#putting this on main because why not

[thatwolficorn]

The faucet of my kitchen sink just broke off and a geyser of water blasted my ceiling

Let’s play a game

Everyone post the most recent picture in your camera roll. You only get one sentence to justify yourself if you wish. This one is mine.

My boyfriend is rly good at Latin, so I was looking up how to say ‘I love you’ but found this instead :)

Your turn!

@bookmovietvworm

@myfairkatiecat

@i-am-a-fish

@valtsv

[hamcatburger]

Woe of a minimum wage worker (me)

[equalperson]

being an "is often envious of others" narcissist instead of a "believes that others are envious of them" narc SUCKS. WDYM seeing other people do something even slightly better or faster than I do makes Me feel physically ill?? this shit is so embarrassing.

[amazingdeadfish]

It's the Spookie Month

[thebatsandthebugs]

my 'hottest' dc take is that dickbabs and dickkori are both interesting, complex ships which can be written to have one be endgame/one break up without reducing/mischaracterising any of the characters involved. It literally comes down to personal preference on which you like better. Can we stop fighting (and give babs and kori solo runs please)

[puppetmaster13u]

Prompt 292

“Oh I am blaming all of this on you T,” one of the beings in the summoning circle groans, burying their corpse-pale head in clawed hands as their white hair flickered. 

“Me? Excuse me, I wasn’t the one to accept the summoning!” another being protested, hood hiding most of their face save for molten-gold eyes and glittering runes or code on dark blue skin. “I was trying to figure out how to convince PK to change our schedule to include more sleeping, so don’t look at me, look at S!” 

“Well I didn’t accept it,” the only girl-sounding one scoffed, her crown of thorns seeming to writhe and bloom in her black hair for a moment. She crossed her arms, narrowing green eyes just a few shades darker than the white-haired one. “Maybe talk to whoever decided to summon us?” 

All of the sudden the cultists and heroes were being peered down at by a trio of… honestly whatever they were, because they didn’t seem to be the “Infinite King” the cult had been attempting to summon. Actually, they kind-of-maybe looked like kids… Which probably meant their parents or caretakers wouldn’t be too pleased. 

[queen0fm0nsterz]

I really like how Little Nightmares explores masculinity and femininity.

The experience of a female presenting LN protagonist (and even character, if you want to extend to the antagonists, notably the Pretender) is generally one of survival induced solitude, where companionship can be sought but ultimately denied due to circumstance - especially among each other. Six, Noone, Alone and Raincoat Girl all display different degrees of longing for someone to understand them - Six being an extreme on the side of isolation with the occasional source of comfort (the Nomes), Alone being a comfortable middle where she is indipendent and curious while also having a companion, and Raincoat Girl being the other end, an helpful force who seems to desire companionship. In Little Nightmares 1 especially femininity is displayed as the painful experience it can be. It's raw, visceral, and worst of all it's isolating both when you conform to it until it destroys you, like the Lady does, and when you reject the standard of what is expected of someone like you, like Six.

The pain you feel, physical and emotional, doesn't seem to be as important no matter how deep it cuts you. Noone's tumor being hidden and neglected, her headaches being dismissed... and of course Six's hunger, unforgettable in how much it hinders her, but I could also point to her monster form and the physical and mental toll the entire ordeal in the Tower has left on her.

The conflict between Six and the Lady becomes especially poignant under the lens of this argument because it is a confrontation of the two opposing sides of the spectrum, metaphorically. It's a little girl who has yet to experience the devastation of conformity performed as a means of survival facing a woman who lived all her life so set on following these rules that anything outside of them is perceived as a threat.

(One can't ignore the more obvious point of the class difference with Six being at the very bottom of the chain and the Lady being at the top, which certainly influences the dynamic, but I digress.)

Femininity is hyperindependance in the Little Nightmares world. It's the desire to be left alone while also longing for understanding. It's ambition and curiosity, but it's also the loss of identity both in the pursuit of it and in defiance of it. You end up being alienated either way; you can't really win.

On the other hand, I find that generally, masculine Little Nights protagonists tend to be driven by sentimentalisms and emotion. They are often defined by what community surrounds them, be it a single friend, family member or group; the most lampant example of this are, of course, Mono and the Thin Man, but the same argument can be made for the Runaway, whose story ends up leading him into finding a genuine community with the Nomes, something that no female protagonist experiences. You could argue it was clever foreshadowing, and it was! But does it make the observation any less valid? Personally I don't think so. Low also seems to be pretty set on keeping Alone by his side, although it might be too early to tell; however we do know he's a dreamer who dreams of a future where he and Alone can escape the Nowhere. You could call him a romantic.

Masculinity in this world can be care and fortitude, but it's also singlemindedness. It's the ability to find companionship and meaning while also letting one's own hubris destroy it.

Otto himself is an incredibly interesting example of this because we can hear how his desires, his emotions, are eventually what ends up driving Noone into the arms of the Ferryman. It's a prime example of how masculinity and femininity clash with one another -how his emotional wounds and eventual loss of clarity caused a little girl to fall prey to that hyperindependance where she refuses to be helped by him even when he does mean it.

(Along with his vaguely misogynistic remarks, but again, I digress...)

This singleminded focus on one's own emotions is what I think makes the Thin Man and Mono as relatable to many as they are. His is an endless cycle of violence caused by his own hand; by his own inability to process his emotions in a way that can allow him to progress and move forward. It's not a justification of Six, whose eventual exhaustion was what caused her to react the way she did, but rather it is an observation through again metaphorical lens.

The Thin Man is stuck in a dark room that gets progressively smaller because his inability to understand his wrongs causes it to shrink. He's locked in a bubble that is not entirely of his own making, but it is his responsibility to burst. But how can you burst it when you have no conscience of the fact that the room has been getting smaller to begin with? How can you care, when all you can think about is the emotional hurt that brings out the worst of you, the part that you don't even realize is the worst of you?

Masculinity can be just as isolating as femininity not because it's visceral but because it's fragile. It's unaware of itself while also being incredibly concentrated on the self. It's based entirely on how one is perceived and treated and thus easily destroyed once one is left alone to their own devices, which is why it requires community. Once that community is taken from you, it shatters, and leaves one without the tools to rebuild it.

I suppose the true difference here is that, at their worst, while one is self aware to the point it is actively damaging to the self and everyone around you, the other is so out of touch with itself that it can cause unintentional hurt to the self and others which can't be processed properly.

At their worst, they're monsters that help make each other, you could say. At their best, they're companions who help each other.

(This is in no way an attempt to diminish one or the other, by the way, nor does this reading apply to every single character. Both social constructs have their good sides and bad sides. The main quartet of Six, Lady, Thin Man and Mono are very strong cases, but I was simply making a general observation.)

[dclovesdanny]

Musical ship aus

Dead on Main x Heathers

Jason managed to convince the Outlaws to join him in auditioning for the musical coming up at the Crime Alley Theatre he set up as Red Hood. (He made sure everyone tried out in civilian forms, because he didn’t want anyone getting a certain part due to their hero identity) (Bizarro decided to just help out in the costume department.)

Danny was mostly auditioning to keep busy. He was in Gotham to recuperate after an accident with the GIW, but not being able to be busy was making him antsy (not including the mechanic work he did for some of the goonion) So, he auditioned.

Danny got the role of Veronica

Jason got the role of JD

Roy got the role of Kurt

Artemis got the role of Heather Chandler.

(And if the few goons who knew Danny as the mechanic and knew Jason as the Wayne who funded their boss back in the beginning? Well, they did need to rework Fight For Me and Dead Girl Walking pretty often.)

[bugwolfsstuff]

Nyx talking about Hypnos is giving 'school teacher/parent about neurodivergent kid who is perceived as lazy for not being able to do things the other kids can do but really just desperately needs different accommodations'

and it hurts so bad. Hypnos is a disability allegory now. Hypnos is me now. Why does everyone in this fucking hell house have issues. Like no, he's not being lazy, he's the god of sleep. This is what he is meant to be as a god, you put him in a job that actively works against him here.

[thedreamhall]

happy june 2nd i have art today

[kiyomitakada]

what draws you to misa amane?

oh this is such a good question let me see if i can do it justice.

two of my favorite themes in anything are

characters who are performances

what if love was not good

and misa is basically like if you took these two and smashed them together in a way perfectly calculated to obliterate me

like she's so! our first introduction to her is her pretending to be someone else (the first kira) so well that she even fools the audience. our second introduction to her is rem telling her that she is only alive because someone loved her, someone was killed by their love for her, and misa looks down for a second — looks almost sad — and then smiles and immediately starts scheming to kill her too.

who the fuck does that? what is wrong with her?

i think what misa understands fundamentally is that love is a weapon. if you asked her she'd laugh and say that's silly, she's a romantic after all! but she knows how attraction works and she uses it like a physical object with rem and higuchi and her jailor (when she thinks she's being tied up by a stalker and she starts offering bits of herself in order to get them to give her more freedom. mr stalker, the video won't be interesting if i can't move. oh, i'll give you an autograph, i'll shake your hand…)

and like, sure, that's how any femme fatale works, but crucial to the entire act is that misa doesn't admit it. she acts stupid on purpose! she's a cute little girl, she's misa-misa! all of this is literally in the text but she is just so good at acting that people forget about it! she isn't your usual scheming seductress character (also a character archetype i'm obsessed with, incidentally) because she knows better than to let anyone see her scheming.

look at this bit where she's specifically trying to get sidelined and successfully gets light to sideline her

+ i literally just posted about it but this scene where she decides to go behind everyone's back to uncover higuchi as kira drives me up a wall. the way she immediately covers it up with asking light to come to bed to her. i've seen so many people just screenshot that last part out of context because it really does look like a normal misa thing to do, haha misa and her conviction that light is in love with her, so funny! and that is the exact thing she is relying on to make sure they don't catch onto her. she pulls the same trick on the reader that she does on the characters. isn't that! insane! and it works every time!!!!

and of course talking about misa is never really complete without talking about her and light. it is my personal belief that she has a bpd favorite-person fixation on light that she convinces herself is actually romantic, but mental illness headcanons aside i am obsessed with the way she conceives of their relationship? on their first meeting she says out loud that she doesn't care if light just plays the part of her boyfriend ("i'll work hard to make you love me") but she doesn't want him to date other girls in public. she doesn't actually mind that he doesn't have feelings for her (yet!) but she cares about the appearance of their relationship. about the facade. she keeps putting both of them in danger by showing up to see him when he's told her not to. she gives up her actual memory of light but is relieved that she doesn't have to give up her feelings for him, specifically. she is over the moon when L and rem say she's in love with him (not the other way around!). and this

this fucking scene added a decade to my lifespan

rem: you tried to kill yourself over this boy misa: (sincere) that's awesome!

like she isn't actually enamored with him. she's enamored with how in love with him she is

oh that reminds me. addition to my favorite themes in anything list:

3. SUICIDALITY

misa halves her lifespan twice. risks her life to catch kira multiple times in yotsuba arc. as aforementioned goes to meet light even though it threatens both of them. literally says aloud i'd rather die while i'm still young and pretty

her parents are dead. she is nineteen years old and incredibly traumatized. the conclusion here is very straightforward.

misa calls kira her savior even though she knows kira isn't the one who actually saved her life with gelus. kira doesn't even save her parents, just avenges them by murdering their killer. so why is he her savior? because kira gives her a reason to live again. her goal now is to meet him, and then after she meets him, get him to fall in love with her. this is impossible because of the way light is and in some ways i think that is ideal for misa: there's always something to keep going after, some reason for her to not die yet. but she keeps throwing herself at death anyway in the meantime because if she's going to die then she wants it to be for love. i did all that for light? that makes me so happy!

the two times i think misa is completely entirely honest with the audience are when she's in confinement and when she's in the forest alone, right after getting her memories back:

christ.

this is imo why she sides with light over kira in the yotsuba arc. because what she actually wants is to not be alone, to have a reason to live, and kira helpfully provided that for a while but now that she's under constant surveillance to make sure she's not siding with kira and now that her boyfriend is also trying to catch him, she's going to side with the boyfriend so that she can keep light by her side.

what i really like about this is that it's so… amoral? misa does think kira is doing good for the world but she personally doesn't care, she just wants to be loved. she will twist her morals into whatever necessary to make sure that she is loved. she really doesn't care about anything else. she frames her good friend for the kira tapes. she places zero value on her own life and by extension zero value on anyone else's — even light's, to be honest, see above about how she's willing to put them both at risk to see him — and it's the most entertaining thing in the whole world! it's so awesome! she's so awesome!

and the best thing is that this comes back to bite her so hard in the second arc because now that she's lost her memories she can't remember why she's with light in the first place but just like in yotsuba arc she understands that this person is the only reason she is still alive, that she has to be in love with him, that he has to be in love with her, and it doesn't matter how either of them actually feel because that is How The Story Goes for a cute little girl. it doesn't matter that she's canonically developing alcohol dependence issues (see her dinner with kiyomi) or that she never sees her fiance anymore. she's still misa-misa. she's still everything.

her trick folds in on itself. she's been pretending to be a good non-murderous girlfriend for so long that when she loses her memories and her internality she has to believe herself. she becomes the shell she was putting on for light

where's the post. here. [light, about misa]

like isn't that the coolest thing in the world! she's been acting for the audience both in- and out-of-universe for so long that she has nothing else to believe in! becoming the mask is a form of ego death! isn't that the most meta thing ever! i love her so much im going to die

oh god this is getting long. umm. conclusion

there's this framework i like to think about characters with that i call zoom-in and zoom-out, where the zoom-in focuses on their internal life and conflicts and feelings etc. and the zoom-out focuses on their role in the narrative, outsider-pov style. the best characters are the ones that are compelling both zoom-in and zoom-out style.

zoom-in: misa amane is a deeply lonely and deeply suicidal teenager who latches onto the first reason she finds for living and clings onto it (him) for the entire rest of the series while constantly putting on a moe act for the sake of survival and then just because she has nothing else

zoom-out: misa amane is the second kira, stalks a high school boy to his house, kills over a hundred thousand people at his command with the same bright smile, and is such a good liar that people still come away from this show calling her stupid.

[equalperson]

the animosity I see between antisocials and narcissists (on both sides) is absolutely bizarre to Me. how are you advocating for the acceptance of people with egocentric hypoempath disorder #1, just to look at people with egocentric hypoempath disorder #2 and go "yeah. these people are repulsive and should be tortured actually."

[vesperroo]

Society after President Mcgucket eradicates period cramps

[pollsnatural]

I've said it before and I'll say it again. I hate that Jack has to be either an adult or a baby in fandom discourse. He's both, he's neither. He isn't human. Yes, he's three years old, but he has a mind of an adult (or teenager). Yes, he has a mind of a teenager/adult, but he has almost no life experience which is a huge part of being an adult. We don't call Cas an elderly man or treat him as such because he's not human, we don't have a concept for a being of his age. Why should we treat Jack differently?

[amygdalae]

I think ppl who defend or handwave all of Astarion's evil cunt moments as just being cuz he's a Helpless Victim with Trauma are kidding themselves and not giving him enough credit. He's also a bitchy mean-spirited sicko who lives for chaos and drama entirely of his own volition

(Disclaimer: I like him a lot he's a fun well written character please do not kill me)

[taigarrryen]

You know these tropes in stories where if you lose your soulmate you're left forever yearning for something just out of your reach, forever searching for something you can never find? That's me, JRWI Riptide is my soulmate. Send post