#brainrot language

[caramelcandycookietwt]

[superduperkas]

Arcane is a masterclass in body language and how to properly use it in storytelling to get your message to your audience without thunking them over the head/spoon feeding it them.

Caitlyn's relationship to Vi vs her relationship to others is a great example.

Caitlyn is almost always trying to create less distance between Vi and her or "fill the gap" between them:

Cait steps over the red line in Stillwater to show Vi the evidence

After Vi ditches Cait in the brothel to jump Sevika, Cait seeks her out and saves her from Sevika

When she gives Vi the medicine for stab wound, they're breathing each other's air

She reaches across the space between them on her bed to caress Vi's face

She chases after Vi following the Council meeting not going their way

Fairly certain, she was going to go look for Vi after her shower if Jinx hadn't kidnapped her

She seeks out Vi after her dad, more or less, says he doesn't want Vi in their house. Not to kick her out but to find some comfort in being close to her (i think this is why she pushed so hard for her to be an enforcer, to keep her close)

Cait also does a fair share of looking at Vi's lips, slightly leaning in, and second guessing herself all within a span of a blink

Vi asks Cait not to change (she already has), so she closes the gap between them, and they share their first kiss as a form of reassurance

She takes down Vi mongoose style and again starts closing the gap between them by betraying Ambessa and helping Vander

Cait slightly/momentarily leans towards Vi's lips when she's pulling the bag over her head

Vi spits in her face and wipes it TOWARDS HER MOUTH and not away

After Jayce shoots Viktor and Ambessa attacks, Caitlyn has ample opportunity to go after Jinx, but she focuses on Vi and covering her back until she gets sliced across the abdomen and then she runs to her to help her to her feet

Now let's look at how Caitlyn creates gaps and space with Maddie even tho they're sleeping together:

Beginning of episode 4, while they're sitting in bed, Maddie tries to close the gap and create some intimacy. Caitlyn, in turn, leans away from her, creating space between them

Maddie is also the one trying to initiate/create emotional intimacy, and Caitlyn swerves her each time

Maddie kisses/nuzzles Caitlyn's neck, and in response, Caitlyn has the quickest expression of "eugh" before fixing her face and moving away from Maddie

Instead of leaning into the intimacy Maddie is trying to give her, Caitlyn gets up to work on something and says she'll come to bed soon

Caitlyn lets Ambessa dismiss Maddie from the room after (more than likely) overhearing the discussion about restarting the council (I really think if this were Vi, Caitlyn would've pulled rank and told her to stay)

Maddie is also very absent from the rest of s2p2, and given how we've seen Caitlyn actively seek out Vi in her absence, she honestly doesn't seem to care where Maddie is or how she's doing

And none of this is explicitly told to the audience thru dialog. All thru body language. And i just think that's really neat

[svtskneecaps]

FUCK IT!!!! I MISS WHEN MY MINECRAFT SERVERS HAD CULTURAL EXCHANGE IN THEM!!!! I MISS WHEN MY MINECRAFT SERVERS HAD LANGUAGE BARRIERS IN THEM!!!!! I MISS WHEN WE WERE ALL CRAMMED IN A PIT TOGETHER SCREAMING AND SHAKING AND SOBBING AND CONFUSED AS ALL HELL SITTING IN THE TUMBLR LIVEBLOGS HOLDING HANDS AS WE ALL EXPLAINED WHAT THINGS MEANT, WHAT THE REAL WORLD CULTURAL CONTEXT WAS, WHAT WAS GOING ON IN BITS THE TRANSLATOR COULDN'T GET!!!!! FUCK IT!!!!!!! I'LL TAKE ANOTHER GODDAMN PURGATORY!!!!! GIVE ME A BUNCH OF PEOPLE FORMING SIX PERSON FAMILIES OVER THE SPAN OF THREE TO FIVE DAYS!!!!!!!! GIVE ME THE EVIL SHADOW GOVERNMENT THAT NEVER MADE ANY GODDAMN SENSE, GIVE ME THE STUPID FUCKING EYE WORKERS THAT WERE AGGRAVATINGLY UNBEATABLE, GIVE ME THE CONFUSING ASS BLACK CONCRETE STRUCTURES THAT WENT BASICALLY FUCKING NOWHERE!!!!!! I'LL TAKE IT ALL IF IT MEANS I GET A FRENCH MAN AND A GUY FROM LUXEMBOURG AND A WOMAN FROM SOUTH KOREA SHOOTING THE SHIT IN A MINECRAFT PIT STARTER HOUSE AGAIN!!!!!!!!!! I'LL TAKE IT IF I GET BRAZILIAN PORTUGUESE AND FRENCH AND ENGLISH AND SPANISH SITTING AT A FUCKING TABLE IN A SECRET UNDERGROUND MEETING ROOM THEORIZING ABOUT A MINECRAFT CHARACTER WITH AN APPEARANCE BASED ON A JOKE ABOUT A GUY'S DOG BEING AN AMERICAN CONSERVATIVE!!!!!!! GIVE IT BACK!!!!!!!!! GIVE IT BACK!!!!!!!!!!!!

[emmygdala]

brrrrrr the water is cold brrrrrrrrrrrr

[distorted-destiny]

they're both centuries old but kon is mentally gen z (ri despises it)

[one-time-i-dreamt]

My crush was giving me Spanish lessons in a very… sensual manner.

He was sitting on a chair, saying the Spanish words slowly, flirtatiously, and making me repeat them. I swear he was watching my every movement. I’ve never been more entranced.

[kouraissant]

In the examination of a (love poem) name

On a name that was a love poem, On Yudrein Aile, On Eternity (Above) The Vine, Tennessee Williams / Chapter 445, Turning, 쿠유 / Dear [ ], Nick Lantz (2018) / Soft Human, Emery Allen / Handle with Care, Jodi Picoult / Headless John the Baptist Hitchhiking, C. T. Salazar / Maria, West Side Story (Below) Letters to Milena, Franz Kafka

[cometrose]

love love love the contrasts between azami and shiba.

shiba: blonde, light eyes, wears western attire, taller, more burly look to him

azami: black hair, dark eyes, wears more traditional clothing, more boyish appearance, softer on the eyes.

Shiba gives off rugged smoker while Azami is much more gentle in appearance. Shiba is the one who ditched the Kamunabi while Azami stayed a govt hound. But when it comes to fighting?

Shiba is a teleporter who bounces from left to right. You don't see him coming. He hits hard and then he's out of there.

Azami is a bruiser who shows no mercy pummeling people into the ground. In his first appearance he shows up out of nowhere and immediately grounds two people to dust.

Despite his soft appearance Azami is the executioner, he doesn't even use his sorcery, his brutality doesn't rely on his magic. Shiba is the fleet footed fighter who we have never properly seen in combat.

We have yet to see the depths of their powers but they're clearly a dynamic duo and god I would have loved to see them fighting together.

[that-foul-legacy-lover]

learning what all of Foul Legacy's noises mean.

learning the language of the Abyss is... not your forte, to say the least. you're okay navigating old texts and books, matching the faded words and symbols to ones that you know, but the growls and chirps of the monster you found is another matter entirely. he's a peculiar beast- at least, for someone from the Abyss. rather than attempting to claw your face off or electrocute you to death, he prefers curiously sniffing at your hair and clothes, poking delicately at your skin and letting out little trills and coos. he's not trying to harm you in any way, merely circling you a few times to examine you up and down before curling up and leaning against your crossed legs. there's a click and a chitter of interest at the sight of your notes, idly scribbled any chance you had to hear him speak.

chirps, trills, and chitters are akin to normal conversation and answers.

coos are happy, cheerful, or teasing responses.

growls, hisses, and snarls mean threatened or angered. however growls can depend on the tone- occasionally they can be playful.

croons are soft and gentle, an expression of affection.

body language and movements are very important- fluttering wings is a sign of happiness.

the pages are littered with question marks and your own personal musings, even a couple of doodles here and there. the monster tilts his head, claws just barely resting on the thin sheets of paper, not nearly enough to tear. his glimmering, star-speckled wings flitter and twitch just like you've seen before, as if he was entirely overcome by joy, joy from seeing you put so much effort into learning his mannerisms and habits, despite just being an Abyssal beast. he croons sweetly, nuzzling his head against your cheek and snuggling closer to you, the ray of sunlight who came his way. your new friend settles, both in your lap and curled around you, with a contented huff, and slowly, quietly, he begins to purr.

your eyes widen, and your pencil begins scratching away again, describing one of the loveliest sounds you've ever heard.

[alicornze7]

AvM fandom is this accurate-

(pls don't burn me at the stake)

[that-vampire-loser]

Headcanon that Neil is touching Andrew at any opportunity (with permission, of course)

Sitting in Andrew’s lap at Eden’s

A hand on Andrew’s thigh underneath the table at sweeties

Laying his head on Andrew’s shoulder during bus rides

Sitting on opposite sides of their couch with their feet tangled together

Sitting between Andrew’s legs on the floor during movie nights with the upperclassmen with his head resting on Andrew’s thigh

Sitting with his legs sprawled over Andrew’s when they’re in the Fox lounge

Holding hands on the center console of the car

Or having Andrew rest his hand on Neil’s thigh when they’re in the car

Laying his head in Andrew’s lap at any time since he knows Andrew likes playing with his hair

Laying his head on Andrew’s chest when they’re sleeping

Having Andrew sleeping practically on top of him on the couch

Holding his hand whenever he can

Basically Andreil just being in love, and neither of them are afraid to show it

[onioety]

Insane (as in 'I'm crazy') aesthetic-philosophical mini-analysis of Squid Game, taking In-Ho’s books as starting point.

This painting by Magritte is actually part of a "collection", or an extended project, in which he painted twenty-seven slightly different versions of the same scene, between 1949 and 1964.

In all of them we can see what seems to be an intrinsic contradiction: the sky is clear and evokes a dayscape while the lower part of the painting portrays a nightscape, only illuminated by the lighting of a lamppost and the interior of a house, which appears in all versions of the painting. These two elements are the common link between the works and, in addition, they ensure lighting at night, giving an element of permanent illumination to the darkness.

For Magritte, this painting represents the convergence of a duality that is not such: night and day can be at the same time, wakefulness and slumber, darkness and light. The antinomian conception of such elements is not.

In-Ho having this painting in his room not once but three times is quite curious and representative, portraying both the reality of the character within fiction and his own subjectivity and beliefs as a fictional individual. Squid Game deals at length with the theme of human nature and presents a challenge to the classic simplistic construction of characters based on watertight categories that include "goodness" and "evil". Like everything real, nothing is entirely positive or negative; It is more natural for night and day to coexist than concieving them as separate and dichotomous entities.

Just as Gihun is a kind-hearted and altruistic protagonist, who at the same time can be selfish, unaware and clumsy, In-Ho is an antagonist who could by no means remain solely in the shadows. The dividing line between one notion and the other is fictitious and even in the depths of the night, the interior of a home or a lamppost can provide a last glimmer of luminosity to darkness.

At the same time, beyond human nature and the principles that have been so deeply held, the rupture of the three spheres of the aesthetic field (goodness, beauty and virtue), this work speaks to us of an absurd rupture with the established that, by breaking, generates a new vision. This way of seeing transcends the principle of non-contradiction and shows us that the world, which we believed in a certain way, is not such. There is no privileged form of apprehension of reality, there is no beginning or ultimate order, no God as the guiding principle of reality.

This connects with the work of Nietzsche that In-Ho has among the books on his shelf, which I speculate may be Thus Spoke Zarathustra. One of the author's best-known works and probably the most relevant in terms of his metaphysics, in it he talks about the "death of God", not understood as a Christian God but as this "guiding principle" of which we spoke. That is, he proposes that the end of Realism has arrived, of the belief that there is a direct and apprehensible correspondence of reality, of what Is, assured by a figure or principle that generates order and allows us to access it. It may well be the God of St. Thomas, the pantheistic gods as natural forces of Espinosa or the First Mover of Aristotle.

This book opens the door to the ill-conceived nihilism; What does this mean? For Nietzsche, the awareness of the absence of a guiding principle leads us to a terrible dilemma: if there is not something or someone that establishes what is and what is not, or what is good or bad, what happens to value? What has value and what doesn't? Is it all indifferent? We can refer to the Leibniz-Newton discussion about God and possible worlds: How can God choose which world is better if they are all essentially equal and there are no criteria for choosing one over the other?

Thanks to this scene from episode five of the first season we can make interesting connections. This moment occurs after In-Ho learns that some of the soldiers (who traffic with organs) are passing clues to one of the players (the doctor, Byeong-Gi, player 111). In-Ho says he takes the situation especially seriously because it breaks the backbone principle of The Games; equality. In fact, in his speech, he talks about how he considers that people who play have been systematically socially discriminated and that this is a place in which they are allowed to be equal and free.

His fixation with this moral principle is fairly curious and the firmness with which he defends it, considering that for Il-Nam the games were "fun" and the VIPs of the first season bet on the players as if they were "horses" (Gihun's exact words in the first episode of the second season). None of them seems particularly interested in conceiving that place as a space of equality and non-discrimination, much less as a resource that allows the "salvation" of a single individual, endemically oppressed and socially tortured, only In-Ho.

We also appreciate this in the penultimate game of the first season, in which players have to pass the glass bridge. In-Ho decides to adjust the light after verifying that one of the players worked in a glass factory, because that made him able to distinguish which glasses were tempered and which were not, "seeing something that the others could not see". This decision has nothing to do with "providing more excitement to the game", pleasing the VIPs or with a possible joy in adding one more deceased to the list of 452. It is a question of morality, of justice, of the preservation of equality.

Going back to the scene from the first season: the fictional sky painted on the walls of the room where all this action takes place has almost Magrittian clouds, the blue is rather vivid, bordering on the daytime. However, as in Empire of Light, we know that it is night. At night, the Frontman, dressed entirely in black, contrasts with a luminous sky. What or where is his lamppost and the light from the windows that illuminate him? What is the daylight that coexists with the prominently nocturnal nature of his being and The Games? In the absence of a Day, of a God, the only thing left for him is to impose a guideline, providing sense and meaning. To generate value, Freud would say, we part from an eros, an irrational erotic need. When we talk about eroticism, we are talking about a sensitive, moral and subjective impulse that transcends the plane of rationality, a value generated not because it is believed to be right but because it feels right.

Talking about psychoanalysis and that eros takes us back to another of the books that In-Ho has in his collection:  Lacan's Theory of Desire. Halfway between philosophy and psychoanalysis, the Lacanian theory of desire talks about absence. Desire is a "veil" that clouds death and that is the result of life, intrinsically linked to language, and language is life and body. In addition, desire is born out of absence, of the need for something non-existent or non-present, which goes hand in hand with dissatisfaction.

For Lacan, this dissatisfaction is endemic and unnatural or instinctive. He equates instinct with pulsion, assimilating the former to the animal and the latter to the human, and affirms that desire is in no way remediable or can be fulfilled. Pulsion is human, linguistically based, unnatural (insofar as it is non-biological) and insatiable.

Since we are not animals and it is pulsion and not the instinct that we experience, our generation of desires cannot have an end, although pulsion must be satisfied, the desire is not. We desire above biological faculty or necessity and desire things that far transcend what we want.

For Lacan, the satisfaction of the pulsión without any kind of limit leads us to death. Destruction and pulsión-pulsion are two human realities very close to each other. However, desire can also be antinomian topulsion, understood as a pure absence. Where there is desire there is absence and the maintenance of a desire is the suspense of the execution of a pulsión.

All these impulses, pauses and continuations, are constantly seen in the reality of the characters of the series. Succumbing to pulsions to the point of death or despair but also putting pulsions in suspense, falling into the absence of desire. A desire that in some is shown as an erotic void guided by a moral value, that of stopping atrocities, that of believing in humanity, despite living with a long course of passionately satisfied drives; horse racing, alcohol, tobacco...

Again, we return to the concept of value. And we do so with The Stranger, by Albert Camus, exploring another of the books in In-Ho's collection. Camus writes this book in France in 1942, showing from the most absolute subjectivity of the protagonist how an individual inhabits a world without value. There is a lack of value in the most purely Nietzschean sense, as a guiding principle, and at the same time emotional and subjective.

For Meursault, the protagonist, there is no room for courage in a world degraded to the absurd, which only generates apathy and meaninglessness. Death seems to be shown as the only way to escape, to recover courage, to generate a morality, to recover existence.

Perhaps that idea of death as redemption or the only possible way out of the absolute absence of value is the one that No-Eul claims or the one that, in some way, In-Ho is "gifting" to players.

Finally, I wanted to talk about another of the books, The Catcher in the Rye by J.D. Salinger. Published in the 50s of the twentieth century, it follows the leitmotif of other novels of its time, such as The Bell Jar by Plath or No Longer Human by Dazai Osamu: young adult faces the reality of a decadent and worthless world. However, one of the internal struggles of the protagonist, Holden, lies in his need to provide himself with this value, from a moral point of view and that borders on the martyr. Holden wants to make a change in himself by making sense of the world.

"The mark of an immature man is that he wants to die nobly for a cause, while the mark of the mature man is that he wants to live humbly for one," Mr. Antolini (his teacher) tells Holden. Contrary to Sartre's idea of death as a provider of meaning, here we see a generation of value that binds you to life, even if it is a life that confronts you, that ties you forcibly against the pleasure of death. Gihun lives for a noble cause, his courage and his meaning lie in stopping the games and only for this reason can he bear the weight of life, against all impulses. In-Ho needs his life to have a cause, a motive, a value. That's why games have this capacity for redemption and justice, to generate equality, to him. Without this, only death would remain.

[somedayillbepeterpan]

I just know that Penelope would be the most spoilt wife in Bridgerton because Colin’s love languages are both gift giving and acts of service.

[maaxverstappen]

Mandy… we must discuss max/oscar… what is the lore… what are the notes…. Im clocked in ma’am im ready to be deluded — wiz

ok so i called myself the unofficial head of this ship (lol) but actually looking through the tumblr tag i must denounce myself and crown @nyoomfruits instead bc she has been on it from day 1

max and oscar are just so similar i think they get each other!! they're both very down to earth and very focussed on the job. both of them hailed as extraordinary in lower formulas and quickly making their way up (ofc max's was very quick and oscar had his year out, but still all things considered). i feel like a lot of it is max being surprised about oscar, i dont think he expected that deadpan energy/serious but enjoying it/quick wit from him and now hes like oh i see, i get it. maybe also helps how much lando gets along with oscar and max obvs likes lando. trusts his opinion.

max praising oscar when he hardly ever praises anyone like this

oscar looking up at max with awe and eagerness (its a still from a video but let me have this)

this tho!!! max never sits on the floor but sees oscar doing it so joins him?! for no reason?! lando was in the chair it wouldve been so easy to sit next to him (as he then does later) "thank you mercedes" and then max's fond laugh and almost surprise. surprise that oscar can be witty like that!! max didnt expect it oscar turning around to watch the screen and being too late. max laughing at him, checking to see if lando is laughing too. if it isnt weird that max is laughing at oscar's joke/misfortune. max then doubling down and voicing what happened as if they didnt all just witness it right there.

like i said on the oscar discord too, i think oscar would indulge max's maxplaining!! he enables it and is like "Huh, I never thought about it like that. Have you considered that [x]" and then suddenly its 11pm and everyone else has left the paddock before they even look up from their convo

and

they would absolutely bicker over Everything but neither would really perceive it as bickering. thats just how they are

also they both have cat energy so

[invye]

Thinking about what kind of weapon Lucifer would wield (aside from Keekee, my beloved Keyblade kitten is a special girl for special cases I need to yell about her in a dedicated post soon) and while going with the flaming sword or angelic steel spear are both very nice options my brain just went:

Ghost Rider aesthetic.

Give him the chains burning with Hellfire.

Lucifer using the chains of his own exile as a weapon against mouthy Sinners is just *chef's kiss*

This then evolved into an image of Lucifer defending the hotel with those burning chains curling around his form as if they have a life of their own and it's super epic as he walks up after his initial sweeping fire attack, there's some metal music playing in the background (Alastor does not approve), Angel does the fangirl "kyaaa!~" from the back line (he's committed to the bit!) and everyone in general is relieved that Lucifer showed up before The Wall™ was broken down again.

The attacking Sinners are kinda confused "who's this half-pint?"-style (they're new in Hell, who else would willingly attack the hotel at this point? Though one of the smarter ones is trying to make a sneaky exit) only for them to have the shock of their life when the shadows behind Lucifer begin to congregate and grow with Alastor grotesquely going full demon, one giant hand braced on the ground right next to Lucifer as if he isn't burning hotter than the Wrath volcanoes.

Alastor tries to pull a "leaving so soon?" on the now scared shitless Sinners, but is interrupted by Lucifer going "you're late, bellhop."

Cue Alastor and Lucifer getting into a fight which is basically chains vs tentacles trying to restrain each other and get the upper hand.

The attacking Sinners? Idk, collateral probably, no one's paying attention to them anymore. Husk hands out popcorn. Charlie is just happy her dad and her hotelier are fighting outside the hotel.

[vieoeil-riae]

okay but imagine you get isekai'd into black myth wukong but you're chronically online and have played the game, like if you make any cultural reference or joke or jargon you'd just sound insane

like imagine you accompany the destined one and zhu bajie and you end up having to explain why you know so much despite very much Not Being From Here and you quote "this is an RPG, what role am I playing? the fucking victim?" while describing the combat or start yapping about how insane it would be if BMW was an open world because if that happened and the graphics were the same then your console would like, explode, and they just look at you like you've grown 3 heads

like you could be the funniest mf out there but you giggling at your own jokes just makes them worry about your own mental state 💀💀