#ive been having a Day alright

[kalaidosnail]

When they were 8 years old, Jonathan Sims watched one of their bullies die at the hands of the Leitner known as Mr. Spider. They found themselves unable to share their experience with his grandmother, instead delving into whatever books he could find to soothe their mind. This led them down a path which eventually found them with a small notebook in his hands, scribbling down notes as he scrambled through abandoned buildings, poking Artifacts with sticks. After being saved once or twice by a disgruntled Gertrude Robinson, they continued to investigate, becoming a sort of ward of many of the Avatars of London. He observed the process of skin burning on many afternoons spent with Jude Perry, trembling but ultimately standing still, wide eyed, drinking it all in. They learned how to spin a baton and balance on a tightrope while Nikola Orsinov clapped delightedly at his efforts. Annabelle Cain herself helped him find closure and peace after they confided in her what had happened with the Leitner. Many others would ask after his well-being, sending them birthday gifts and dropping by with treats the one time they became sick with the flu. Gertrude, reluctant as she was to let a child be claimed by a Fear, helped him forge a connection to the Eye, and taught them how to hide from James Wright, then from Elias Bouchard. Now, they have found a position as her replacement, the Head Archivist of the Magnus Institute. 

   How will they manage to handle their grief for Gertrude, evade Bouchard’s schemes, diffuse political tensions between the Avatars, and wrangle their trio of disconcertingly attractive and devastatingly mischievous assistants? 

Well, for once in his life, he really just doesn’t Know. Should be interesting, at least.

--

In other words, I've decided to do a chatfic. Kinda. Jon knows how to use a phone, that's it that's the premise.

[s0fter-sin]

god the way ghost’s voice drops when he tells soap, “you’ll need to improvise to survive”

before that, everything he says is steady but when he acknowledges that soap’ll have to do something outside his skill set, something he intimately knows to be difficult, his voice wavers. he does the same when he says, “welcome to guerrilla warfare”; it’s sombre and serious in a way he doesn’t act for the rest of the mission. if you read into it enough, he almost sounds apologetic; like he knows exactly what soap’s about to go through and wishes he didn’t have to

he keeps soap going; poking at him and making jokes, giving him tips and asking about his progress. he never lets him stop and take a second to think bc he knows the moment he does is the moment it'll all hit him; the betrayal, the pain, the fear, the deaths, all of it will drown him and if that happens, soap won't make it

he needs him to be a soldier through and through and he knows this is one of the worst kinds of battlefields you could end up on

and the only times he slips is when he acknowledges that fact

it happens again when he says, "tryin' to get you here alive and in one piece". his jovial dark humour facade drops for just a moment when he has to face the potential reality of losing soap. then he tries to pick it back up again with, "one of us has to survive to tell the tale"; completely discounting himself as a survivor to try and rally soap and make him think it’s all down to him

and soap does the same thing

when he's calling out for ghost on the radio, he's tentative, testing the frequency, then when he doesn’t get a response, he grows desperate; "ghost, this is 7-1, do you copy?"

then when ghost answers, he smooths out his voice; he hides the pain, the fear, and no matter what response you give to ghost asking if he’s injured, soap brushes it off (“i’m good”, “what’s the difference?”, “i’m not a medic”). soap decides it’s in ghost’s best interest to hide the extent of his injuries

he doesn’t know where ghost is, if he’s secure, if he has any weapons; he doesn’t even know if he’s in las almas until he says, “there’s a church, i’m headed to it”. for all he knows, he could’ve run in the complete opposite direction. if ghost knows he’s hurt, then his attention would be split between his own survival and soap’s

and soap, who lets himself be poked and prodded towards the church, needs to hide his own doubts. maybe he needs ghost to believe he'll make it so he himself can believe it ("what are my odds?" "don't make me bet against you", "think i'll live that long?" "probably not")

he all but begs ghost to tell him he'll get through it and if he knows just how bad off he is, maybe he'll change his mind. maybe he'll think he won't make it to the church

maybe he'll leave him alone for good

"you injured?"

"i’m good"

"let's find out how good you are"

[ruporas]

post ep 11

[ninja-knox-ur-sox-off]

....so as it turns out I'm mentally ill over dragons rising

[marblerose-rue]

click for better quality!

are you gonna start climbing, or what? / needletail

[petite-phthora]

Can I kiss you?

[DP x DC fic]

[Love at first... murder? - part 1]

Next >>

Ao3

---

“—so sorry! I swear I didn’t mean to kill him! It was an accident! He just jumped me out of nowhere and I have had bad experiences with clowns in the past so when I saw it was a clown trying to kidnap me I kinda just panicked and punched him! I swear, dude, I didn’t mean to hit him so hard—“

Jason, much too calmly, likely in some form of shock, rises from the crouched-down position he had been in to check the clown corpse’s pulse.

He had seen the poor, still rambling, twink getting grabbed from a distance and was about to step in as Red Hood, not even having been aware it was the Joker who —shouldn’t he have been in Arkham? There has been no announcement of him breaking out yet— had grabbed the guy until he had run close enough to the scene.

Which was after the guy had already been startled so badly by the Joker trying to kidnap him that he sucker punched the Joker into the wall of the alley so hard the clown died.

Said twink then realized what he had done and that he had a witness, that witness being Red Hood himself, and had started his frenzied speech on how it was an accident and to please don’t take him to jail he’s only just started his scholarship at Gotham U. and he can’t have murder on his track record yet.

Breathless, Jason looks at the nervous twink in front of him, who's still trying to plead his case, and who just obliterated the Joker with a punch.

Before his brain can catch up to his mouth, he’s already cutting the distressed monologuing off.

“Can I kiss you?” He blurts out.

Danny, taken off guard, breaks out of his panicked—oh, Ancients, I just killed someone— stupor and lets out a startled laugh.

“Take me out to dinner first” came the automatic joking reply, Danny still largely in shock of what he did.

Jason, either not picking up on the joking tone or ignoring it, nods seriously, already trying to come up with the best place for a dinner date with the cute twink to thank him for his service to the city.

Danny, who has calmed down slightly by now, glances between the red-helmed vigilante and the clown corpse. His gaze lands on Red Hood and he hesitantly speaks up again.

“So, uh, what happens now? Do I need to go to the station to make a statement orrrr?” He pauses awkwardly.

Jason, who’s still trying to figure out whether the Bat Burger would be a good place for a first date or not, doesn’t reply.

“I’ve got school in the morning and I only have like,” he pauses to check his phone for the time, “3 more hours before I have to be up for my first lesson. Soooo, I’m just gonna go. That cool?”

Again, he waits for a reply. But it doesn’t come.

“Right. Cool cool. Uh, see you later? Mr. Red Hood dude sir?” Danny gives a clumsy and awkward salute before turning tail and speed-walking away.

It’s not until 30 minutes later, once Jason has finally decided on the perfect place to take the guy to dinner to, that he realizes the twink is gone.

Fuck, he forgot to ask for the guy’s name.

…

And number.

[orbmanson7]

Time to analyze the next part of the "The Sides Need a Nice Day" video, this time it's Virgil and Roman.

(If you want to read the first part about Patton and Logan, read that here.

If you want to read the last part about Janus and Remus, go here.)

Moments here are less about foreshadowing and more about recollection and the current standings amongst the sides, most notably how Roman feels about his place after all the events in SvS:R (and likely the FwSA Asides episode).

Virgil starts off by stating he noticed Roman being whinier and moodier lately, more so than usual. It's possible at this point that he doesn't have full context from the SvS:R episode as he wasn't in attendance, though we know he's at least aware of Janus' involvement/acceptance because he brings it up in the FwSA Asides episode.

He describes Roman as being a bummer, and Virgil (like Patton) is able to pick up on this because it's something he sees in himself enough to recognize it. He empathizes with Roman even if he doesn't fully understand why Roman feels the way he does, because he's been in a spot like that before himself, moody and down in the dumps.

He says that he figured something needed to be done and says he might as well be the one to do it. It doesn't seem like this is out of obligation, which is the way he's attempting to frame it, but rather that he's noticed Roman feels down and has a desire to help him out.

He saw that Patton was relatively successful at cheering Logan up so he decides to give that method a try. However, he uses it in a very different way.

First things first, he immediately pops in, startling Roman, which you'd think would not be the right play here, but Virgil isn't sucking up to Roman's ego to cheer him up today, he's just trying to give him something fun to do and focus on instead.

Virgil doesn't start off by explaining what he's doing, he just gets started. When Roman yells, asking what is wrong with him (because he's a king of deflection), Virgil then explains in simple terms (with some free insults thrown in) what it is that they're doing. He specifically states "we are going to..." throughout this, implying this is meant to be a group activity.

I want to point out this difference from Patton and Logan's version, as Patton had instead chosen solo activities for Logan (as those are what he likes) and was just tagging along the whole time, but they did not participate in those activities together.

Virgil and Roman, however, are doing these activities with each other.

The reason for this may tie back to love languages, interestingly enough. While the intention lends to all of the video falling under the 'acts of kindness' love language, each part has something specific to the side of focus, as well.

For Patton and Logan, Patton being knowledgeable about what Logan enjoyed without asking and then presenting the activities to him instead of participating alongside him would technically count as 'gift-giving'. And for Virgil and Roman, Virgil finding common ground the two of them share and finding similar interests to further their bond, sharing and spending time together, would be 'quality time'.

And later, for Janus and Remus, Janus knowing what Remus enjoys but not participating directly in the activity with him could count as 'gift-giving', but also validating his interests and thoughts could count (in a way) as 'words of affirmation' (which I'll discuss more in the next post).

So, Virgil has already planned for these activities to be done together with Roman. The activities in question, however, do not all require a second party, but are more enjoyable with one.

They start with listening to that new rendition of We Didn't Start the Fire, and Roman is confused as to what he's hearing because it's not what he knows or expects. He's caught off guard because he believed one thing but was instead told another.

Wonder what that's reminiscent of...

Virgil quickly explains what it actually is, as well as his opinion that it's better.

What Virgil is trying to do here is what a lot of people enjoy doing - sharing music that they love! Virgil is aware that Roman enjoys music and he knows Roman likes this particular song, so Virgil, having heard the new rendition and liking it, believed that sharing it with Roman might allow for yet another shared interest of theirs. He's trying to find more things they can both enjoy together, which is very thoughtful and nice of him to do. It shows that Virgil genuinely considers them friends and they've grown much closer over all this time.

When Roman doesn't seem all that pleased about the song, however, Virgil is VERY quick to offer "I've got others" to salvage his attempt. He doesn't sound upset, though, simply prepared as though he anticipated this could happen. Roman gladly takes the offer because things have already started off in an unexpected way for him and he would rather find something familiar next.

He seems excited by the next activity, only to be confused and somewhat alarmed at what it turns out to be instead. Virgil explains and even states that he thought Roman would be interested in the Disney creepypastas, again as something that can act as a shared interest between them. We've seen, long long ago in The Dark Side of Disney episode, that Roman and Virgil do already have a shared interest very similar to this, so it's understandable that Virgil would attempt to build on a foundation that's already been established.

When Roman says he's done and wants to move on, Virgil simply accepts it, just says "cool" and brings up the next options to pick. It's interesting to see how Virgil is so accepting of this despite Roman's dismissals so far. He doesn't appear to be offended that Roman isn't really liking his suggestions, likely because Virgil has either prepared for this possibility or because he knows he's building on their shared interests that already exist.

To give an example, if you and your friend like the same tv show, but you disagree on your favorite character, that doesn't mean you don't both still love the show or can even enjoy watching it together. It just means you enjoy different aspects of it, and that bond isn't ruined in any way, even if it could potentially be a stronger bond if you both liked the same character.

In this case, for Virgil, he already knows he and Roman have these shared interests, he just wants to strengthen that bond, so throwing ideas out there and seeing what works doesn't have to be stressful. It is surprising that he's not more nervous about the potential of a worst-case scenario, considering that's kind of his norm, but this may just be because he's more focused on giving Roman something nice to do and so he's less worried about his own thoughts in the moment.

Moving on, when Virgil gives the next options, Roman looks concerned. They've already had two strikes, two instances where he thought he'd get one thing when it was really another. So now he's worried what the next option will entail. Will it be another mistake?

He's unfortunately right to worry because Virgil's attempt to offer a spider as an animal companion doesn't sit well with Roman. He is extremely uncomfortable and is more desperate to move on to something else rather than stay there any longer.

I want to point this out, that Roman is still participating in all of this. Having had three strikeouts in a row, it would make sense for him to assume none of these ideas were going to be something he liked and he could give up and just go back to what he was doing earlier. But instead, he chooses to try another option with Virgil.

I think this may be significant for his character, likely because Roman wants this to work. Whether that is because it's a distraction from how he feels (even if it's not the most welcome one) or because he wants to enjoy himself and not be alone in all of this, he is still willing to try more options until they find something that works.

It showcases Roman's tenacity and perseverance in an interesting way, that he will keep going until he finds the right solution (not too little, not too big, but just right).

That being said, it doesn't mean he has to do it with a smile on his face, as he's clearly frustrated once he sees what his next option will be.

It seems like a nice activity that he would normally enjoy, but considering how every previous activity had already turned out differently than he'd hoped, he is now expecting the worst.

Virgil follows through, reading him a fairy tale, and of course, tells the original version of The Little Mermaid. Roman is not pleased by this, seeming increasingly bothered and upset, because yet again, this isn't what he expected and ultimately not what he wanted.

He eventually yells out in frustration his problem with the story, saying that that's not how the story goes.

Virgil argues that he's telling the real story (which he is) and attempts to tack on the point about the mermaid being rewarded in the end for her selflessness, as though in an attempt to placate to Roman a little bit.

But Roman cuts him off, declaring that the prince in the story wouldn't be that "stupid or mean," because he's a prince, and that's not how princes are meant to be.

"A prince always does the right thing, the good thing."

And then he suggests that maybe that's not the real ending to the story.

What Roman is doing here, which should be obvious, is projecting his insecurities (mostly about the end of SvS:R) that have yet to be resolved onto this other story. He's giving his thoughts on his own identity issues and personal struggles.

He was faced with an enormous change in his reality after SvS:R, having been led to believe for so long that he was doing what was right and good, that he was the good guy, the hero. But then he was slapped in the face with the realization that there's far more grey area than he could ever possibly imagine, and that the moral compass he'd been using to guide his righteous path hadn't been as righteous and reliable as he'd thought. He's stuck in a position of having done what he believed to be right and now being told that it was wrong, which feels unfair because he thought he was seen as a hero and now he's being told that he's not.

It's an extremely sobering and depressing notion that Roman hasn't even begun to address yet.

Virgil seems to realize that what Roman is getting at isn't his dislike of the story, it's that he wants comfort right now, and stories can provide that when used in certain ways, such as for escapism.

Escapism is something both Virgil and Roman would likely understand rather well.

For Virgil, it's a way to relieve stress and anxiety, to get away from the terrors of the real world for just a moment.

For Roman, it's a way to indulge in fantasy and pretend those troubles are far away. He can imagine a way to fight them off or avoid them completely as if they no longer exist.

Escapism can be dangerous if not reeled in, though. You have to face reality at some point or you'll never grow and improve yourself.

But right now, Virgil's whole reason for doing this was to cheer Roman up, to make him feel better, so if that meant letting Roman have his fantasy instead, just for a while, then he would do that.

So he alters the story he was telling, gives it something more along the lines of its Disney rendition's ending, makes it more saccharine and sweet, and this gets Roman to finally relax, which shows how much this method really works for him (and how much he may rely on it, too).

Now, the story points that Virgil mentions are very intriguing. Firstly, they are different than the Disney version, so he's not just ripping that off, he's making some of this up but still has it based on the original tale.

The parts he changes? He mentions the prince realizing the marriage was a sham, the prince finding the little mermaid before she turned to foam and saving her, that the prince proclaimed his love for her, that the little mermaid realized the prince was good all along, and that they lived happily ever after.

These all sound like wish fulfillments for Roman - things that he specifically would want, as they all center the prince's actions in the story (not the little mermaid's, you know, the titular character).

Now, if I had to guess, I believe this is meant to be taken as an analogy for an ideal version of Roman being Thomas' hero, where Roman is acting as the prince and Thomas is acting as the little mermaid, and I'll explain why.

I believe the marriage being a sham part is less of an analogy and more of a reference to the wedding vs callback scenario, and saying it was a sham is meant to imply that Janus had set things up (as the supposed bad guy) so that Roman (the heroic prince) would look stupid. Realizing it was a sham puts the prince in a position of power over the one setting the trap, making him appear smarter and confident instead for outsmarting his enemy.

The part about the prince finding the mermaid before she turned to foam and saving her might be in reference to Thomas' mental state getting worse, losing himself, so much so that Remus had come along with all those intrusive thoughts, and if Roman had been able to prevent that whole situation, somehow Thomas would be okay and happier and healthier instead.

Proclaiming love should be obvious, Roman (and all the sides, really) genuinely love and care about Thomas, they want him to be happy and safe and healthy and doing what he loves, even if they all think they each know the best way for that to happen. Declaring his love here may mean that Roman can fully express his passion in what he does for Thomas, because he anticipates reciprocation (as you may in any fairytale). If he declares Thomas as his favorite, as his one & only, then perhaps Thomas would do the same of him? This would definitely show Roman's focus on his self-importance and his desire to be paid attention to and adored in turn.

And the mermaid realizing he was good after all is absolutely a direct reference to the end of SvS:R, because the notion that Thomas would not see Roman as his hero absolutely broke him in that moment. Wanting to indulge in the fantasy that, instead, Thomas realizes he is a hero and good and right after all, is his ideal scenario and an escape from what really happened.

And then a classic ending of happy ever after being there is what Roman wants, it's his ultimate ideal. He doesn't care how he gets that ending, so long as he gets it.

Virgil gives him that escape to fantasy, then holds his tongue and runs out of the room before adding "for now." Those words tacked on to the end would bring it all back to reality, because it's true (though quite pessimistic)!

Even if all the ideal parts were to happen, that doesn't mean the story would necessarily be over, or that more events would not then unfold. Roman may be able to get his happy ending, but that doesn't mean the next story won't start right up afterward, throwing everything back into turmoil.

Overall, Virgil was successful in giving Roman something nice that day, specifically something to cling onto while he struggles with the reality of what will inevitably come next. A short reprieve is better than nothing, though.

Now, onto the last part...

[dawnthefluffyduck]

New game interest unlocked

(crow in bottom right belongs to @patchwork-crow-writes)

[creaturefeaster]

Any tropical islands on theia??

Yes!! There's many across Theia, and maybe one day I'll have a full world map to elaborate on, but for now I can tell you about the ones localized around Stolla.

Also I hope you're ready for lore beyond their climates heehee.

There's a lot of islands littered around Stolla but the ones with tropical-like climates hang out on the south-eastern half of Stolla, which harbors the warmest and most humid climate out of the 5 vertices of the continent.

This cluster of eyots by the mouth of the Splitriver are the truest of tropical islands within Stolla. A couple are accessible via a local port, which mainly host small, low-denisty villages. Many of these eyots however are nautically inaccessible due to sheer cliff faces, or are too thick with growth & inhospitable to most humanoids of the region.

During cooler times of the year these islands are nearly always shrouded in a dense and humid fog kept in place by the cooler ocean waters below.

The sands surrounding the lower and more accessible islands are a glittery cyan color, a noteable feature almost exclusively seen along the coasts of the Irrandiant Gulf, so they're quite the spectacle for western & mid Stolla inhabitants!

Speaking of the Irradiant Gulf, all other tropical like islands sit in this gulf's surrounding waters. These very large islands are more sub-tropic, a little further away from the equator. They are still just as humid, and despite how I lazily colored in the vegetation on this map, much of the jungle within these islands actually glow and glitter vibrantly in a range of cool colors from sea-green to indigo.

The two largest islands are populated heavily along their coasts, but very few people live far inland. The largest of the islands exports many unique and unusual magical goods and ingredients to the rest of Stolla.

And finally these two small islands in the outer center of the gulf have a somewhat sub-tropical climate, but are notably less rainy and have colder winters. Any island more northern than these in this area begins to reach more temperate climates.

These islands are home to chiefdoms of Payans and Garbeators that reject trade and much contact with the rest of Stolla. Though nobody knows how they exist, these islands happen to be right on top of an ancient meteor impact site, the same one that created the gulf, and caused the great flooding of it's surrounding provinces. Also the one that brought all that glittery magic to the world in the first place ^_^.

The islands sport several sheer rock formations of varying heights laced with colorful crystals that influence the growth and behaviors of all life within their surrounding area. Many living things from these islands beyond Payans and Garbeators have more than two eyes, for reasons yet to be understood.

~☆~☆~☆~

As I mentioned previously, there are many more tropical and sub-tropical islands in the world of Theia, these are just the more relevant ones to the story-focused part of the world.

[cheridraws]

my version of the dtiys made by @edgy-senju !

[the-holy-ghosted]

*putting on a moustache and sunglasses*

So like what’s the deal with ghosted what’s that about

now see the deal with Ghosted is that it's not what happens within the events of the film that captivates me so much, though don't get me wrong i love this film to bits, but rather, it's the idea of what happens after the whole thing that makes me FUCKING NUTS

because the whole thing is relatively cut and dry in the sense that we don't have to guess about what happened before and we don't have to guess about how everybody is feeling in the present. we know (MOST) important characters backgrounds and what they're doing at Falkhill and slowly revealing Paul's context was pretty interesting if not a little abrupt at the end there but its the very last scene of this film down to the very frame that flips the whole hour and a half you just watched over on its head and prevents me from getting a good night's sleep because i can't stop thinking about it

ELABORATING WITH A LOT OF SPOILERS UNDER THIS

explaining the plot of this movie is hard without sounding like im writing a pretentious review and not just talking out of my ass on tumblr but for my followers who haven't watched this movie and dont care enough to: Ghosted (2011) is set in a british prison in which Jack (John Lynch) is a long time prisoner who's wife just dumped him apparently on the anniversary of their sons death (tough break) and is being advised by his friend and cellmate Ahmed (Art Malik) (who does NOT get HALF as much screen-time or plot relevance as he DESERVES,) to find something to put his mind to and be proud of outside of his failures Paul (Martin Compston) is a prisoner who was just transferred out of a Young Offenders prison AS FAR AS WE'RE TOLD... though its noticeable from the beginning that hes not a very good liar and his story is suspicious at best Clay (Craig Parkinson) is kindof The Guy of their prison wing whos dealing drugs to other prisoners and assumes the position of authority over everybody else, though compared to other inmates with bigger cliques, his foundations are shaky. the description of this film on letterboxd calls him "the wing beast" and i have never cried laughing so hard reading something in my life

Clay and Jack both hone in on Paul immediately for different reasons. Jack, after his pep talk with Ahmed, sees Paul as a source of "a little self belief, something to be proud of", but Clay scoops him under his wing for being relatively young and impressionable. This puts Jack and Clay at odds with each other. after some plot, Paul gets into very big trouble with Clay and after An Incident is promptly plopped into Jacks hands, who had requested Paul move into his cell earlier but didn't have a good enough excuse for it. Well You've Got A Bloody Good Reason Now ect ect

Jack and Paul buddy up immediately and its noticable that Paul is sort of filling in the empty space where a son would be for Jack, however we discover that Paul has been lying about his past to everybody, including Jack. he lied about his family and he lied about having only just been transferred from Y.O. and hadn't been telling the whole truth about his sentence. what the truth ends up being, in a nutshell, is that Paul is accidentally responsible for the death of Jack's son, having been the one who started the house fire he died in (we were never even told that Jack's son died in a house fire before this, we are only told this in Paul's flashback at the end of the movie and are supposed to act, like, surprised?? whatever). consequentially, Jack flips his lid and prompts my personal favorite scene in this film in which he beats the living shit out of Paul with his bare hands and immediately regrets it the second the adrenaline wears off, hitting an alarm button within the cell that alerts the guards.

the guards whisk him away and he is put in solitary confinement, which we find out was actually the first sequence of the film where hes shown with an absurdly long beard, and considering every other fucking scene he's in is of him shaving his face, i assume this is to show just how long he's been kept in solitary confinement, which quite honestly was kindof exciting to realize at the end of the film.

and then. the end scene.

after solitary, Jack is put in cuffs and brought to see Paul who looked Extremely Dead after Jack had him, but hes not dead! just almost dead. Jack is sat next to him and tries to apologize but starts to cry, reaching out a hand to hold Paul's but retracting it regretfully. Paul, having looked unconscious not five seconds before, moves his hand to place it over Jack's...

and then the movie ends. and i am left writhing on my floor in anguish BUT NOT BEFORE I EXPLAIN TO YOU THAT THIS

THIS is what the deal is with Ghosted

the pathetic gestures of "im sorry" and "its okay" are what kill me. sorry is nowhere near enough to justify anything that EITHER of them did, NOR should they be forgiven. AND YET.

and what gets my gears going is the thought of what everything looks like AFTER this scene. after they've bonded so close and after Jack already thought that Paul stopped lying to him, thinking that he could protect Paul from Clay now... after they started to fill the spaces for people they were missing in their lives... and after they've RUINED each others lives. They Have Ruined Each Others Lives and yet Paul probably would have had to DELIBERATELY ASK for them to bring Jack to see him because he just BEAT Paul within an INCH of his life and would NOT !! have brought Jack to see him upon Jack's own request!! Paul would have wanted to see him too!! after all this what does their relationship look like now... the image of father and son has been all but shattered in each other's eyes, one can assume, but are they still close... does the guilt and responsibility drift them apart or does it pull them inseparably together? Ahmed tells Jack that "there is no such thing as coincidence, only fate" but what does their fate look like... does it end here or does it mean that they're together indefinitely? the end of this film swings the door wide open and i think about it. way too often. unacceptably often, even.

all in all theres no reason that this should be my favorite film but it is. if nothing else it's made me look into the other actors involved and branch out with a to-watch list as long as my arm that will only get longer once i branch out from there. is it the perfect movie? no this film is mediocre at best. have i made a number of my friends sit down and watch it and listen to me yell incoherently about it? of course i have.

[greyedian]

uh oh besties, it might be time for my (almost) annual Dishonored replay again

[motherforthefamicom]

redownloaded an old art program

[jrueships]

r u the grew up poor never being able to buy the little things in life u always wanted as a kid so now u buy whatever little thing u want as an adult and struggle with saving for the big mandatory thing,

or the grew up poor never being able to buy the little things in life u always wanted as a kid so now u just never buy anything small bcs u had to learn to live without it and constantly try to save for the next big thing in 500 yrs

[naenaex0xx]

maybe I'm comfortable with tumblr because I get to say things I don't usually tell anyone

[opens-up-4-nobody]

...