#because like - this discusses the family

[spielzeugkaiser]

How it started-

How it's going!! They are a family and I am!!! also draw the hug you want to see in the show but they are forgiven because them meeting in brokilon was still soooo tender my HEART-

[redysetdare]

All this aroace character shipcourse has proven to me that a majority of people that interact in fandom cannot actually interact with characters and media outside of shipping and genuinely I believe you need to learn how to interact with media outside of shipping.

[turtleblogatlast]

I think a lot about Leo standing up for his brothers in the things that really matter to them.

Like- Leo is the one who immediately pushes Mikey and Donnie into finding Raph the second it’s clear that their oldest brother is missing because he knows Raph can’t handle being separated like that.

Leo is the one who stands up for Mikey when Mikey wants to go on a solo mission, actively vouching for him and being the one to convince Raph into letting Mikey go, because being independent and proving himself just as capable of standing on his own two feet as everyone else means so much to Mikey.

And Leo defends Donnie’s honor in particular when his brothers’ intelligence is insulted because Leo is well aware of how important Donnie’s smarts are to him - and how important having those smarts valued and acknowledged is as well.

All this goes right into just how well Leo knows his brothers. For as much as he’ll tease or fight with them, he knows them, and he loves them.

[sorrelpaws]

>be me >make a friend >hang out with him >he gets hurts due to hanging out with me >mfw my only friend might die because of me

[rexscanonwife]

I may have...mentioned a fankid a little while back (ｕ_ｕ*) here's the little squirt themselves, our very own Newt Utonium! The name is short for Newton, as in Isaac, who is often considered the grandfather of science (the professor's idea ofc) but they prefer to go by just Newt!

Just like their mother they came from an egg, which Blossom, Bubbles, and Buttercup were very excited and curious about! Especially since they were born 5 years old and at the same time, they were looking forward to interacting with a new sibling. And a baby at that! They spent a lot of time with the egg fawning over it, discussing what gender they hoped it would be and what they'd be like once hatched!

And ofc Utonium is just as wonderful a father with Newt as he was when the girls came into his life! 💖💖💖

Taglist♡: @me-myself-and-my-fos @tiny-cloud-of-flowers @sunstar-of-the-north @dearly-beeloved @adoredbyalatus @changeling-selfship @crushes-georg @miutonium @cherry-bomb-ships @rosieaurora @rejaytionships @sunlight1999 @in-true-blue-love @tropicalgothships (as always let me know if you want to be added OR taken off!)

[motherfracker]

Has anyone else thought about the fact that Maddie and Chimney make a big deal out of calling Buck "Uncle Buck" for the first time after Jee-Yun was born in 4x09? But by this point, he's already close with Eddie and Christopher, but no one assumes that that's what he'd be to Chris.

Considering the 118 have witnessed the argument in the grocery store, Buck planned Christmas for the 118 because of Christopher (Hen witnessed him asking if he could spend Christmas with Buck), Buck telling Maddie that he's not really a guest at Eddie's house, Eddie telling Chim that the 118 is the family they chose, helping to build a skateboard for Chris (which Eddie puts on his own Instagram account), and Buck talks about his concerns for Chris going away to camp in front of the 118. Like all of this happens before Jee is born.

But no one makes that assumption. Buck is not considered an uncle until Jee-Yun.

That just stood out to me on my rewatch. Even before we found out about the will at the end of season four, it was already established that everyone sees Buck as Eddie's co-parent to Chris. Before he even truly takes on that parental role after Eddie gets shot.

He is his Buck. And his Buck is synonymous with dad.

[moongothic]

This is gonna turn into some Crocodad Propaganda eventually but putting the man aside for a little bit

Let's be real for a moment. Regardless of who Luffy's other biological parent is, regardless of if they're relevant to the story or not, no matter what has become of that person, if they're dead or somewhere out there alive, etc-- I believe Oda "knows the truth".

Although it took One Piece until post-Enies Lobby to reveal some of Luffy's blood relatives to us, Oda had technically introduced both Garp and Dragon to us all the way back in the East Blue saga. And Ace was introduced not too long after in the Baroque Works saga, along with his tattoo which held that secret tribute to Sabo all along. (Also he was introduced as "Portgaz D. Ace" meaning Oda must've intended to make the two non-blood brothers from the get-go.) All this means that Luffy's family, both adopted and blood relatives, have been in Oda's mind from the very begining of the story. And so if Oda had figured out Luffy's grandfather, father and at least one brother (if not both) from the begining, then why would he not have decided what became of the person who gave birth to the idiot as well? Like considdering how detail-oriented and meticulous Oda can be, would it not be unusual for him to essentially forget about a character that important (in the sense that Luffy literally would not exist without them) and just handwave them away without much thought? Would that not be out of character for Oda? As such, I don't think it is not unreasonable for us to believe that Oda would know what happened to Luffy's other bio-parent. Mind you, it really could be just something like "Luffy's mother died of The Disease when Luffy was a baby", or "the mom fell down the stairs" or "was eaten by a bear in the woods" or something, anything, whatever. Even if it truly does not matter to the story one bit, I'm sure Oda knows the truth of what happened and why that character wasn't a part of Luffy's life.

But at the same time, if the identity and the fate of Luffy's birthing parent truly did not matter to the story at all, then why wouldn't Oda just tell us who that was and what happened to them? In an SBS or an interview? It's not like people haven't been asking about it, because fans and staff alike have been asking about it for years. If the information really would not change anything, be it the direction the story will take or how we view the characters, if it really is just worthless trivia, then why keep it away from us?

Now of course, I'm sure you'd want to point out that one time Oda told Mayumi Tanaka that "A young boy's adventure begins after he leaves his mother's arms. I want to tell this young boy's adventure story, so his mom is not part of it." And Oda isn't known for lying, we do kind of want to take what he told Mayumi Tanaka at face value. At the same time though. If Luffy's other parent did become a plot relevant character in like the final 200 chapters of the story, after a 1100 chapters, they and their potential connection to Luffy would not have mattered to the story for 90% of its run. For an overwhealming majority of Luffy's adventure, that person would not have been a part of it. So if that character did become relevant, and Oda was lying, then it'd be a white lie at worst. But also, if Oda did intend to reveal that other parent eventually, when the time was right, then surely he wouldn't want to get people hyped up about it way ahead of time. If it did turn out to be a big plot twist or an otherwise important plot point, Oda would want to keep it under the wraps and a secret until the right time, you don't want to spoil something like that. Not to mention it could end up working like a distraction and make people not focus on the more important things happening in the story currently. So really, I think we'd all forgive him for a white lie there. Not to mention, technically speaking, if Luffy doesn't even have a mom but two dads, then Oda wouldn't really be lying either.

But that does bring up an important thing to considder.

If Crocodile does turn out to be Luffy's other dad, when did Oda get that idea, and when would he have committed to it?

Because, keep in mind, One Piece began back in 1997. Twenty seven whole years ago. Which means there's two things to considder; the evolution of queer rights over the past near three decades, as well as the fact that One Piece has more than surpassed Oda's original plans for the series. We must not forget how for a manga to remain serialized in Weekly Shounen JUMP, you need to perform well in the popularity polls consistently; if your manga starts dropping in popularity, JUMP can cancel it and force you end it prematurely. Of course, Oda arguably does not have to worry about those polls anymore after all these decades, there's no way in hell JUMP would ever cancel fucking One Piece in this day and age. But that might not have been the case 15 years ago, that was not the case 20 years ago, and that was absolutely not the fucking case 25 years ago. Like we all famously know that Oda originally planned One Piece to maybe run for like a year, then five years, then ten etc etc. That really is because at the begining of his career he had no quarantee he'd be able to tell the full story he was slow cooking at the back of his mind. Back in the early days, One Piece could've been canceled and ended prematurely, so Oda smartly chose to write it focusing very specifically on what mattered to the story at that moment, in the short term. Yes, he did start laying out the groundwork for things to come, but he did it so subtly that had OP been forced to end early, the series wouldn't have been left with too many massive, gaping plotholes or unresolved sidestories. Another thing to keep in mind is how comic artists for JUMP do have editors etc who can have a say in what goes into the manga (famously, Sasuke only existed because Matashi Kishimoto's editor suggested it). So again, while Oda might be able to do whatever the hell he pleases in One Piece at this point, that wouldn't have been the case 20+ years ago. He would have been more or less at the whims of his editors back in the day.

So would Oda have thought about giving Luffy, the main character of the series, a transgender father back in the year 2000? Could that really have been the secret plan from the start? And would Oda's editor(s) at JUMP have allowed that? Or, did Oda maybe come up with the idea later?

Now just so we're clear, I am NOT suggesting Crocodad was Oda's original intent and that his editors didn't let him do it or anything like that, my tinfoil hat isn't on that fucking tight. What I do want to suggest, is that it is plausible Crocodile being Luffy's other dad was an idea Oda was playing around with at the back of his mind from the begining, but wasn't sure he'd ever get to, mainly due to the uncertainty of series' future and partially because he could've been unsure if his editors would even allow him to write that story. And IF this was the case, Oda may not have even started committing to to the idea until around the CP9 saga. Or, it's possible Oda only got the idea sometime after the completion of the Alabasta arc/during Skypiea saga, and started laying down the groundwork for during Summit War so that, if he ever got around to it, he'd be able to commit and tell that story.

Regardless, let's be real.

It is interesting and kind of suspicious how Crocodile does just happen to be introduced around the same time the rest of Luffy's family was first shown to us, even if we didn't know Garp and Dragon were Luffy's family yet (this was also the same time the first canon queer character was introduced; Oda was playing around with queer characters during Crocodile's introduction, possibly testing the waters to see what he could get away with?) During the CP9 Saga we got the Miss Goldenweek cover story, where we see what's become of Crocodile after the fall of Baroque Works. This is of course adding to the world building of the CP9 Saga (where we're told the criminals who go through Enies Lobby are either sent to Impel Down or to Marineford; so us finding out Crocodile's gone to ID is playing off of what we knew would become of Robin and Franky and the Strawhats not come to rescue them. AND it's foreshadowing for the Summit War Saga), but also, soon after we were reminded of Crocodile and told where he's been sent off to, we were finally formally introduced to Garp and Dragon (Garp having already been mentioned by Aokiji at the begining of the Saga). And we close off the Saga watching Ace and Blackbeard have their fateful match. So again, Crocodile was on Oda's mind around the same time the rest of Luffy's family was. And indeed, after Thriller Bark we then move onto Summit War proper, where Oda does all The Things we would considder The Groundwork for Crocodad, most important being the introduction of Ivankov and their Devil Fruit. But again, just like before, Crocodile just happens to be there at the same time as this saga, which really heavily focuses on Luffy's family, plays out. While we learn about Dragon's secretive nature and connection to Iva-chan, Garp's feelings for the boys, Ace's struggle with his heritage and Luffy's love for him, Sabo and Garp... Yeah, Crocodile's just... Also there.

Whenever Oda starts dwelling into Luffy's family, Crocodile is always there. It's a bizarre coincidence if nothing else.

(And oh won't you look at that, Crocodile has once again become a plot relevant character, just in time for The Final Saga where Dragon has also started becoming actually plot relevant as well)

All of this to say, again.

The fact that Oda has refused to tell us anything about Luffy's other parent is sus, and to me indicates that either although unusual for him Oda genuinely just doesn't give a damn about Luffy's other parent, or he's been trying to play it safe for years so that if he ever got the opportunity, he could give Luffy two dads. (Or maybe there's some other twist that has nothing to do with Crocodile, that is possible too, I just feel like if that was the case then why hide it for 27 years?)

Whatever the case, I'm sure Oda knows the truth.

And I'm sure we will find out the truth eventually, be it on the pages of the comic or in the SBS.

[angelsdean]

people will say stupid things abt dean winchester everyday. the good thing is we can just say "that's dumb" and keep on being so good and sexy at media literacy. and loving dean winchester.

[certifiedlesbianvampire]

this week's episode was one that i've been looking forward to for a while, and while not perfect in execution, i still found it interesting, especially how it expanded on matakara and how his and arajin's fight played out.

arajin is a character that is guilty, that flees unless absolutely necessary not to, and would rather save face. he is a character that is meant to be unlikeable. contrast this with matakara, who is kind and considerate, helps his friends, and is willing to reach out, even if someone has hurt him. even their reasons for fighting could be pit against each other: arajin wants to fight to lose his virginity, and matakara wants to fight for his brother, arajin, and his friends.

the difference between arajin’s idealization of mahoro and matakara’s idealization of arajin is that, at the very least, you’re meant to make fun of/laugh at arajin- because you're not supposed to like him. matakara’s idealization of arajin is not put in a comedic light, because you're made to sympathize with him; you're meant to root for him. another example of a character who idealizing another person: mahoro. mahoro is self-aware she’s delusional. she’s self aware her brother doesn’t want her, and because she is so weird about him, her brother doesn’t open up to her as a result. but even mahoro (as much as i hate the brocon thing) can recognize it'll never happen. she still has her core values that don't stem from her brother.

arajin and matakara idealize people for two similar reasons. arajin is in love with the idea of mahoro, because she represents what is expected of arajin, a guy who wants to be un notable because he believes he can’t do more.

matakara idealizes arajin, because arajin represents the simpler, ideal life, the best life one can live as honki person, one that he strives toward. he idolizes arajin because he himself needs something to cling onto after his brother is gone.

matakara and arajin are two characters both stuck in the past. they both keep ideals from their childhood; because arajin couldn’t protect matakara, he believes he is weak and cannot do more than that on his own. matakara believes that since arajin wanted to become honkibito together, he would still want the same deep down and it’s him who’s weak.

matakara puts his faith in people, even if it hurts him. arajin doesn't put his faith in people, but he gets hurt because he doesn't trust anyone. both put their faith in different things because they don't trust themselves, so they let others dictate it for them. both are stubborn about their beliefs, yet fragile, and it hurts them when they are questioned so they double down on it.

arajin is an asshole, hell, he's a bad friend, but he never lied about his motives. matakara seeing their relationship through rose-tinted glasses and arajin being detached harms the both of them; it prevents their relationship from progressing any further.

arajin is *partially right, he is not is not what matakara thinks he is: the ideal matakara holds for himself and him. one of the key things that is first emphasized about honki people is that, "they don't run away." this is what arajin has been doing all this time. even then, arajin has not been tricking matakara in any capacity, because matakara has an idea of what arajin is, and clings to it for support.

*arajin didn’t lie back then about wanting to be honki people together, but since he believes he can’t do more for matakara (he’s used to running away) he avoids confrontation about it. matakara’s used these ideals as support so basically it’s like his beliefs were a lie

arajin is no longer the ideal that matakara saw in his childhood. now that matakara's ideals are shattered, he is vunerable to akutaro's & ichiya's manipulation.

i do think arajin and matakara are capable of being friends. however, they both need time and space to process their emotions. it’s shown that they can look out for each other, but one is overly committed (to an ideal version of the other) and the other is not. they need to find a middle ground to understand each other. i love their relationship because they're made out to be so different, yet they're so similar. i love how messy they both are, and i'm so excited to see how their relationship could possibly contrast ichiya/senya's. more importantly, i can't wait to see how their relationship develops/spirals from here.

[waywardstation]

WIP FRIDAY

I apologize for getting this out two days late, I’ve been busy with lots of packing and events! But I have a little reprieve, so I wanted to post another WIP; this one is from Heart Full, Bowl Empty.

BE AWARE THAT THIS SEGMENT INVOLVES A CONVERSATION REVOLVING AROUND UNWILLING BUT INTENTIONAL STARVATION. I know there are people who say they can’t read this fic because of themes like this, so be aware of this before reading this WIP!!

I included this snippet in today’s WIP because I have like three versions of the entire segment this snippet is from. I feel like it’s a really important segment with a really important conversation, and I’ve had a hard time balancing all the emotions the way I want to between Ingo and Akari, with frustration, sadness, anger, and empathy, to realistically get them to the resolution I want at the end of it.

The final version will probably only include a few parts from this particular segment.

Enjoy!!

—————

“I knew it! You’re doing it again!” Akari’s eyebrows scrunched, trying to understand through the frustration. “You said you wouldn’t!”

“Circumstances will improve soon.” Clearly done with the conversation, that was all Ingo said, but it was confession enough that he had fallen back on his word. Shame contaminated his voice, but if there was any regret, he hid it well.

“No, it won’t!” They were not even half-way through winter yet. “And you know it won’t!”

Ingo said nothing as the kits carefully moved around his slumped form, finding comfortable places to settle around him. She didn’t know if he intended to snuff the conversation out with angered silence, or if he was just too exhausted to care about arguing with her anymore. If it wasn’t for his small occasional signs of movement or acknowledgement, she’d think he was actually sleeping.

Akari carefully stepped into the nesting layers, moving to sit down next to Ingo. She settled with her back against the cavern wall, pulling her knees close as a few kits shuffled around to accommodate her. “You know I’m right.”

Huffing out an irritated sigh and nothing more, it didn’t seem like Ingo had any intentions to engage with her argument anymore.

“You couldn’t even pull yourself up over the ridge,” She prodded at him again, trying to motivate more conversation out of him. “I had to help you!”

“There are many, many factors that go into that.” A reluctant answer, perhaps a reflexive attempt to quell her worry; Ingo feebly rubbed his wrapped hand, almost as a display for his excuse.

“I’ve seen you do more when you’ve been hurt worse.” Akari retorted, a little softer now but still cold.

Ingo’s eyes remained closed, though his hardened expression implied that it came across as more accusatory than she’d intended. But perhaps it was precisely the time to be accusatory.

“Ingo, you’re so tired all the time now – you stopped coming to the training grounds because you just can’t make the trips all the time anymore! And you’re sleeping so much more than you used to, and it’s like you’re always hungry all the time, even though all I see you doing anymore is gathering food!” Akari’s voice grew more jagged as she continued to jab at him, entirely uninterrupted.

It was getting difficult. With Ingo’s tunic still sopping by the bucket, still somewhat red from the exhausted effort of washing out the blood, it could not hide the ribs that pressed out just a little bit more, or help fill out what the waistline had lost under the loosening belt. The abject dread of directly acknowledging that was too much.

“And- and look! You aren’t even willing to hold a conversation with me anymore, and I don’t know if it’s because you just won’t, or because you can’t!” The kits shifted uncomfortably as Akari retreated back into her own frustration instead. “People think you’re sick, Ingo! They’re asking me about you! What are you doing?”

The exhausted man remained where he laid in the nesting material, only moving his hands to rub at his face and sigh — a deep, forced sigh that swelled his side before releasing. Akari almost didn’t think he’d answer her, but with some effort, he propped himself up first onto his elbows, then slumped forward. The teen watched him run shaky fingers through his hair as he sat next to her.

“…I don’t know what I should do.” The guilt. The weary guilt cracked his voice and tore Akari’s anger down to heartache.

[inkskinned]

i have so much to say about this but like. fuck social media for making certain types of "pranks" popular. just as a blanket statement? if the intent of a prank is to humiliate someone without their consent, there is a good chance what you're doing is actually just bullying.

and if you record that person, you are being twice the asshole in that situation. recording someone takes away their agency. do you really think someone you just humiliated on camera is going to have both the bravery and presence of mind to calmly ask you to please delete the video if it makes them uncomfortable? and do you think the people who pull these kinds of pranks would be like - oh sorry, sure, let me delete it, no problem.

"pulling a prank" is like. supposed to be funny for both sides. when you put people in unsafe situations and then laugh at them/judge them for their response.... like. that's not funny. that's abusive behavior. you are training them to accept their dehumanization. it's controlling and ugly. please fucking have any form of empathy.

if you don't actually care if they feel safe/comfortable, you're not being funny. you're being mean. labelling something "a joke" in hindsight does not undo the damage. it just gaslights the other person into thinking their reaction was invalid. you broke someone's trust and personal boundaries for clout. they deserve to be upset about it.

and as a side note? i will bet you 200 american dollars that most of these "pranksters" would immediately crumble into a huge overreaction if anyone even vaguely reciprocated and put them into that level of humiliation - because it was never about how "funny" pranks are. it was about control and manipulation. they like feeling powerful and they like making other people feel less powerful. which is ... bullying.

[sotangledupinit]

i’m obsessed your honor

[wavesoutbeingtossed]

One day I’m going to finish that essay or whatever it was in my drafts that’s about the themes of womanhood/relationships/thirtysomething stuff and TTPD but since part of this discussion has been revived on the dash but also it’s Saturday so this won’t ruffle as many feathers, I think one thing that sometimes gets lost in the shuffle in the conversation about the muses and stories in the lyrics is just why the recurring theme of the broken dreams pops up all over the album, and why they permeate the discussion of both muses, if not *all* the muses in the album.

Not to project things on Taylor, but it feels pretty clear to me* that the dreams she’s talking about specifically are about having a family, and that is the through line in the album, and why the successive blows devastated her. (*I don’t want to presume that anyone else feels this way and this is just my interpretation etc.)

The suburban gothic allegory in Fortnight depicting a miserable, lonely marriage. The ring on the ring finger in TTPD making her explode with joy because it was a shorthand for lifelong commitment. “He saw forever so he smashed it up” in My Boy. “I’m pissed off you let me give you all that youth for free” and dying on the sacrificial altar in So Long London. Marrying her wild boy in But Daddy. “Get the matches, toss the ashes off the ledge” in Fresh Out the Slammer (as in, she burned her life down). “You shit-talked me under the table talking rings and talking cradles” in loml. “The deflation of our dreaming leaving me bereft and reeling” in How Did It End. “Promises ocean deep and never to keep” in Peter. The allusion in The Manuscript that the man in question made her think he was in it for the potential of a serious commitment only for her to feel used when he moved on. And there are probably more examples I’m not thinking of off the top of my head here.

But what I’m trying to get at delicately is that from what she’s put down in TTPD, as well as what she’s put down in previous albums (“give you my wild, give you my child,” Paper Rings, Lover, renegade, YLM, etc.) building a life and a family with this person (Joe) was not only something she wanted, but seemingly deliberately planning and working towards. So in the death throes of the relationship, her grief was not just about things like losing someone she once loved, the breakdown of this relationship that was once comforting to her, what she gave up to make their life work, etc. but about this important thing she had dreamed of and what she seemed to feel was on the horizon. What I think I’m trying to say is that it had likely shifted at some point (even just based on the album pipeline) from a hypothetical “one day we’ll have ten kids and teach them how to dream” thing you wonder about with a partner to something that felt a lot more… tangible. (Again trying to be sensitive in my word choice/not project or assume things etc.)

I don’t want to make any accusations or assumptions on main, but I think those kind of life plans feeling within reach not only makes it understandable as to why someone would stay in a relationship whose cracks were turning into fault lines, but on the flip side why giving up on something that felt like it was on their doorstep would be so wholly devastating.

But it’s also why what happened in the two successive relationships *was* so devastating in the songs on the album, and why the Matty thing specifically was so twisted. He’d reentered her life and he’d insinuated himself back into her circle and gained her confidence which in turn led her to confide things in him (the “hostile takeovers” of it all, the whole bridge of The Smallest Man with its honey pot spy mission imagery in which like a mark he sweet talked her into sharing her most vulnerable, compromising “secrets” only to then turn it around to use her and ghost her like a trained operative). And given the way the family thing appears in both presumed storylines, it’s again because Muse #2 used the info gleaned about the life with Muse #1 to sell her a con about an alternate path to what she was mourning so deeply. (And why it’s such an unconscionable act because it’s manipulation, at least going by her own words about her experience of it. It’s as cavalier as the organ donor line in The Manuscript, with the same effect.)

The shittalking about rings and cradles is both of them (if not all of them) because in all cases, they ended up raising her hopes only to not plan on following through. One because he maybe couldn’t commit, one because maybe he was never serious about it. (And the one who did it first who was both 🥴.)

If I had to guess (because I am not Taylor so I will obviously never know any of this for sure besides picking up context clues), the dream was like a carrot dangling in her mind, feeling like this is what the “agony” to quote another one of her songs was for — like, things may be hard, but life is hard, and at least they were building towards *something* she felt they both wanted. And as that dream slipped through her fingers, it created a cascading series of events that crippled her emotionally for a time. So when she mourns that life in her songs, it’s almost like it’s the same dream, just in shifting contexts. The conman selling her dream back to her is comforting at first, but hits doubly hard and leaves her broke when it disappears.

The story throughout the muses on the album isn’t “she jumps to the person who promises her these things,” it’s that it’s a whole life she’s built that crumbles under the weight of reality knocking at the door and a foundation that shifts until it disintegrates. And losing that foundation and the dreams built upon it leaves her searching for answers in the wreckage — and looking elsewhere for clarity for a time. And it’s why it’s so hard to remove one muse from the other (or again, all of them), because that central driving force is used by each of them in different ways to build her up and take her down. And why working through the pain of one situation bleeds into that of another.

It’s hard to delve into this more without crossing boundaries or whatever, but it’s just such a palpable open wound in the album, but also why working through the pain in different contexts on TTPD brings to light all these different kinds of hurt but also the emotions that go along with them.

Anyway. That other essay will write itself at some point idk.

[dykedvonte]

@gecko-in-a-can THIS ABSOLUTELY

Resentment is such a big part of Benny’s motives towards House, feeling he’s underserving to rule and shouldn’t have the right to keep the title of Vegas just because he claimed it first long ago. Say what you will, Benny puts the effort in, through honest and dishonest work albeit, but he puts in the effort. Not saying House didn’t but House had the luxury of having a lot of that effort done before the war and subordinates to do so after. House is untouchable, something everyone wants in the Mojave, if not for the power, but because of the security. House takes that for granted seeing how easy he thinks it is to buy people. Benny, a Mojave native, has to be irate about that seeing how he has seen the heights and slums of both lives.

Also with the AIs it’s so telling because in a lot of ways, Yes Man has more autonomy than House’s major personality securitrons. Yeah, Yes Man has to be helpful but he’s aware and able to be snarky and coy. Benny has an issue with not being listened to but that’s the only perimeter Yes Man needs to act on. He can’t condescend but lord you can tell when he wants to. House’s AIs serves specific and highly detailed functions but are confined to act in accordance. They are subservient to a T and are extensions of House while Yes Man really is a creation that adapts further, hence his desire for the assertive upgrade. Benny made something, or at least was okay with a helper, that can progress for itself. House made things that replicate or facilitate an era of the past and don’t hold the power to contest it.

[aces-to-apples]

Xenk Yendar doesn't traffic in colloquialisms because he's so old he doesn't know any anymore

[creativesplat]

ok... so Lambert x Eve...

Eve and the two Blaiddyds

Lambert and the two Fierenes

The step-siblings

@blaiddydbrokeit and I were talking, and they have now sent me down the wonderful rabbit hole that is Eve and Lambert getting married and looking after their children.