#i'm trying to write something

[thelightsgoout]

the horror of something impossibly old or the horror of something impossibly new. or both. i might be able to do both.

"it's been there as long as anyone can remember." vs "the legends say it sprouted from a sunflower in a day, like jack's beanstalk penetrated earth and clouds overnight."

[egophiliac]

Final manifestations for Book 7?

I'm trying REALLY hard not to build up any solid expectations, because I wanna go in ~fresh~! they're already so far away from anything I thought would happen (not in a bad way, I'm just accepting that I'm on Miss Yana's Wild Ride at this point and we're seeing this thing through 'til the end, by gum). so it's nothing too major, but:

they've been handing new crying expressions out like candy lately, I want to see some delicious Malleus tears.

honestly I want everyone to cry buckets. their tears sustain me. the more Silver angst specifically I get the happier I am.

SILVER!!!! 👏 VANROUGE!!!! 👏

just let him have this. the poor boy's been through so much. let him have his big "I'm proud of you, son" moment with Lilia.

I'm 100% expecting Grim's arc (and probably whatever's going on with Crowley) to be its own episode, but a nice hook to leave us hanging on would be good!

a nice hook though, please, I don't think I can take another "Grim is attacking us! now wait eight months to find out what happens :)" cliffhanger...

some Meleanor? as a treat? just a little bit, a tiny quick flashback or something, please Twst I just, I just want to see her again. let her have a little ghost cameo like Dawnathan Knight got. Lilia and his kids are all having their big group hug or whatever and she can gently fade in to be all like

(turning asks off until I'm done playing, SEE YOU ON THE OTHER SIDE Y'ALL)

[inkskinned]

we were sitting on the floor and i was cutting out tiny pictures to make a collage for a friend's birthday. you were on your phone and you laughed about something, and i was still in love with you then, so i asked what had you giggling.

"sorry. i was just..." you took a moment and went back to texting. "i was telling someone about how you're afraid of the dark."

i'm afraid of the dark because something bad happened. "oh." i felt a little slinky of shame crawl down my throat.

you glanced up, and maybe it showed on my face, because you rolled your eyes and held the phone to the side casually so i could see the group chat. "what? was it a secret?"

i looked down to the scissors in my hand. "i just..." no, it's not a secret. it just felt like something private, something serious. saying why would you tell someone that just feels like an accusation. it's unfair. i honestly am not even ashamed of it, it's just a fact about my person that i don't usually share.

what a strange experience. is this a human thing or a generational thing? for our grandparents: did they need to worry about how quickly someone can just... share your personal information? again, i didn't even really have a true objection. what could i say? i want any person in my life to feel they can be honest with their friends. it's not like i said don't tell anyone this.

i cut out another letter to complete the rainbow happy birthday, started hunting for the exclamation mark. i heard you sigh dramatically.

"don't make a big deal about this," you said.

this entire conversation was a pattern for us, and this was when we got to my least favorite part of the pattern. i would get my feelings hurt in some oblique not-technically-terrible way, and then it would be making a big deal about something. you'd get frustrated for me for being soft, but i was born soft. you knew i was soft when you pierced me. it's one of the things that made controlling me so easy.

"i'm not," i felt my voice crack. the question came without my wanting. "why are you guys talking about me?" and why are you saying that thing? why not like - i'm telling them how you're generous and kind and pretty.

you let out this low, tragic groan. "oh my god." you tossed the phone away from your body. "there, see? i just won't talk to them if you don't like it."

the rest of the hour went the way it always went, between us: i said i don't actually mind if you talk to your friends but -, you found a way to call my minor expression of discomfort "being dramatic." you got upset that i had been offended. i ended up apologizing, even though i hadn't actually done anything.

afterwards, you picked up the phone again. after texting for a little bit, you snorted. "okay," you said, "but it is kind of funny you're afraid of the dark. i mean, when you think about it."

[warmfuzzyanimal]

[whenthelightisrunninglow]

how's the other guy holding up

[loverofpiggies]

Hi folks! Sorry I've been a bit awol lately! Holidays and all that. Also I've been going through a bit of a digital detox and I've been feeling INCREDIBLE because of it. It's making me feel more free. Makes me want to step back from the internet even more. I've gotten much more physically active, I've been working out and reading books and learning to cook... developing my own novel that I've been wanting to do for years! MAN. It's been really nice.

I don't have any plans to just stop Something Wonderful and not continue it, but it might be a while before the next post!

[screamingtheo]

[sadgayeddie]

You might need to make some room for some more items.

[thekittyokat]

you ever just have a lot, a LOT of feelings all at once about a character and not even remotely enough words or brainpower to FORM the words to describe everything you're feeling. so it feels like you may explode. yeah

[zuzu-draws]

Yuuji's ''I'm going to die with him'' from the start of the series to ''Sukuna, Come back and live with me '' at the end is, honestly, very beautiful.

"Let's try again one more time Sukuna, but this time, without cursing anyone. Even if no one else accepts you, I'll live with you" do you understand what's going on here? This is Yuuji attempting to connect with Sukuna, to show a certain compassion that is entirely alien to Sukuna. To the way he delicately lifts Sukuna's remains, with such carefulness, as if holding the remains of a precious loved one, Yuuji tries to show Sukuna "love". The same "love" that has been teased to us this entire series, that who is it that will show it to Sukuna, teach him of it.

This is the same Yuuji, who, at the beginning of the series held absolute disdain towards Sukuna, and always looked at him with much accusatory contempt and mistrust. At that point, He truly did think of Sukuna as nothing more than a "curse". The same "curse" Sukuna calls himself one last time as the last embers of his soul fade in Yuuji's hands.

But this time, Yuuji has a troubled look in his eyes.

As if he disagreed with him.

This is the look of someone, who is looking at the Humanity Sukuna does not believe exists within himself.

Humanity that Sukuna denies himself.

That Sukuna is not a curse, but a human that has been cursed.

[tacobacoyeet]

WHITE COLLAR .

Tashi Duncan, Art Donaldson, and Patrick Zweig were never meant to be criminals.

They were meant to be icons—flawless, untouchable, transcendent. The prodigies of the court. They were supposed to be the kind of legends etched into history books and Wheaties boxes, draped in gold and immortal praise. Together, they were the wings, the sandals, the laurel crown of Nike herself—divine symbols of strength, speed, and victory.

But fate, as it often does, had a different trajectory in mind.

Tashi's career ended in a single, brutal snap—an injury that never quite healed, physically or otherwise. Patrick spiraled beneath the weight of expectation, his once-electrifying talent drowned out by inconsistency and a reputation he couldn’t outrun. And Art, sweet, unshakeable Art, lost the one person who ever made the tour feel like home. When his grandmother died, something essential inside him went quiet. He didn’t walk away from tennis. He simply stopped showing up.

The three of them could’ve faded then. Could’ve let the world move on without them. Could’ve become cautionary tales whispered about in locker rooms and bar corners. But they didn’t. They wouldn’t. Being forgotten was never going to be enough.

The spark came from Patrick, as it often did. He was crashing in another woman’s bed—charming, broke, and always a little too clever for his own good—when he noticed the vase. It stood on a pedestal near the window, backlit by city lights. Porcelain. Imperial yellow. Eighteenth-century Qing dynasty. The kind of thing you see once in a lifetime, if you're lucky—or reckless.

While she was in the bathroom, he did a quick google search. Qianlong era. Estimated value: nine million dollars.

That night, Patrick did something he never did—he scheduled a second date. Then he called Art. Then he called Tashi.

The plan was stupid at first. Then brilliant. Then inevitable.

Ten years later, they were infamous.

The trio had become the most elusive white-collar criminals on the international stage. They slipped through countries and identities like water, leaving behind only splintered champagne bottles, forged documents, and the distinct scent of audacity. Their work was seamless, often beautiful, always just out of reach. They didn’t chase greatness anymore. They stole it—paintings, diamonds, tax codes, ancient artifacts, entire reputations.

And despite the dossiers, the witness statements, the surveillance photos and whispered confessions, not a single case ever stuck. No court ever held them. No handcuffs ever locked.

But there was you.

The head of the FBI’s White Collar Crime Division in New York. Unshakable, relentless, methodical. You’ve built an entire career on patterns no one else sees, on connections no one else believes in until it’s too late. You know them better than anyone else alive. You know their methods, their tells, the rare moments they falter.

They know you, too.

You’re not just a threat—you’re a problem. The kind they can’t buy, charm, or blackmail their way out of. They laugh about you sometimes, over drinks in villas under fake names. But lately, the laughter’s been thinner.

Because you’re getting closer.

And this time, they feel it.

tagging: @kimmyneutron @babyspiderling @queensunshinee @hanneh69 @jamespotteraliveversion @glennussy @awaywithtime @artstennisracket @artdonaldsonbabygirl @blastzachilles @jordiemeow @soulxinxthexsky @voidsuites @elsieblogs @deeninadream

[hyacinthsdiamonds]

I'm sorry but the irony of Nico calling Max unprofessional is sending me so bad like sir there's an entire garage full of people, who were literally in the trenches trying to survive the Brocedes fallout while just doing their jobs, who might have a few things to say about your (& Lewis') level of professionalism at that time 😭✋️

[muzzlemouths]

Oneshot Masterlist

Returning the Favor - Moon Centric - Moon has a habit of helping you to bed. It's only fair that you return the favor.

We Dance in Synchronous Rotation - Moon Centric - (Dream Eater Au) It's been three days since you've managed to catch some shut eye, and continuing to fight off sleep sees you coming face to face with your worst nightmare.

What Remains After Ruination - Eclipse Centric - A year after the fire, you return to the plex to see if you can make sense of it all, and find something — and someone — unexpected.

Whatever this is, it's over - Sun & Moon Centric - You've been fired.

The Loveliness of Loving You - Sun Centric - You desperately want to kiss Sun. He desperately wants to be kissed. Too bad you're thick as a post!

Two of Us - Moon Centric - You've been stuck with a migrain for days now, and Moon isn't helping, but in the end Moon is just what you need to feel better.

Please (don't go) - Moon Centric - You're about to clock out for the night when Sun pulls you aside and asks for your help. Moon hasn't been feeling himself lately, and you think it might have to do with the blood under his nails.

Best Friend - Sun Centric - You spend the last hour of your shift making friendship bracelets.

There's a First Time for Everything - Sun & Moon Centric (no y/n) - It isn't every day that Sun finds a dead body behind the desk.

I'm Glad I Didn't Die Before I Met You - Sun & Moon Centric - Ten years have passed since you first brought Sun and Moon into your home (and to that extent, your life), and as it happens, today is your anniversary.

Unsteady On Your Feet - Moon Centric - Sleep deprivation can make you do crazy things — like stealing company merchandise on the clock and drinking unknown substances. Guess you'll have to "suffer" the consequences!

Hypothermic - Moon Centric - Your chance of survival looks bleak when you manage to get yourself locked in the walk-in freezer. Thankfully, there's a certain cold hearted animatronic out on a midnight stroll.

Let Your Heart Be Light - Moon & Sun Centric - December is a hard month and you're being worked to the bone. Good thing you have two sentient animatronics waiting at home to do the unthinkable - give you a very merry Christmas.

Squeeze My Hand - Moon Centric - Moon finds himself in worrying condition after an accident and is rushed to Parts and Services. He isn't eager to undergo the required surgery, but with you at his side he's able to find his courage.

Pining Here I Crumb - Sun & Moon Centric - You're still getting used to having Sun and Moon in your home after the fire. It can get a little overwhelming; but today you make cookies, and that's enough.

Two Times Moon Apologizes (and one time he doesn’t) - Moon Centric - Ever wonder what it was like before the virus took control? What if you were there when it happened? What if you had the chance to help? What if you were still just a little too late?

Weathering the Storm - Eclipse Centric - Life has gotten to you lately. You weather the storm together.

Quiet Comforts - Sun & Moon Centric - You're having a rough week and none of Sun's attempts to lift your spirits are working. Moon has his own idea of how to help.

All Tied Up With Nowhere to Go - Sun Centric - Sun gets himself into quite the bind — literally. Hopefully you can help him out before that darn bug escapes the daycare!

Please Leave the Light On When You Go - Sun Centric (no y/n) - A character study of Sun and his reaction to the daycare closing, and remaining closed.

Left Unspoken - Sun & Moon Centric - It's been a year since you last spoke with them, and you're still not ready to accept how things ended. Your apology comes too little, too late.

I Know the Meaning of the Words Ever After - Moon & Sun Centric - This house is full of ghosts.

Keep Your Friends Close - Sun & Moon Centric - (Pirate AU) As captain, you run your ship with an iron fist, but you couldn't do it without the help of your two quartermasters. They've been acting stranger than usual as of late, though, and you can't help but wonder if they're hiding something from you.

Second Chances - Moon Centric - You and Moon get off on the wrong foot right from the start, but you'll have to learn to understand each other eventually.

-

Series/Connected Oneshots

Lost in Transmission - Eclipse Centric - What would you do if an enormous, celestial cryptid came pouring out of your television screen one night? If the old VHS tape you bought without disregard actually contained something much more profound - and horrific, to boot. Would you run? Would you scream?Would you love them back? - 1 / 2 / 3

Dead Mall Dare: The Golden Years - Sun & Moon Centric (no y/n) - A collection of oneshots from the Dead Mall Dare au that take place before the main fic, when the mall was still in operation. - 1 / 2 / 3

[beargregor]

wait i'm curious, what makes you say that gregor doesn't like everyone else (if i read that post right)? just curious since i've never seen anyone else say that

i don't necessarily think gregor dislikes everyone else at lcb but i do think that gregor is an incredibly petty person that isn't nearly as close to the rest of the sinners and even outright dislikes some of them cough cough rodya cough cough which a lot of people just Refuse to see because he's as much of a doormat as he is. there's several examples i could get into to try and prove my point however i'll just focus on what i personally think to be the biggest ones.

additionally, this is going to be kind of long, so i'm adding a read more. read more! read it. sorry for being so wordy. i have several diseases.

Pt1. gregor is the type to try and get along at least decently with everyone, especially if he gets a good first impression from them.

this is less a point in favor of gregor's distance w/ the rest of the sinners and more just a contributing factor to it. once again there's several examples i could point to here but i think the most in your face one happened in canto I with yuri, as several people have pointed out. even before gregor comes clean about growing attached to her as quickly as he did because she reminds him of his sister, we get this interaction.

i'll go ahead and make the disclaimer now that i don't necessarily think gregor is the most reliable of narrators, especially when it comes to his feelings and interactions with most people, but from the way he acts when the topic of yuri comes up (and the way we still see him act even all the way up to c7, nearly a whole year after yuri's death) i don't see reason to question his sentiment here. gregor immediately got that aya and yuri were close, potentially even taking note of their traded belts, and went out of his way to get something nice for yuri despite hardly knowing her.

i feel like a lot of people have forgotten as much, especially since it's been so long since c1, but gregor actually spent a good bit of season 1 doing the exact same thing with the other sinners! gregor reads a connection between him and ishmael pretty quickly despite getting off to a rocky start

mostly because gregor can tell that ishmael is pretty sardonic in a very similar way to him. there's been multiple instances where ishmael and gregor have essentially expressed the same sentiment at different moments, most notably gregor's little argument after ishmael got shot with a decay ampule in c4

and ishmael's response to pilot talking about self-sacrifice in c5

i could go ahead and pull up more examples, but in general pm has gone out of their way to show us that gregor and ishmael are pretty similar, so it makes sense for gregor to assume that they're friends, right?

this will be pushpin 1. keep note of this for Later.

ishmael's only the first sinner we see gregor trying to do this with in s1, we also see him try it out with heathcliff, sinclair, and ryoushuu

he's tried to get along with charon, being one of very few sinners that we've seen actually try to establish a connection with her at all

even rodya, despite my insistence that gregor doesn't like her nearly as much as the fandom thinks he does

all of these seem pretty fine and dandy, right? sure it frequently leans towards self-degradation, micromanaging, and commiseration, but gregor can at least be pretty chummy with most of the sinners, can't he?

Pt2. hell's chicken was more than just comic relief guys please

i'm fully aware that this is quite the hot take, but i think hell's chicken deserves a lot more credit for character writing than the fandom gives it. hell's chicken gave us foreshadowing for several events, such as the donqui bloodfiend reveal

heathcliff's distortion in c6 (as well as hong lu's highly speculated distortion at some point in the future)

and ryoushuu and sinclair's continued connection by making him the odd one out on her team

which, hey! that implies something about gregor's odd one out, don quixote, too, doesn't it? yes. yes it does. that's pushpin 2. keep note of that for later.

speaking of pushpins, hey! that's pushpin 1!

splitting into teams is one of the major events in hell's chicken, and most of the sinner's choices are either motivated by very little, backhanded, or motivated primarily by not wanting to be on the opposite leader's side. i didn't include all of the picks, just because i feel like including most of them already gets this across, but i think gregor took one major thing from this: most of the sinners, when push comes to shove, will only side with gregor when they refuse to or can't take his opponent's side.

now, don't get me wrong, i'm fully aware that this is primarily intended to be comedic relief, but when gregor is being described as having his trust broken by ishmael or nearly crying because no one on his team properly sided with him for him, i feel like it's pretty fair to read into this.

something that i think is pretty important to remember in conjunction with this is that we know that gregor is the type to hold a grudge, both from his general attitude towards the G corp soldiers in c1 as well as his continued distaste for vergilius

even beyond the splitting into teams of hell's chicken, the sinners have given gregor plenty of reasons to feel bitter. i feel like this is something people have noticed but haven't really put a finger on, but it's kind of wild just how often the rest of the sinners make gregor the butt of the joke

and sure, we could argue that a fair few of these aren't really made with any ill intent. quite a bit of it could have been meant as harmless teasing, but with gregor being more sensitive than most, it coming from nearly all sides, and as often as it does? yeah, i think he's prone to taking it a bit personally.

Pt3. yes i do still think gregor was the third most important character in canto VII you guys gotta hear me out okay

of course, all of this leads up to the bit of the story i highlighted, doesn't it? c7? i totally get why people haven't really picked up on all the gregor things i did in it, seeing as they were mostly not *directly* said about him or by him.

personally, i think that gregor's distaste for talking about himself on any serious level and thus leading to him getting sort of "sidelined" narratively (which i take issue with that claim, but still. it's effective for getting what i mean across atm) is supposed to lead players to take a deeper look at the times gregor gets held up to other characters and compare and contrast what's being said about them by the matchup. as i showed earlier with his immediate latching onto ishmael, i think this is something gregor himself is at least partially aware of too.

so, that begs the question, who was gregor compared to in canto VII that makes me think it's one of the most critical pieces in understanding his character?

really, i'd like to avoid getting too lost in the analysis of this canto specifically, since i'd like to do a proper post about this later, but i figure i can bury the lede a little before doing it properly.

c7 features several characters being made to perform in sansón's play, acting out the relevant backstory for this segment of the plot. a lot of these characters have rather direct, degrading reasons for playing the roles they do.

outis, a character with an inflated ego who wants her journey to have a purpose, is made to play an aimlessly wandering villager with a single line.

hong lu and ryoushuu, two characters for whom families and the expectations placed upon them are likely going to play a major role, are made to play bloodfiends.

rodya, a character who resents her lot in life and is constantly shown to be eager to leave her destitution behind her and become someone special, is made to play a helpless villager that's too poor to even offer any money to the hero that saves her.

heathcliff, a character that has spent most of his life getting dehumanized by comparing him to beastly animals, is made to play a literal bear whose sole purpose in the plot is to get beat up and then quickly left by the wayside.

sinclair, a character that has two opposed parties essentially treating him as a macguffin to procure for their side, is made to play the character who was arguably the catalyst for this entire canto, not to mention playing a decently major role in ruina.

our star don quixote is made to play her father, the first kindred, but there's someone by their side the entire time, isn't there? don quixote's dear, steadfastly loyal companion. a character which don quixote has tasked themself with getting to come out of their shell?

hello again, pushpin 2.

gregor has been made to play our unreachable star, sancho. someone had to, of course. you can't really tell a story without it's main character, now can you?

now, i should once again give a disclaimer. i am not trying to say that i think adapting what happens to donqui/sancho in c7 to gregor is the road pm is going to take here, not only would that toe a bit past the line of foreshadowing, but it'd also just amount to rehashing that plotline again, which i don't think would make for a particularly exciting story.

what i DO think is that we can take a lot of the things that are said to either directly be the case for sancho and use them to inform how we see gregor.

and god, does playing sancho have some fucking implications for our favorite ossan archetype.

starting off, the earliest moment we get to see of sancho is quite literally her just waiting for death to take her in a pile of ashes.

which, i should remind everyone, is actually pretty damn close to what happens to gregor's literary counterpart at the end of the metamorphosis. gregor samsa experiences one final breaking point that pushes him over the edge and makes him decide to just wait for starvation to take him.

gregor and sancho both consider themselves to no longer be human, something which sancho goes out of her way to highlight repeatedly throughout the canto and gregor is quick to get defensive on her behalf for when outis starts really tearing into her

sancho spends quite a lot of this story denying herself the joys of community and friendship, despite knowing that, even with the rest of the sinners frequently making jokes at her expense and outright insulting her, they were things that she desperately craved.

and, while this is getting into my "outis is a red herring meant to distract us from gregor's eventual betrayal" theorizing, i also think it's worth noting for this discussion that sancho's fellow kindreds, her family, all seem to be under the impression that she dislikes them and ultimately her departure was an act of betrayal

and that, despite gregor being one of LCB's resident mood makers and attempted conflict de-escalators, one of the sinners that's most prone to making appeals to the bonds they've all forged together, only him and faust remained silent during everyone's speech

so yeah, i think there's quite a lot of little details and hints building up to the reveal that gregor's not quite as fond of everyone as he presents himself to be. i do think a lot of this ultimately comes down to gregor getting in the way of his own happiness, similarly to donqui, particularly because he's been frequently portrayed as something of a self fulfilling prophecy, especially by giving him as many christ allegories as they have by way of priest and garden of thorns. gregor is convinced that the rest of the sinners don't like him because he's not convinced anyone could like him, so he convinces himself that he hates them because why should he care if someone that he hates hates him too?

a lot of this ultimately ties back to my personal interpretation of what happens in the metamorphosis as well as my own theories regarding all the times gregor has made weird callbacks and references to lobcorp and ruina, but yeah. i think about this guy and his deeper characterization a fairly normal amount, i think.

to end this off i'll highlight one of my favorite little "gregor is fucking seething and trying so hard to keep it cool" moments, in the credits CG for c7 we see rodya teasing him by drawing a little horse on his window and actively pointing and laughing at it, which gregor really doesn't seem all too pleased about.

i personally think this ties into the other cruel part of sansón forcing gregor to play rocinante, which is the more literal "he's actually just straight up playing rocinante" side of things. gregor was quite literally made to play something less than human, less than even animal really, as he was reduced to nothing more than the shoes don quixote wore as she got to play the leading role. sansón directly makes jokes about gregor being nothing more than shoes in the play twice, which adds to this reading, i think.

this, imo, really plays into the adaptation of the metamorphosis! i've seen a lot of readings for the book that posit that, despite being the protagonist, gregor samsa can't really be considered the main character due to nearly everything he experiences in it being used to further his family's character development at his expense, which i think fits nicely with limbus gregor seemingly having the most said about him through indirect means by holding him up to other characters. also it's rodya carelessly making fun of His Big Major Insecurities™ again like she did in c1 which i always find fun. rodya i love you but god you're the worst.

[lightnersdream-archive]

i've been thinking about exactly why people portraying one of the other crew members successfully killing Jimmy as a "for what you did to Anya" kind of thing rubs me the wrong way a bit and it's because like..... this is just another form of taking agency away from Anya, in a way. it's kind of framing her as some meek, shivery woman-thing who's entirely at the mercy of the men around her, either to hurt her or save her.

(i understand these are mostly for wish fulfillment on the audience's behalf because everyone would like to see Jimmy pay for his crimes. whether or not this is the intention of the person writing it isn't really relevant, characterization happens with or without intent. i feel like it misses the point by portraying it as an 'ideal ending'.)

because... Anya is a capable person. she takes things into her own hands when she can. it was partially(?) her idea to get into the cargo,

(before he interrupts her.. remember when she interrupted Curly in the dead pixel segment?)

it was her idea to get the code scanner from the cockpit,

it was her idea to get the medication from behind the foam.

(the chance to do these things herself is not given to her.)

she'd been keeping Curly alive for months in a critical state somehow, her psych evaluations at the start are only so useless because Jimmy refuses to take it/her seriously and Curly is obviously biased when he puts it into his own hands. he's known him a long time, like he said. "I'll just put good for that one."

there's not a lot of material to work with because of how the game is framed, but it's there. we are working with two very biased perspectives and neither one lends Anya what she deserves

there's significant changes in how she speaks post- and pre- crash, and depending on who she happens to be talking to. i recommend re-reading her dialogue, because the difference is drastic

she acts the way she does around Jimmy because he has tangibly done horrible things to her, is actively hostile, and physically could not escape him by any means. she can't take away Curly's agency herself, in my eyes. you have to remember that Especially in the post-crash segments of the game, it's entirely from Jimmy's POV, and he obviously does not (and has never) thought very highly of her or treated her with a shred of respect

i've seen a general idea that she can't bear to hurt other people for any reason, but that doesn't really track to me. this is the real point of the post by the way

it seems based on the parts where she says she struggles to give Curly medication. "It just hurts him so much, I can't stand the noise." "It makes me nauseous."

it's not really the same thing as, say, hurting someone in self defense

this sounds like she did want the gun itself. this never felt worded like someone who would refuse to, at very least, threaten Jimmy with a gun, with violence. if she had been given the agency to make that decision on her own. she wasn't though

she still tries to reclaim some of it even as she's denied it

by the end she's still trying to keep that gun out of his hands

i think some people overly soften her, for similar reasons the game itself is trying to comment on. she's not a tender victim who couldn't cause pain to another out of the softness of her soul, she's a person who's had every last bit of agency ripped from her repeatedly until she couldn't take it anymore. that's the point. that's why framing her that way, "needing" someone to save her, is odd to me

she didn't need Curly to save her, she needed him to take responsibility

she didn't want to escalate things, but she's not an idiot. self defense was absolutely on her mind

but who knows im just saying shit *smiles serenely*

[dootznbootz]

Thinking about how Telemachus has heard "You are just like your father" by so many people for most of his life. How different yet refreshing it is to hear said father tell him warmly "You're so much like your mother".