the 1967 our world broadcast of “all you need is love” is that point in beatles history where if it was a film you’d be sitting there all warm, hoping it stays like this forever but then you look and there’s still an hour left and you remember that the film was tagged as tragedy and you feel your heart drop into your stomach
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I like to think that Terezi strives to act bizarrely/off putting because 1) purposefully being a weirdo is inherently funny in an ironic way and allows her to mock others through playing along with their weirdness, 2) she knows that the core tenet of being cool is not caring what others think so she acts the part as much as she can, and 3) it gives her plausible deniability for the times she might do something weird unintentionally because she's actually very self-conscious even if she rarely lets it show
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Look, I know it's supposed to end badly. But I need to admit that in my head, they declared a mutual "fuck this shit" to the world and society. Packed all the stuff they could one late night and escaped to a remote open plain in the middle of some thick woods where they spent the rest of their lives healing and living freely in nature.
I've been having a lot of intense feelings about them as well. The tragical elements are so baked in to their story and setting, it's hard to imagine a happy ending for them. But every now and then I find myself thinking of scenarios and AUs where they both live and grow old together. For coping purposes, I suppose.
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Thinking about Melting Point
How they met after Ulla was already married and had a kid
How Donella was drawn in by Ulla's power, by her knowledge
How they bonded in a way Ulla and Quirin never could, how they connected through science and magic and intelligence
How Ulla and Quirin never really understood each other-- How they loved each other but Ulla could never know why Quirin was content with staying in place and Quirin could never know why Ulla wasn't
How Donella knew she was falling for Ulla and couldn't do anything to stop it
How she knew she couldn't tell her because "she's straight and married and would never love me back"
How Donella had to put all that aside to trap her in the library, knowing that she would never see her again, knowing that she would go insane
How she had to watch her child (because that's what Hugo is. her child) go through the exact same process with Ulla's son nonetheless
How she had to watch him cast her and everything he used to believe in for this boy. How she told him "don't get attached don't get attached" because the last time she got attached she lost the one person she loved
And then how she watched as he confessed. As he broke the pattern. As Ulla sat and watched as well
And how it broke all barriers when Varian confessed right back. How they saw, in that moment, that this is what could have been
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Ooh I love the ghost distribution system being entirely ghost centric. Everyone else is just a side character and/or subtle antagonist, trying to keep him the way he is (like someone being upset that another scooped up a local stray to bring them indoors)
It's his story! Even the reader is sort of a side character. Ghost is on a pilgrimage in my mind, the end of which he doesn't know, but the start of it was kicked off by us, by the one small kindness we offered.
Aside for the obvious religious metaphor of being unable to understand God's will, having Ghost as the pov character offers a lot of fun plot for me to play with. Honestly, the story is sort of building as something I didn't intend it to be. I've lost control of the reigns and now Ghost is just following the path in whatever direction he wants. He's on a little journey, and all I can do is pack him a snack for the road.
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Fellas with a newfound appreciation for life and the kid that saved them ♥️
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Thinking about it, I don't know if people realize that Omori ends the way it does because the game is about the beginning of the recovery process. The first step is typically the hardest one to take, and it's a lot of just admitting in the first place that something is wrong. It's okay that we don't see the reactions to the truth, or that we don't get to know all the details of what happened after the hospital. The game ends where the character arcs for the story conclude, and anything else would (imo) just feel like bloat. The reactions, with all honestly, do not matter in the context of the game's themes itself; what does matter is that Sunny was willing to face everything and just tell the truth, no matter what happens. These people deserve to know, and so he tells them. The guilt for him and Basil is gone now that the friends know what really happened, and it's through that action the two of them can truly begin to heal.
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hold on i need to get a thought and emotions out. so with Welcome Home, there seems to be a before and an after. obviously, we're in the after. the website is the after. and if it turns out that the story we see, the one where shit hits the fan and the show is practically erased, then... that already happened. whatever horrors we see, we'll know that there is no saving them. there is no happy ending - it happened, and it's tragic. the show is doomed to end and be scrubbed away. if any of the characters are revealed to be dead/gone by the website, then when/if we see them at an earlier point, we'll Know
and there's a special kind of dread and horror in that for us, the audience.
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