#but its ties well

[wojtekaneko]

That's how it went

[catmask]

for me at least, theres always been a really stark divide in the 'child character is the main antagonist' sort of stories.

on one hand. theres stories that rely on the shock factor of a child being evil, because we're supposed to believe that kids arent capable of that sort of thing. i guess its supposed to be frightening but the novelty always wears off really quickly for me.

i think 'a child is the villain' always lands most successfully for me when a kid is given power beyond their years (either by adults around them or otherwise supernatural/societal forces) and then everyone is floored when they arent exactly responsible with that power. and sometimes theyre even selfish! not because that kid is evil, but because theyre a kid.. acting like a kid would in their situation.

it means that any sort of story that follows requires a protagonist to reason with someone who may not even understand the harm theyre doing, or worse - not have the life lived to understand why they should care in the first place. and also, i think watching what happens when u have an destructive force seeking comforts that any child deserves doing whatever they can to have those things is (to me) much more interesting than 'child who is fucked up and evil for no reason but being born that way actually'

[dooblebugss]

self sacrificial

[ego-meliorem-esse]

I secretly enjoy Arthur as a woman and I'm making it your problem

Late 1880s ish i think but dont look too deep into it lol

[citrusinicake]

in another universe

[clownpulp]

hiii know i havent posted much art here lately but i am once again disabled and very broke, looking for anyone who may want one of these semi-monochrome rendered bust sketches :] $25+ depending on detail, and i can always do larger pieces, color, etc !

dm here or email me clownpulp@gmail.com

ko-fi if you just want to help me out

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[poorly-drawn-mdzs]

Gearing up for the stat boosts

MDZS Disco Elysium AU Part 3 (Part 1 - Part 2 - Part 4)

[bread-wizards]

I think a lot of the meta about Orym forgets that Orym isn't just an adventurer, he is a former bodyguard. His self worth is tied up in how well he can protect people and especially his loved ones. Thats why he sold his future to a hag, because its all he had left to give in order to be able to help.

Thats also why he seems so angry after FCG's death.

Otohan has killed his husband and father. Then him. Then he is brought back and told she also killed Fearne and Laudna. She killed Eshteross. She almost kills Keyleth. Now FCG has to sacrifice himself to save them all and kill Otohan and Orym was knocked out for it.

His job is to protect people and even with the added power from Nana Morri, it's still not enough. 6 years later and his loved ones are still dying and he can do nothing but watch.

[jackoino]

tied together

[lesbiangiratina]

Hi do you like images. I love images. Heres a little over 100 guilty gear trading cards from the early 2000s. Every character up to xx is accounted for… some more than others. For now. But the average is probably 4 or 5 cards per character. Nearly all of the art is original. Okay have fun :)

[caeslxys]

Something I think is extremely interesting thematically when it comes to connecting what Downfall and the ideas it tackled to the overarching narrative of campaign three is that the things Downfall made a point to showcase of Aeor—Cassida, Hallis, the visual of an aeormaton proposing to her partner, the specific and intentional decision to shed light on a far from insignificant amount of the population being civilians or refugees—is that it plays in perfect parallel across from what is happening (and, really, has been happening) to the ruidusborn on Exandria in present.

Bear with me for a moment. Aeor is ultimately a city that was collectively punished for the decisions of its leadership. We could (and, judging by the amount of discourse around this particular topic already, probably will) argue about what the Gods’ motivation for all of this was—whether it be that they could not, in the end, bear to kill their siblings or that they were terrified at the prospect of mortality—for me it is a very healthy dose of both—but for this I am much more interested in the latter. They were scared. That, really, is the driving force behind both this arc and their role in c3 as a whole.

Why I point this out is: It is far more interesting to me, especially as we go back to Bells Hells this week, to dissect the Gods and their decisions not purely on sympathetic motivation alone but as beings in the highest seat of power in the highest social class in Exandria.

So, having established that the Gods (in relation to mortals) are more a higher social class than anything we could compare to our real life understanding of divinity and that Aeor was eviscerated largely because of their fear—what is the difference between those innocents in Aeor caught in the trappings of their autocratic government leadership and a divine war on the ground, and those of the ruidusborn being manipulated both by Ludinus and by the very thing that inspired such visceral fear in the Gods to start with. I would argue very little.

I think of Cassida, doing what she genuinely thought was right and good and would save people, her son, and the object of her worship—and how that did not matter enough to any of them to spare her because of the fear they held at the very concept of mortality. I think of Liliana and Imogen, one of which we know begged for the gods to help her or send her a sign for years on years, and how every single one of their largest struggles could have been avoided had the gods loved them, their supposed children, as much as they feared what they could be. I think of how the thing that did save Imogen, in the end, was a woman who herself existed in direct defiance of the gods will. I think of that young boy, sixteen years old, that Laudna exalted on Ruidus.

I think it’s completely fair to judge Aeor’s overall society as deeply corrupt—it was!—but its leadership and police force are not a reflection of every one of its citizens. Similarly, it is fair to judge the Ruby Vanguard as corrupt—it is!—but its multiple heads of leadership and even the god-eater further are not a reflection of every one of its members.

Notably, and what I think the Hells will latch onto, this did not matter to the Gods. It did not matter that Cassida was trying to help. She was still too much of a risk. Will it matter, what Imogen does? Will it matter, if that young boy is in the blast radius when they decide to take no further chances?

I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?

I obviously do not think the Gods should die or be eaten or what have you, and I certainly don’t agree with Ludinus (though I find him much more compelling than just a variation of hubris wizard), but when talking about the Gods in Aeor and in present it isn’t really at all about their motivation or their family. It can’t be. Too many people, including our active protagonists, lives have been effected for it to be as cut and dry as “they’re family”. These are your children. They are your family, too.

[mangotelevision]

I love to think that the real reason the members of the jury have to renounce their family and their past isn't because of some oath they take, no it's because when they take the power of the jury they start to lose who they once were. They forget those that they used to hold dear because of the powers their jury form lends them. They don't intend to forget and it's not instant, it's slow and gradual. Overtime it'll just feel like a dream, becoming unsure if there was anyone ever there to begin with.

This theory very heavily ties back in with Katelyn, why after the Irene dimension she wasn't too quick to go searching for her family, because at that point she had forgotten who they were a long time ago. She's no longer a member of the jury, no longer influenced by this memory fog. But it still lingers, throughout her time with aphmau and laurance she starts to remember little things, she knows there were people, those who she cared about. But she can't remember their names, who they were, who they wanted to be. She remembers feelings. It's why when she talks about her family in the later season she's so inconsistent, because she doesn't remember and it bothers her that she might never remember

[casualavocados]

You look better this way. What way? Nothing. I couldn't get a hold of you for days. Did you work undercover in the school and help Zherui investigate?

KISEKI: DEAR TO ME Ep. 08

[98chao]

truly i love all of you and i'm so grateful for all the support i get on my vanilla milkshake posts here because i've just seen the way people talk about vanilla milkshake and mysticao on twitter and its genuinely taken 50 years off my life. now i've been reminded as to why i should never join the crk fandom on twitter

[jerreeeeeee]

i don’t know if i’m ever gonna write the fic but i’ve been thinking abt like. the eternal stockade. the implications. lup, a lich who was trapped in a dark featureless cell for a decade completely isolated with nothing to keep her sanity but her own mind. she has to put people in the eternal stockade. how many liches does she see herself in. how many liches started out just like her. how many liches are truly too far gone. and the only liches we ever see other than her and barry are edward and lydia. they’re certainly evil, but mad? they seem pretty sane. they’re not, like, tattered echoes of souls, they’re definitely still people. even as much of a grudge as lup surely has against them, wouldn’t they remind her incredibly strongly of herself? do they deserve to be trapped just like she was? for eternity? isn’t eternity what turned john to existential despair in the first place?