#idk if this is terribly interesting

[sonoda-oomers]

i discovered stardew valley mods pretty early on playing (but i think i already finished the community center by then) and it irreversibly changed my experience and i still can't tell if it was for the worse or not. like i used the cjb item spawner to get so much gold and got endgame items with it... a few years later i would use the same cheat commands on the same save to have. less gold. to actually have to work towards goals

[toss-a-coin-to-your-stan-account]

waiting for everyone to get on board with "fiction that depicts dark subject matter is not inherently romanticizing it" so we can move on to "fiction that romanticizes dark subject matter should not inherently be condemned and sometimes the dark subject matter may in fact be Intentionally Romanticized to Make A Point"

[codacheetah]

Tell me your opinions on the stuff. Any stuff.

Grins. Smiles, even

I'm using you as an excuse to infodump my theory about the Island because I've had no in to do that, and my theory is pure opinion. Anyways:

THE ISLAND IS STUCK IN THE FUCKING FUTURE

(SCARE CHORD)

Hi so you might ask me. What the fuck do you mean by that. Well. Let's start with what we know about the Island, the King, and Wish Craft. (long ass post under cut. sorry)

The Island was redacted from the perception of outside world, via Wish Craft.

Wish Craft has the power to enable Time Craft. We see this primarily through Siffrin's timeloops, but also through the King's powers.

One of the King's powers is to show the saviors a "vision of the future."

...And this same attack is deflected back at the King by Mirabelle in ACT 5, in which the King is able to see the Island before being frozen in time.

...So. The King's "vision of the future." We're never told explicitly what this vision is. All we know is that it's apparently powerful enough to wipe the party in one hit, hearing it from a distance hurts your head, and that whatever Siffrin (and Loop) saw, they don't seem to actually be able to describe it. Even the King himself doesn't know what his vision entails.

We don't know whether the party all sees the same thing when struck by the vision, and Adrienne's answer to the question about it in the Reddit AMA is. vague? It's not a "no," and the specific wording makes me think the answer might be yes. But that's me reading into it.

Now. What do we know about the Island's redaction? The Island was affected by the wish recently, as in "like a decade ago" recently. We know that nobody in Vaugarde or the rest of the world is capable of thinking about the Island, anything closely tied to the Island's culture, or people on the Island for very long. When they do recall these things, they slip right out of reach. Particularly, the consequence for trying to think about the Island (or, more specifically, break the wish that forces the Island out of perception) is significant pain, localized in the head.

And that said pain is enough to become lethal, if pressed hard enough.

From here forward I'm running with the assumption that the King's "vision of the future" is not personalized to any individual, and is unchanging throughout the course of the whole story. Now. Remember the end of ACT 5, where the King gets hit with the deflected "vision of the future", and instead of dying, he recalls the Island and gets frozen in time? Very odd, yeah? Why wouldn't the King just die like everyone else does? He even does take 9999 damage when trying to say its name, like Siffrin does, and like the party does when they're hit by the attack.

Well. We know that he has a "true wish" that the ability to freeze Vaugarde in time grants. I don't think it's at all a stretch to guess that the King's "true wish" is to be able to remember the Island. My personal guess is that the King (and Siffrin) brought this "true wish" into effect via the "SAY ITS NAME" sequence- he even tries three times, a significant number in wishing.

The King (and Siffrin's) wish breaks, because it can't be fulfilled in this moment without breaking the wish to prevent the Island from being thought about. However. Consider the conditions at the end of ACT 5- the King sees the vision of the future reflected back to him, and what he sees is the Island. He remembers the Island, fulfilling his own wish, and is frozen in time. I consider this a compromise between his wish and the one binding the Island- the King gets to remember the Island, but nobody alive is able to think about it, because he's frozen in time; it's like the Universe is correcting itself (I WILL GET BACK TO THIS). The wish of all of Vaugarde to defeat the King is fulfilled, since he is no longer a threat, and Siffrin's wish wraps itself up soon after.

MY POINT BEING. The King's attack is a vision of the future. This "future" is of the Island, in some uncorrupted state. The saviors see it when he attacks them, and he sees it when it is deflected back to him.

The logical next question is "okay, so the Island exists in the future, but how do you know time shenanigans are even related to the Island?"

Recall a very odd series of interactions throughout the game, in which you try to interact with a piece of equipment that you already own.

The game rewinds slightly, before the item disappears, as the Universe corrects itself.

This is awfully similar to two particular events: looping back without seeing the death screen, and talking to the Daydreaming One about her sister. The latter is more interesting to me for the purposes of this theory.

In both instances, something is misaligned within the Universe (an item existing in two places, someone remembering something they're not supposed to) and it is corrected through some sort of rewind. Also compare the dialogue above to when you try to give Mirabelle the Stylish Bow when you already own it.

The world glitches, but Siffrin defuses the situation before the Universe has to intervene. Omitted from the screenshot is the fact that Mirabelle's portraits switch to happy from "catastrophically anxious" with no transition after Siffrin shows her where the bow is. Important to note is that when Mirabelle tries to recall receiving the bow, her head hurts, much like how trying to break the Island wish causes a headache.

The Universe leads you away from perception, and you can only follow.

My theory that I keep circling around is that through Wish Craft, the Island has been displaced temporally. The denizens of the Island, as well as the Island itself, still exist, but they are in the future. The Island is still loaded into the world, like how equipment is before you try to interact with it, and the Island cannot leave this quantum state, because it never actually went anywhere. The magnitude of the redaction event is so severe with the Island, because it is so much larger as an entity than a sword or a bow. There are of course things I don't really have pieced together, like why somebody would wish the Island into the future, how far into the future it is, or why equipment behaves this way. But it's the only Island theory I've seen that I have some level of confidence in, so I might as well lay out my cards for it.

[ecoterrorist-katara]

Ka/taang: friends-to-lovers or the Friend Zone?

It’s almost axiomatic, in any ATLA shipping discussion, that Ka/taang is the friends-to-lovers ship while Zutara is the enemies-to-lovers ship, and that differences in shipping tastes can be boiled down to whether you prefer FTL or ETL.

My first ship was Percabeth. My biggest ship was Klaine. It took me until Mockingjay to let go of my Gale-and-Katniss-are-childhood-friends rose-tinted goggles and start liking Everlark. I started dabbling in ETL because of Zutara, but I’m incredibly picky about it (do not ask me how many Dramione fanfics made me irrationally, disproportionately mad).

All this to say: as a longtime friends-to-lovers enthusiast, I should theoretically love Ka/taang. But…

My difficulty with Ka/taang as a friends-to-lovers ship boils down to this: Aang and Katara’s friendship was always narratively framed as insufficient, because Aang liked her from the start and always wanted a romantic relationship. And imo that dynamic really colours their entire friendship.

I like to think Aang would’ve been a ride-or-die friend — the type to give up the Avatar State to rescue her, the type to commit ecoterrorism and help her get arrested, the type to make her a flower necklace to cheer her up — even if he didn’t have a crush on her, but I will never know that. We never got to see the pure friendship part of friends-to-lovers, because the spectre of the romantic relationship was always there. Before the last five minutes of the show, Katara’s feelings for Aang range from “plausibly interested” (The Headband, Cave of Two Lovers) to “doesn’t hate it” (Day of the Black Sun, The Fortuneteller) to “no” (Ember Island Players). Yet Katara’s eventual capitulation to reciprocation of Aang’s feelings was always depicted as inevitable, starting from s1 when the prisoners during Avatar Day reassured him that she’d “come around” because he’s a catch. It’s as if friendship, even one full of devotion and mutual love like the one they share, is not enough.

And that’s just totally antithetical to what I love about a friends-to-lovers dynamic. I love romances where characters value each other outside of attraction, when they see each other for who they are (this goes double for pretty characters like Katara, whose complexity and imperfections are just as important as her beauty and her care for others). I love the idiots in love sub-trope, where they’re obviously into each other, yet do a bunch of mental gymnastics to remain in comfortable denial (we got a little bit of this earlier in the series, but by s3 we were firmly in Aang-pines-and-Katara-deflects territory). In every friends-to-lovers story I’m simply obsessed with the confess-and-kiss scene, but the version we got in ATLA was ruined by the lack of reciprocation, twice.

Over time, because Aang was written as so insistent about his affections, Ka/taang went from a friends-to-lovers story to a Nice Guy Friend Zone “why doesn’t she like me” story. I mentioned Everlark earlier: I got the same ick for Gale in Mockingjay as I did for Aang in s3, where the woman is not interested yet he still badgers her about it. (And considering Gale is canonically hot, I don’t think the relative attractiveness of Aang is the issue here). But Gale’s insistence was presented as his problem, his lack of empathy, his self-righteousness; Aang’s insistence was just a part of his quest to get the girl.

A lot of people say Zutara is a female fantasy, whether they mean it in a positive or pejorative way. Nobody says the same about Ka/taang, even though women definitely have friends-to-lovers fantasies too. A good friends-to-lovers story reminds me of all the times when I was an idiot before getting together with a friend I was actually head-over-heels for. Ka/taang reminds me of all the times when I was not interested in a friend and they didn’t respect my preference. Friends-to-lovers is a delicate balance, maintained only by unerring mutual respect and unconditional care for each other, and it can veer into Nice Guyism if the writers aren’t thoughtful about why this dynamic is so appealing. Which is exactly what happened with Ka/taang.

[fennelwasp]

No clue how this works but uh

I am working on a fanfic of these two guys because I can’t get em out of my head. Two chapters are currently out. Check it out if you feel like it :]

[bonefall]

Did Brambleclaw actually disown the Three when the secret is revealed? I don't remember this happening (then again, it's been a while) but it does bug me how all three go "Poor brambleclaw :(( He was such a good dad to us and he has to learn we're not even his biokits :(((( poor guy" while simultaneously shitting on Leafpool and Squirrelflight despite them showing them more care and affection before AND after the reveal. If he does disown them, then.... WOW is the double standard real here.

In-canon? It's something you have to approximate. They don't seem to have a concept of ""disowning"" because blood relation is taken as such an insurmountable, FUNDAMENTAL fact of life. He doesn't write them out of his little kitty will and testament, but his actions ARE disowning.

It's as if the fact he is not their biological father is an automatic disowning. From the reveal onwards, he is immediately cold, distant, and the "betrayal" is mentioned often. The Three also explicitly don't blame him for his behavior, like it's just to be expected that he's Not Their Dad anymore.

Lionblaze in particular stares longingly at him several times, really missing him. And like... that's kinda what gets my goat so much

I do believe Brambleclaw is entitled to his feelings of betrayal. I believe Squilf was ultimately in the right to lie, actually, but he's still allowed to be upset and angry that she didn't trust him enough to tell him something so important. THAT SAID, YOU ARE NEVER ENTITLED TO TREAT OTHERS POORLY.

And that's what GETS me. He isn't upset that it was all revealed in such a painful and embarassing way when this could have been avoided, or that his lover struggled with this lie for so long without him, or that he feels he's lost his children. Squilf points it out in The Last Hope-- He's so ANGRY at Squilf that he will THROW HIS FAMILY AWAY

Lionblaze seems desperate to be his son again. Hollyleaf is gone for months, and Brambleclaw is still huffing about the secret when she comes back from the dead. Squilf is fawning in the hopes it makes him talk to her again. Doesn't matter. Brambleclaw Is Upsetti Spaghetti so the narrative will never examine his role in hurting this family he apparently loved so much.

(Narrative seems to understand full well that when Squilf lies for a good reason, that doesn't invalidate the hurt Brambleclaw felt... but when Brambleclaw is upset for a good reason, it actually DOES validate what he put her and his kids through)

In BB it is explicitly a disowning. He cuts them off as his children, and they reciprocate. BB!Lionblaze does so in a ball of fury, vowing that he has ONLY a mother.

[bitchthefuck1]

It's always so funny to me when people call Kaz a serial killer or a murderer bc like. boy do I have news for you about the other crows.

[clowningcrows]

there may actually be an anderperry one shot coming up soon yall....

[levemetal]

Irredeemable but trying, you and me

*getting forcibly dragged out of the kitchen* lEMME COOK-

Basically impossible crackship I thought of one day and proceeded to get foolishly invested in??? More likely than you think

Doodle, might finish later or not.

[fiddleyoumust]

The weird thing about 4 Minutes is that no one is great (lol), but weirdly, I have emotions (positive) about all of them ??? And by all, I specifically mean Great, Tyme, Tonkla, and Korn.

[lovecoredeity]

fun scene idea that I’ll probably never get around to drawing: someone grabbing a wanted poster from a board or wall only to reveal a missing persons poster featuring the same person as on the wanted poster underneath it (also the reward for them as a wanted person is higher than the reward for returning them when they were missing)

[longagoitwastuesday]

I keep thinking that this Gojo is just like Sukuna. I truly don't see much of a difference between them beyond the human/curse point of view

[queen0fm0nsterz]

thinking about the Lady again and she actually is the Character Ever.

Starting off with her design. How ridiculously simple it is, right? Her yukata is plain brown and has a single layer, her wig (and yes, I am positive what she wears is not her hair but a wig soley because of how easily it comes undone... that kind of hairstyle is meant to STICK when done with actual hair) has no decorations befitting a woman of her powerful status and her mask is nothing but... empty. You could mistake her for a mannequin and you wouldn't even be wrong. It's by design, after all: she is as insanely important, as a figure, as she is anonymous as a person.

But then, it's with amusement that you note that that boring, unexpressive mask is called the "Rascal's mask" when unlocked. It's such an oddly affectionate nickname stemming from a person so utterly despicable. And then you notice her hair. Her long, black hair that should be hidden under her wig, as the hairstyle goes, but are instead hanging out freely. Not very traditional at all, right? You could almost read it as a small act of defiance of... something. Now, what that thing is, I doubt even she knows. Maybe it's just her way to seek individuality without having to step into zones she does not want to touch.

And then, of course, the lack of shoes. It's not uncommon for people to wear slippers in the house - especially for the Japanese - but she just... doesn't. In that small, small way, she is similar to Six - and every other child in the Maw running around barefoot. Except she's above running, of course. She's got the privilege of floating like a ghost so that she may never touch the ground.

(The only time when this rule is broken is when she fights Six, poetically enough. You can see her visibly step back.)

These strange little things are the first things that push you to wonder about her as a person. Not the title, not the Lady of the Maw: the individual behind the mask. Who is that person? What is she like? Is there a way to answer these questions? I think yes, if you know where to look - but is it worth to ask these questions considering what she does?

That depends on you. Me personally, I think there is narrative worth to be found in what she has to hide. Her foil, Six, finds value in the aspects of herself she does not hide: she is very unapologetic in her selfhood. The Lady isn't, for the most part.

(I wonder if that would make her envious of her younger counterpart in a different context?)

Frankly, looking back on her choice of attire, the fact that her personal bedroom is barely decorated is not surprising. She only has the essentials: a bed, the vase with the key, a few pictures of importance (of people long forgotten, herself included no doubt) and... an ungodly amount of misplaced clothes all over her quarters. All the same yukata, repeated over and over, maniacally folded and arranged in towers, but never where they're supposed to be.

A bedroom is the reflection of yourself. Of your inner world. The fact hers looks so barebones is quite telling about who she is. Or isn't. She herself may have some trouble trying to figure that one out.

I think that, in a vacuum, it's easy to assume that the reason she's so displeased by her reflection is soley out of vanity. That is definitely part of it, but I don't think that's all there is. Because after seeing the mannequins that all look just like her, the four women in the picture who also wear her same exact clothes... and that hidden quote.

This quote, which is from Alice in Wonderland. Specifically from a conversation in which Alice expresses how she doesn't recognise herself anymore because of how many times she grew big and small during the course of the day. She is not the same person she was before entering Wonderland.

I find the way she clings to the dolls and the music box to be much more... sombre when keeping this in mind. In a way, that scene is reminiscent of Monster Six clinging to her music box in the chaos of the Tower; an attempt to attach to something safe. For the Lady, it's even more personal. Those are her toys. Her song. No one can take them from her and claim them as theirs. These materialistic tomes are physical proof of her identity. She likes dolls, and she likes to sing that song from her music box. Surely, that much is something.

But a ceramic toy and an old music box are not really enough to placate the inner turmoil. Hence the broken mirrors, the hidden statues... the hung down portraits with their eyes scratched out - from times of the past. There is a person looking back in the mirror which she does not recognise. That can't be her, right?

It isn't. The reflection is but a faux image of her outward appearence. The inside, however... much like this concept art shows, she is melting away. Rapidly decaying no matter how much she tries to stick to her youth.

Because at the end of the day, that's what she's doing, no? The toys, the music box, her appearence... all of it, just to cling a bit more to the person she used to be. Point being that I doubt even she remembers what she used to be.

You'd think a person like this would be inclined to feel at least some sympathy for all the lost children wandering the Nowhere. A sense of kinship, perhaps, or even just... basic human compassion. She has proved to have very human emotions, after all. This is where she proves you wrong. Whenever you think she's stepped the lowest, she always goes lower.

In her humanity, she is brutal. Relentless, ruthless. She offers no sympathy to anyone and has no empathy to spare either. She is very much aware of what's going on under her roof: she not only allows the Maw to continue being the way it is in spite of having the power to change things, but she actively engages in its despicable practices. She has petrified children in her quarters, as well as their ashes - of which the use is unclear - and then she is responsible for the Nome population and exploitation being so large and so eerily heavy. She's twisted necks, broken bones, murdered innocents.

The Shadow Children are, to me, one her greatest offenses. I don't think they serve any particular purpose other than... being there because she wanted to make them. Children ripped away from their life because of her whims. Not even in death can they rest because she can get her hands on their souls. They're nameless, forgotten shadows with blank masks: they're just like their creator, in that way. Ripped of all individuality and devoid of everything.

Everything she sees, the Lady devours. Not a creature is safe from her shadows and her wrath, especially if they come and actively intrude in her activities. She's twice as aggressive if the Maw is at stake.

The Lady's personal bedroom has another motif piece which I did not previously mention: the Maw wallpaper. While Roger and the Chefs have wallpapers that portray them with her, the Lady... does not. She only has the Maw. She's not part of that picture.

The Lady can't let the Maw change its ways. She is the Maw. The Maw must survive: so must she. To change the Maw would mean challenging herself enough to bring about a change; to her, who does nothing but lament what she lost, that would be too much effort. Too outside of the comfortable zone where she can survive in peace. Miserable, but unbothered.

... For the most part. Until Six comes around.

[ghostsontelevision]

rubyklaasje is so important to me like the idea of ruby as just like, maybe not a nice person but absolutely a good person, the hardie boys like her tommy likes her she seems to be pretty easy to get along with + her and klaasje having some kind of horrible situationship something even tho klaasje is fucking a war criminal and some of the hardie boys and ruby’s fine with that, she doesn’t HAVE to be special, it’s not like she doesn’t fuck other people too + but lely is a *war criminal*, and the way he talks - i mean, wouldn’t it be nice to get out of here? take a roadtrip away from everyone else + hey what’s up with klaasje saying they only kissed and ruby saying they hooked up? who’s lying here? + klaasje’s absolute regina george “hey cops you wanna hear about some predatory lesbianism” - like how do you do that to someone like ruby? how backed into a corner was she? how do you hurt someone like that? + ruby is maybe not a nice person but absolutely a good person but some shit you can’t forgive. some shit you really want to forgive. some shit you shouldn’t forgive. some shit gets left in a murky spot of semi forgiveness for a horrible situationship you’ll probably never see again.

and then you put them on a roadtrip together and let them fight!!!!!

[leguin]

the big 'armand never tried to save louis' reveal did surprise me, but does explain san francisco so much more...like of course a guy whose entire relationship (and focus of his life) is based on a lie of him being a much more selfless and less cowardly person than he is is going to mindwipe fights from his partner's mind! armand's two options were to become a better person or hope louis never ever found out the truth (with the aid of his powers and a tragic amount of overconfidence), and he went with the latter. bad choice for him, but very consistent.