#idk i'm just thinking about it right now

[crushsung]

nothing in the world makes me angrier than the people at b.oygenius shows who have their phones out and film during letter to an old poet when PB specifically asks people not to do that during that song ...

[bunnieswithknives]

hey in ur peri animatic: (https://youtu.be/OCqlRuDaXYU?si=K52WDu_vw9rg7chz) that I have been permanently obsessed over since today and have watched about 20 times by now so much that I have drawn & posted stuff based on it what was that partial bug form peri had?

I haven’t watched either of the show btw so if it’s explained in the show please tell me plsssss

OK, SO the bug thing is not technically canon to the series. It's based on my own headcanons for fairy biology, but i do have justifications for it!! Fairies have very strong shape-shifting abilities, so it would make sense that the form they show to humans isn't necessarily their true form(not to mention extreme that mimicry is very common in insects). And you want to know the visible traits almost every fairy has in common? Being very small with Insect-like wings.

The fact that their humanoid form isn't their true form in actually confirmed in the show! Cosmo and Wanda are revealed to look like biblically accurate pseudo-angels in the museum episode. (I say pseudo angels because the Flaming Sword of Eden is only debatably sentient and I don't think is considered an angel. Ophanim are also debatably not angels because they don't have wings (sorry for the angel tangent I like angels))

So wouldn't their true forms be angelic then? Well, yes. But I like bugs so. Also I have more headcanons to justify myself. I like to think that they have both a true-true form (incomprehensible to the human brain, probably exists mostly in a dimension invisible to us, that looks how we imagine biblically accurate angels), and a fairy form (which is visible to humans but is naturally very insect like and tends to scare people). So, in order to interact with humans, they have to learn to shapeshift into a humanoid form but will occasionally slip if they get too relaxed/aren't careful, hence the mandibles coming out when he yawns!

The reason they struggle so much more with human forms than the animals or objects they typically turn into is that, well, they aren't trying to convince those animals or objects. The more human they try to look, the harder it is to keep up convincingly. If you turn into a really uncanny squirrel, only other squirrels will notice. If you turn into a really uncanny human, they form a lynch mob and burn you at the stake.

[territorial-utopia]

Huzzah! It's birthday time! I'm slowly accumulating more and more things I like (latest additions this vest I made and a travel typewriter! Still need to fix the latter one though)

Sure has been a year.

[lazylittledragon]

i keep trying to think of funny/poetic ways to talk about all the things i'm feeling right now but i honestly can't so. i'm really sad about what happened with my partner. i know he was an inconsiderate prick about it and that i didn't do anything wrong and i couldn't have prevented it but i'm just really fucking sad.

[silusvesuius]

nnnnnnnnnnnnno maa'am

[shadowboxmind]

Maybe a hot take, but I don't think the Traveler was being inconsistent or out of character in the last archon quest at all. People are getting upset at their reaction to Lyney and Lynette's behavior from the perspective of players, with meta knowledge of the story that the Traveler, the character, doesn't have.

The players know, for example, that because they're playable characters, Lyney and Lynette are ultimately friendly and on "our" side, and we can also trust that what they told us about their backstory is true. The Traveler does not have that knowledge.

TO BE CLEAR this post is talking about my thoughts on the TRAVELER'S thought process. If we want to talk about how I personally would have reacted to the situation, I'm an overly trusting bleeding-heart who would absolutely get scammed and probably murdered by Fatui in this universe.

(Also characters, even main characters who you normally like, can do things you disagree with and that doesn't mean they're badly written. I mean, sometimes they are, but I don't think that's true in this particular case)

But think about it! Looking at the entire situation from an in-universe, in-character POV, it's a really bad look for Lyney and Lynette overall, because here are the facts as the Traveler is aware of them:

Lyney and Lynette are not only members of the Fatui, the primary antagonistic force in this story, but are specifically members of the House of the Hearth, which is known to specialize in espionage, subterfuge, and sabotage.

Both of them also work in a field that would further require them to be masters of misdirection, audience manipulation, and drama.

They "coincidentally" ran into the Traveler right as they arrived in Fontaine and immediately began to do them favors and be very friendly, including saving them from Furina, bringing them to meet their family, and gifting them VIP tickets to Lyney's show.

During the trial, the twins withheld key information, and not just about their identities (and listen, I get it, I fully empathize with why they did it, I get the reasoning, but it's still a bad look when it gets figured out) but also about what they were doing in the tunnel.

They admitted that the entire magic show was a ruse to do, guess what? espionage! To break into the room with the Oratrice's core and find out how it works. To, through subterfuge, obtain Fontaine's secrets about the nation's most important mechanism and central source of power.

The Traveler has known these people for like, a day total.

So what conclusions might the Traveler draw from these facts? When the evidence shows that Lyney and Lynette have a record of misdirection and obfuscation for their own ends? When the Traveler has no way of knowing if even their initial meeting was orchestrated for an ulterior purpose? How are they supposed to know if the tragic backstory is even true, or if that's just Lyney trying to win back some favor and sympathy? In my opinion, at that moment, they don't. Hence the coldness.

My interpretation of events is that the Traveler does like the twins, and wanted to keep liking them, but was struggling to reconcile their initial impression of two friendly magicians with the realization that these two friendly magicians were dishonest with them for most of the time they'd known each other, so they needed to have some space to figure that out.

And for those saying the Traveler is inconsistent, here's the thing: they still helped Lyney. They still acted as his attorney, investigated thoroughly, won the case, and cleared his name. They've done similar for other Fatui members in their acquaintance—they helped Childe with Teucer, they helped Scaramouche/Wanderer with getting his memories back, they helped that other member of the House of the Hearth fake her death and escape the organization—whether or not they fully trusted them, and generally they didn't.

As for the Traveler's supposed hypocrisy, my view of their relationship with Childe is that it's only improved because, despite Childe trying to nuke Liyue in the past, the Traveler knows that

a. They can handle him if it comes down to a fight again; b. He likes them, regardless of if the feeling is mutual or not, and is indeed aggressively friendly to the point where it's easier to just be civil; c. Childe is generally upfront and honest about his actions and will strike from the front, not stab them in the back; and d. He's worked together with them before when they had a common goal (for example, the labyrinth they went through with Xinyan).

They know how his mind works and what motivates him. Childe is a known quantity, the twins are not, and it took in-story time and shared experiences for the Traveler to get to even this point of neutrality; they were openly suspicious of him during his story quest.

As for holding his Vision for him, the Traveler didn't exactly volunteer for the job, Childe literally threw it at them with no warning and peaced out. What do you expect them to do, drop it in the sea? That would be inconsistent with their characterization.

Wanderer's whole situation is even weirder, since the Traveler was able to experience his actual memories and emotions and therefore has good reason to trust that he's had a genuine change of heart. Not to mention that they're not friends, I'd argue they're in that same nebulous "neutral" zone, and that only because Nahida usually functions as a buffer (and also because, again, the Traveler knows that they can handle Wanderer in a fight, and Wanderer also tends to be blunt and honest).

Also, in Lyney's story quest it seems like everyone got over their problems pretty fast and they're all chummy now, so you can all rest easy that the twins' feelings weren't too hurt about it.

Anyways if you disagree go ham, refute my points, whatever, just keep things civil.

[eriexplosion]

So the main reason I think that TBB will have a reasonably happy ending is multifaceted but I think the biggest one is that a lot of the series it's compared to have entirely different focuses but only one requires minimum the majority of the characters to be alive.

It comes down to the central question of the work. Let's look at TCW - this one is super broad because it's essentially an anthology rather than an overarching narrative. It's literally just "what happens between attack of the clones and revenge of the sith." The only thing needed to bring it to a satisfactory close is to go up to the end of the clone wars and segue into ROTS. Which, as a tragic film, does necessitate a bit of a downer ending. But, the ending feels fulfilling even with the tragedy because it satisfies the central question.

Rogue One is much more narrow, how did the rebellion get the death star plans? The reason you can do a total cast annihilation in this one is because the central question isn't character focused at all, it's mission focused. As long as they move the mission forward, the characters dying doesn't make the ending less satisfying. The central question is answered.

So what's been TBB's central question? It hasn't been mission focused, it's not "how do we fight the Empire" and its not as broad as TCW's filling in a multi year gap between movies. It's asking "who are these clones if they're not soldiers" it's asking "how do you heal this family that's been broken by tragedy."

And killing off most of the main cast answers these questions as "nothing" and "You don't." It's like answering "what happened between these two movies" with 'nothing' or 'how did they get the death star plans with 'they didn't.' It negates the central question that we're introduced to, it would render the entire endeavor pointless. Why would we need three seasons to get Omega from 'alone' to 'still alone' why would we build up the desire for the family to heal just to say they never will? Why would we watch them go from broken to more broken to absolutely shattered in a trauma mill? It doesn't answer anything, it just trails off.

I don't even think that the question of how to heal the family can be satisfied if Tech is actually dead. MAYBE if we had more time we could soothe away the trauma of that and still resolve everything. Maybe if his loss was the only one that needed to be wrapped up and processed we could resolve that in the time we have left.

But needing to bring Crosshair home, bring Omega home, AND heal everyone from Tech's death in fifteen episodes that also require enough action to keep ten year old boys interested? Yeah, I don't think that's happening. I think the only way that this gets wrapped up in a way that actually holds to the themes of the show is an ending that has the family together, an ending that actually answers the questions we started with, one that said *they're not soldiers, they're family* and that the family is in fact capable of being healed.

[babisawyer]

Ben coming back to the cabin to see yet another cannibalistic ritual

[addicted-to-the-knife]

I think it's very important that we bring back this inherent understanding that actors are also just some fucking guys (gender neutral)

[vegaseatsass]

You know, these past two episodes I was thinking to myself, Su Yin is almost perfect in every way, simply the ideal devoted, protective, loyal, dedicated sworn brother, call him Da-ge indeed!!!, but my one piece of constructive criticism is that he needs to learn how to give real hugs - he does a lot of manful shoulder clasping, but Xiaobao is a shivering chihuahua desperately in need of cuddles and body heat, you gotta HUG THAT BOY - but now I see that Su Yin's hugs are simply reserved for his horrible little gremlin of an imperial cousinwife.

[r0semultiverse]

Digital Circus AMA Notes

Digital Circus is getting a season 1 at some point!!!!

#webcore aesthetic board for the series design

Pomni was going to be a frog originally. 🐸

90s toys Zooble inspo

Caine is an antagonist, but not by active choice, he doesn't know he's not helping. He doesn't feel a whole spectrum of human emotions (he's an AI).

"Caine canonically just lets things happen if he thinks it's funny."

Characters eat like Chao in Chao garden in Sonic. The characters can eat the food, but they can't digest it.

Jax's favorite food is spaghetti.

Pomni likes salmon.

Q "Was the ending a 'Last Supper' reference?" A "in a very superficial kinda way yeah." Religious stuff is sometimes just used for the funny.

Gooseworx tumblr sketches MAY or MAY NOT be canon to the series, so it's up in the air for every single one.

People can abstract from feeling too much pain if it breaks their mind from it being too much. Characters feel pain from things, but not as intensely as they would in real life.

Zooble is gonna swap parts every episode (implying they have spare parts) except their body & head.

Jax chose his own name & gooseworx likes to think he chose Gangle's name.

Ragatha was named "Emmy" originally.

They (the cast of characters trapped in the circus) can't change their clothes but Caine can. It's part of their skin sorta kinda.

There's empty space under Pomni's hat because video game model physics.

Spamton was partially inspo for Caine, Caine's VA did Spamton dubs.

Gangle only has 2 masks. Why's it (her hapiness mask) break all the time? Mental state, but the "real her" is "harder to break."

Kaumfo was gonna be part of the main cast originally before Jax.

Kaufmo's model has nothing below the waist at this time, but was made for that promotional image on twitter.

Q "What kinda person was Kaufmo?" A "He was the same as Ragatha in a sense, goofy & cheery, sometimes toxic levels of positivity."

I'm paraphrasing for the sake of note taking in real time, go watch the stream playback for more context & details if you want.

[philosophiums]

truly i have been eating all of the theories/ideas lately about itfs cursing each other in some way shape or form at the end of the manga. i love twisted love stories i love a bittersweet ending i love living through the tragedy by enacting violence upon yourself and your loved ones OUGH it's so good

megumi whose main goals this entire series have been centered around yuuji. yuuji who is possibly already acting under the (beginning?) effects of a curse that megumi put on him ("start by saving me" - could also argue that "you've got it from here" isn't helping either kjsdbvjkdfb). megumi who watched yuuji die once and who refuses to see it happen again. yuuji who has witnessed up close everyone dear to him die and cannot lose megumi too....

just... the fighting and clawing and tearing at themselves and each other - desperate to stay together no matter what, even if it leaves them scarred and broken on the other side. because wounds can heal and they can fight to realign themselves with each other and the world, but none of it means anything if they're not alive and together

[uncanny-tranny]

I'm still thinking about how ashamed I was (and am) with being open about my pain because I am so young. It's so hard to feel worthy of having your pain taken seriously when the people around you insist that young bodies are always in pristine, untouched condition and that you must earn your pain through aging. Never is it considered that young people aren't lying or being a hypochondriac for expressing their pain.

Young people can be in life-altering pain. Young people can have debilitating pain. It doesn't matter what age it happens because pain doesn't discriminate. Complaining about pain and doing things to prevent needless pain aren't something you have to "earn" through aging.

If you want young people to be in less or lesser pain, then encourage them to do whatever they can to minimize it. Don't downplay what they're experiencing. Not everything is a lie, not every experience that is different than yours is exaggeration or deceit.

[lazylittledragon]

right now i'm very torn between "taking critique is important as an artist and it's not an attack on me personally" and "people commenting about my same face syndrome under my posts upsets me an unreasonable amount and i wish they would stop doing it"

[sheryl-lee]

idk if this makes sense. but i kind of love that the last of us makes me cry and viscerally FEEL true emotions on a weekly basis. like i cant remember the last tv show i watched that had me consistently bawling my eyes out and so immersed in a show because of the characters, the story, the incredibly strong writing, etc. and it doesn't feel manipulative. it just feels profound and beautiful and poetic but also tragic and... human.

[high-voltage-rat]

Actually I'm still thinking about it. Another interesting way in which RvB is anti-war is the way that the Director fills the role of a villain and antagonist (especially in the Recollections trilogy, where he's a faceless villain we never see but is responsible for everything that happens).

In his memos to the Chairman, the Director emphasizes his sense of duty and obligation to the military- he becomes irate for the first time when he feels that it's being implied that he was derelict in his duty... or that the work he did out of that duty is being criticized for being against the military's interests. He also talks about Allison's death in a way I find... interesting.

"You see; I never had the chance to serve in battle. Nor did fate provide me the opportunity to sacrifice myself for humanity as it did for so many others in the Great War. Someone extremely dear to me was lost very early in my life. My mind has always plagued me with the question: If the choice had been placed in my hands, could I have saved her? [...] But, given the events of these past few weeks, I feel confident that had I been given the chance, I would have made those sacrifices myself... Had I only the chance."

The idea of sacrifice is central to the way he talks about his wife's loss, to the way he talks about the war in general. He talks of sacrifice with a sense of veneration- that it's something he aspires to do, that he longs for. There's a few ways we can interpret "I would have made those sacrifices myself"...

-That in Allison's place, he thinks he would have laid down his life too.

-That if given the chance, he would have given his life to save hers.

But most interestingly...

-That he would have sacrificed Allison's life for the continued survival of humanity, if that was what duty called for.

...And personally, I think all 3 are true.

In most war media, the Director's perspective on sacrifice is very common. Sacrifice is glorious and heroic- to die in battle is an honour- and it's the only way to ensure the group you serve survives. This is a tool of propaganda- nobody wants to go to war just for the sake of it, you have to give them a reason that the risk of dying or being permanently disabled isn't just acceptable, but desirable. Beyond that, most people don't want to do things they think are immoral- you have to convince them it's important, a necessary lesser evil. You teach them to sacrifice their morals, too.

The way they train soldiers to follow orders and to kill, is to convince them that they, and the people around them, and the people they care about, will all die if they don't. It's drilled into your head from day one. It's the way they ensure their commanding officers won't shy away from sending their men off to die. The message is constant- sacrifice is your duty, and duty ensures your people's survival.

In the Director's eyes, the damage Project Freelancer caused was his sacrifice. He never got the opportunity to sacrifice himself during the war- so he sacrificed others, as military brass do. The Freelancers- including his daughter. The countless sim troopers. Any people he considered "collateral damage" on missions. And when the opportunity to do so presented itself, he sacrificed a copy of himself- Alpha- and he sacrificed a copy of Allison- Tex.

The very thing that derailed his life- the loss of his wife- he made it happen again. He put her copy in dangerous situations, let her exist in the position of constant repeated failure, created the circumstances that would eventually lead to her death. He put their daughter in deadly situations that nearly killed her repeatedly, provided her with impossible expectations leading to self-destructive behaviours in the name of duty, implanted her with two AI knowing they could cause her permanent harm. He was confident he "would have made those sacrifices himself" because he did.

The Director is the embodiment of the military war machine. As an antagonist, he is a warning against buying into the glorification of sacrifice. He's a condemnation of the idea that one should be willing to do anything to win a war- that duty to the military is the thing that ensures survival... All the messages that are pushed to ensure recruitment and obedience of soldiers.

He's a reminder that swallowing the propaganda leads to you doing terrible things... and in the end, you're a broken man left mourning the losses that you suffered even as you repeated them, convinced that it was all necessary.