively intending to or not, he is teaching her to adapt to Wasteland conditions. The water in his canteen, in fact, was just as irradiated and gross as the standing water from which Lucy ultimately drinks; he refills his canteen from the same rusted-out vessel Lucy drinks from, and likely drew the previous canteen's worth of water from a similarly unpalatable source. This is water in the Wasteland. Drink it or die.

When she runs away shortly after, he lassos her (and, sidenote: can I just add how fucking cool it is that they actually carry through his lasso skills? Like, that is actually an extremely useful skill and the writers utilized it!), which leads to that pivotal scene where she bites his finger off and he takes hers.

This is interesting for multiple reasons. The Ghoul calls her a "little killer" and seems satisfied to see her finally fighting with the same savagery as a Wastelander. This could be either because a) he believes all people have a killer lurking beneath the facade of civility ("I'm you, sweetie. Just give it a little time...") and she's finally found that steely will to survive no matter what it takes, and/or b) he believes she's been faking her doe-eyed, good girl persona. He's the one who first finds Wilzig's body, after all. To him, it looks like Lucy lured the doctor off and ruthlessly chopped off his head before running off with it. Maybe she's just a really good actress, and in biting his finger off, she's let that mask slip.

Either way, he introduces her to another law of the Wasteland: don't dish it if you can't take it. She takes his finger, he takes hers. He doesn't kill her for it, in part because that would be disproportionate, in part because that would be a waste (he probably needs he alive to exchange her for caps). But also, from a practical standpoint, she just bit off his shooting finger. Unbeknownst to her, ghouls can reattach body parts, even ones that are not their own. He's harvesting his replacement from her. If he wanted to be cruel, he had ample opportunity to be cruel here. He could have taken more fingers. He could have hurt her in ways that wouldn't have affected her value to organ harvesters. He could have degraded her and called her all kinds of nasty names. But he doesn't. He's efficient. If anything, he seems almost proud of her for abandoning her hoity-toity principles and fighting back.

He still needs caps. He's feeling the effects of not having his medication. He's still committed to delivering her to the organ harvesters. In his mind, he has no choice. This is about survival. He has to survive to find his family. This is the option he has available to him. This is how he lives to see another day. He brings her to the Super Duper Mart and, drawing deep from that actor's well, he maintains the tough-guy routine long enough to intimidate her inside, then he succumbs.

He's still down when Lucy re-emerges, victorious, and he knows, he knows that he's dead. He tried to kill her, now she'll kill him. It's the smart thing to do, the practical thing to do. Another law of the Wasteland...

But she doesn't do it. She has all the power here, she knows he's a dangerous element, that she would probably be safer if she left him for dead or killed him herself. But she breaks all the rules. She gives him, freely, generously, with supreme dignity and a selfless kindness he had long forgot, an abundance of the thing he needs to survive, the thing he was willing to sell another human being for no questions asked. Just like that.

There's also something to be said here about how resource scarcity (and the removal of that scarcity) affects people. As soon as The Ghoul gains a cache of at least 2 months worth of medicine, it frees him from the basic math of mere survival. He has room to breathe and think long-term (at least by Wasteland standards). He can reflect on the momentous thing that just happened to him, too. As he watches himself on the TV in the Super Duper Mart, watches the man he once was unwillingly (and unwittingly) take the first step onto the path to what he has become, he remembers what it was like being Cooper Howard. Why he, Cooper Howard, hated the "feo, fuerte, y formal" scene so deeply.

Cooper Howard was a kind, moral, and dignified man who seldom said an unkind word. He was a loving husband who deeply respected his wife and absolutely adored his daughter. Though his naivety, privilege, and ignorance blinded him to the ugly realities of the pre-apocalypse world around him, he valued justice, freedom, and equality. He wanted the characters he played in the movies to reflect that belief in the power of the law and respect the innate humanity of all people, even the villains. And, when he began to see the cracks in the perfect picture of his charmed life, he is driven to know the truth behind the facade. His deep, defining belief in justice and truth would not let him leave it alone.

Cooper Howard learned the truth that Vault-Tec (and by extension, his wife) were willing to drive the world off a cliff, and it destroyed his marriage and deeply affected him. Even then, demoralized and hurt as he was, he found it in himself to be thoughtful and kind to his daughter and the people, both adults and children, at the birthday party he worked the day the bombs dropped. Fundamentally, he was still a kind, moral man. And that kind, moral man found himself in the middle of the most horrific nightmare anyone could ever imagine experiencing: the death of the planet under a rain of atomic bombs. Then he lived through it and had to contend with the harsh realities of surviving on the annihilated landscape left behind. Fortunately for him, he already had several handy skills to carry him through: having formerly been a real cowboy, he knew a thing or two about surviving in tough conditions; having formerly been a soldier, he knew what it took to kill a man and had the experience and fortitude to do it; and finally, having formerly been an actor, he had a built-in psychological coping mechanism to insulate him from the horrors of the things he needed to do to survive.

Cooper Howard used to put on and take off personas for a living. Sure, he played white hats, but he had an intuitive understanding of character and narrative tropes. He played opposite some of the best bad guys in 21st century Hollywood! It wouldn't be hard for him to pull the cloak of acting around himself to do what he initially needed to do to survive. But somewhere along the way, the tough, ruthless persona he adopted stopped being an act and he became his character. He embodied the answer to the question posed by The Man from Deadhorse: what happens when a good man is driven too far?

Cooper Howard adapted to survive. His actions reflect the realities of being a ghoul (again, a people generally reviled by everyone and cast out of safe havens because they are deemed threats). Pragmatic and efficient violence are necessities if a ghoul wants to live long, stay sane, and stay out from under the thumb of would-be enslavers. Still, beneath it all, Cooper Howard is still there, buried deep down beneath the character-persona of The Ghoul.

The Ghoul is drawn to Lucy (platonically, romantically, or some secret third thing), to her goodness and old-world manners just as much as he is disgusted/irritated by them. She's an echo of himself, of Cooper Howard, of who he used to be, and he knows EXACTLY where that gets a person. She's going to get herself killed if she doesn't wise up. With those high-and-mighty, anachronistic principles, that black-and-white worldview, her totally naive misunderstanding of the realities of the Wasteland, she won't last long. And initially he sees her as a pawn, like he was, only good for moving him one step closer to his goal. But then she shows him she can adapt and survive. Not only that, she can be true to her core principles in the process. She can conduct herself with dignity. Lucy reminds him what it was like being the white hat, and shows him that yes, even in this hellscape, there can be heroes. Over 200 yeas, his pragmatism and need to survive sanded away the nuance between Good and Bad. But Lucy makes him reconsider whether maybe there is right and wrong after all, and maybe it actually does matter.

Thus begins his transformation, but the change is not immediate, and this is still the Wasteland. He escapes from The Govermint and goes after Lucy. To do that, he needs to find Moldaver. He tracks down someone who might know where to find her, kills him and accidentally blows a hole through the letter with the key bit of information he needs to find Moldaver. So, he goes to that guy's family to find the man's younger brother, Tommy. When he gets the information he needs, he kills Tommy. He gives Tommy the opportunity to back down, but The Ghoul has a lot of experience and reads Tommy like a book. Tommy is not the kind of kid to let something like this go, and The Ghoul has clearly been burned by leaving vengeful people alive before. Tommy reaches for a gun to shoot The Ghoul, and The Ghoul doesn't hesitate. He blows a hole in the kid. It sucks, but again, this is a decision born from sheer practicality, not love of carnage.

Later, he comes across CX-404 trapped in a Nuka-Cola machine (left there by Thaddeus). The head is lost to both of them now; the dog cannot help The Ghoul with finding it. But he saves her anyway and dubs her Dogmeat. He lets sentimentality get to him for the first time in who knows how long and allows himself to bond with another living being. When he does reach The Observatory (where Moldaver, Lucy, and her dad are), he clearly stashes Dogmeat somewhere to keep her out of harm's way and goes in after Lucy.

After fighting his way through the Brotherhood of Steel, we come to that pivotal scene where Lucy finds out about her father's history. Cooper hangs back to observe and learns that his niggling, hare-brained hunch about Lucy and her last name was correct: she was the daughter of Henry MacLean, a man-out-of-time who presents the first real step in 200 years toward Cooper's ultimate goal: finding his family. (I think it's important to note, however, that he isn't 100% sure of her connection to Hank when follows her to Moldaver's--his reasons for going to the Observatory are either to get information from Moldaver or simply to back Lucy up, should she need help). He lets Hank get away so that he can follow him, and he's willing to follow him alone. But now there's Lucy, who is as wrapped up in this shit as Cooper is (even if she doesn't understand it yet), and he figures they both deserve answers. She's shown that she can adapt to survive, she just needs a teacher. In their first exchange since she left him at the Super Duper Mart, he treats her with new respect and offers her the opportunity to come with him, learn from him, and find out about who she really is and the legacy that has produced her. But perhaps he also knows deep down that he needs to learn from her too. He needs to remember what it was like to be good, to be human. He needs it so he can be it for his daughter when he finds her.

So, yeah, I don't know, it's just interesting how Cooper Howard became essentially lost in method acting a villain to survive the fucking awful conditions he found himself in, but even then he isn't cruel. Like, there are a lot worse things he could have done to Lucy. A LOT WORSE. As far as I can tell, he never looks at or touches her in a creepy, predatory way. Yeah, he drags her around on a leash and cuts her finger off when she bites his off, but that's pretty damn tame for the Wasteland. He secures her with rope, but otherwise is pretty hands off with her. If he objectifies her, it's in an extremely non-sexual way. More of a taking-the-cow-to-market kinda way. Which still sucks, but again, it's not needlessly cruel or wantonly violent, which is pretty impressive given general Wasteland behavior.

He's a damn interesting character, and I'm super stoked to see how he develops--and how he interacts with Lucy going forward.

[littlelightfish]

As I said I would, I drew my oc with yours my beloved @clawdouobit

My pretty girl likes to infodump your pretty girl about the smallest things. She's like a reel, talks a lot but most of it is meaningless.

Close ups and more info because I can't shut up ehtier under the cut <3

20 years old and engaged to a half-foot. They're waiting to gain some more money to get married and leave the dungeon. Note: they're best friends but idk if what they have going on is truly romantic love or just a very good friendship.

Quite skilled at upper levels, but wouldn't go to lesser levels. She isn't skilled enough to make her party survive there.

Her race is a mix between gnome and half-foot. Idk if that's possible but I don't think it's not.

If I had to guess, she's 13/14 on half-foot standars. It's unclear whether she's an adult or not, but she's preety mature most of the time. Most.

Flushed cheeks always. Also very pale.

She's 109 cms tall, a lot more than avarage on haflings, but lot less than avarage on gnomes. Since she hangs out mostly with haflings, she's a giant woman. This gives her some problems with traps so her BMI is 18 due to diet.

Fwens with Shahad. Who knows why tho. We gotta figure that out ;}

[onaperduamedee]

I don't know if it's show bias, but I struggle to understand the reading of Moiraine as someone who is so driven by her mission that she doesn't care.

From the get-go, she flees the White Tower for fear of ending up Queen of Cairhien and as cruel a leader as the rulers in her family, although it would have meant control and power;

Getting knocked down and unable to channel, she stabs a former teacher to stop her from killing innocents who have little to do with her mission;

She rushes to the Blight to bond Lan and keep him from basically killing himself, even if again it is a gamble, and later on, the bond transfer is about saving him, albeit cruelly;

She uses her body as a shield to hold off a Forsaken in order to help Rand, sustaining serious injuries in the fight, although her sacrifice is mostly useless considering how overpowered she is;

Many times, she heals villagers, soldiers, Aiel, wolves, sometimes until she is on the brink of passing out;

She fights Shadowspawns in Tear, in the Waste just as bravely as Lan, despite not being battle Ajah and often being surrounded by Aiel who can do the job by themselves;

She tackles Lanfear, toppling with her inside a collapsing ter'angreal, effectively dooming herself and cutting herself from the narrative, to help Rand, Egwene and Aviendha.

Obviously, you could argue that each of these actions would bring her an advantage and in acting so, she was only playing her part in the pattern, without a care for the people she was helping, but that's such an ungenerous reading of the character given what the text provides.

Her mindset is utilitarian and pragmatic, but to see her ever-present doubts, her growing despair and raging hope in Rand and still interpret her as uncaring is mind-boggling to me.

Her whole speech in TSR regarding "People [fighting] for you who do not know it, any more than you know them" tells of someone who believes saving the world will require a lot of collaboration and awareness of each other, not merely machinations and control.

She is a hard woman, but uncaring she is not.

[silusvesuius]

N*loth is literally prime NPD representation and that's just how it is. Dat's just how i feel . if iiiiiii hear anyhing ab him needing to be humbled or put in his place i'll just tear my hair out right here and match his look. not even trying to lift him up or defend him i'm just defending the mentally ill skajrim characters nobody wants to understand,

[martyryo]

mid au idea appealing only to me

[dmclemblems]

“Claude in Hopes is exactly the same way he is in Houses! He’s always been like that and has the same feelings/morals!”

Claude in GW/Hopes:

Claude, literally, in Houses:

Let that speak for the fact that Claude was written with a 180 characterization in Hopes.

Claude wants peace and to bring everyone together; not to tear them further apart. That is his character.

[imgoingtocrash]

Ellie + Joel's Jacket

The Last of Us (HBO) // The Last of Us: Part II