#there is an awareness that fate does exist and that there is a difference between it and destiny

[kateis-cakeis]

Gaius, Kilgharrah, Morgause, and others probably: The future is never clear, there are many paths

The Disir and the Triple Goddess: oh lol, no, that doesn't apply to you lot <3

[solarisfortuneia]

— 𝐟𝐨𝐫 𝐲𝐨𝐮, 𝐦𝐲 𝐥𝐨𝐯𝐞…

(or, in other words, promises of their dedication to you.)

✦ featuring: childe, kaeya, xiao, zhongli, kazuha.

✦ warnings: none, just the smallest smidgens of angst in some places.

✦ notes: so, this is a really old work i posted on my first blog that i'm proud of sjhhjs i found it a while ago and decided to rework it a little!! (i haven't changed too much of the original though, just tweaked some sentences and added and subtracted.)

…i’d pull hell and heaven to their knees at your feet, and i’d kneel alongside them (if I could. oh, if only i could).

childe wants to give you the world and more.

he’s almost reverent in his devotion to those he loves, seeking to please beyond all else, and what he holds toward you is no different. at merely a blink of your eyes, he’d bring you the sun and the stars, weave moonlight into fabric and find a chunk of the most beautiful emerald you’ve ever laid eyes on, and he does it all with a wink and a smile and a ‘you need only ask, dear,’

and it is true, you need only ask for him to lay out the world for you.

but alas, there is only so much fate will allow him to do. his heart and soul may rest in your palms, but he is duty bound to the tsaritsa.

ajax can promise you everything in the world, just not himself.

he cannot promise you himself in his entirety, he cannot promise you an ajax without his secrets, without an always existing barrier in between you.

no matter how desperately he wants to.

…i’d stand bare in your light, arms asunder, abandoning my secrets and shedding the shadows i once called home.

kaeya alberich fears trust.

he’s scared of what it could lead to, what it could do to him, what it has done to him. he’s a man who lives under a cloak of secrets and inside a cocoon of fear and mysteries, and for him to allow himself to expose everything he hides is no small feat.

but it is the surest mark of his trust in you, that some hopeful part of him believes that you’ll stay against all odds.

he thinks you shouldn’t, though, that it’ll cause you more harm than good— he won’t let himself want you. but you’ll know he is truly yours when he hesitates no longer to tell you the deepest desires of his heart, to bare his whole soul and lay it before your eyes.

patience, and you'll find him the most beautiful butterfly of them all.

…i’d cross the deepest of chasms, weather the harshest of storms, and brave the most treacherous of paths to return to your arms.

not a soul can say that adeptus alatus has no home to go back to. (and if they did, how utterly wrong they’d be.)

his home is the warmth of your embrace, the love in every gentle caress, and the soft cadence of your voice. it's the smile in your eyes, and the spring in your step, and the softness of your heart. he’d call it almost dream-like, but xiao knows what dreams are like, far better than anyone. he also knows that every dream— no matter how intense, no matter how vivid— always disappears.

but you’re still here, day after day,

does that not mean you’re as real as the air he breathes and the sun that sets over liyue?

xiao’s loyalty is hard won, but it is steadfast. he cannot promise that he’ll live forever, nor can he promise you happiness every single minute of the day. but what he can promise you, is that at the end of the day, he’ll fight his hardest to return to you, no matter how far away he might be.

…i’d etch your memory— from the most mellifluous laugh to every tiny victory— onto my very soul, so that not even the flow of time can wash it away.

morax has prospered for centuries.

he’s witnessed dynasties fall to dust; paupers rise to prominence. he’s come across many he was fond of and cherishes the memory of everyone he has ever cared for. 

he’s also aware that forgetting some people in the vast expanse time is inevitable. the withering of the blooms of thought spare none, not even a god, and the tree of the psyche grows ancient. after all, even the mind is not permanent in a world of transience, is it?

but zhongli would be damned if he ever let you fade.

his promise, no, his contract— one he made to himself the day the realization that you'd one day no longer be by his side fully set in— is to preserve even the last wisps that linger, encasing the thought of you in shimmering gold, so that after you are long gone, you’ll live on as part of his soul.

…i’d whisper the softest of tales into the night breeze, tales of you and i, so that even when we’re long gone, the wind will carry our stories for aeons to come.

kazuha is no stranger to the whispers of the wind.

he’s intimately familiar with them, a rare blessing he knows he is lucky to have. but his most divine blessing is the privilege of being part of a story with you. life is short, unpredictable; one never knows what their fate might be, but he's beyond glad that this part of his destiny has you.

he has no desire to be a legend, and he knows you don’t either. but he is sentimental in the regard that he wants the whispers of the two of you to stick around. he’s lost so much, and reciting stories of the two of you is his way of preservation, for nothing spoken into the wind vanishes.

the world knows only a fraction of this wanderer, but he hopes that if they remember anything about him, they remember how much he loved you.

[pikahlua]

I don’t agree with everything said here but: [link removed]

For context, someone sent me a link to a post about elements of fascism and copaganda they feel are present in MHA. I've removed the link for anonymity purposes.

I have no interest in responding to this essay point-by-point. As a brief, BRIEF, BRIEF summary, the linked post makes claims such as:

MHA is pro-authoritarian

MHA is pro-cop

MHA doesn't have these elements promoting fascism on purpose but the elements are there regardless

MHA's ending endorses philosophies it previously criticized

MHA readers who don't pick up on these things lack critical thinking

MHA's hero system is comparable to the fascistic element described in Umberto Eco's "Ur-Fascism" that "everybody is educated to become a hero"

Nothing in MHA's hero society changes

They say a lot of stuff I really don't see as relevant at all, a lot of nonspecific platitudes and philosophical nothings. They frame the story in MHA as if it says a lot of stuff or does a lot of things that I personally don't see or agree that it does. It also goes on to talk about elements in the story it fails to explore like themes of child soldiers and punishment before crime.

I appreciate that the post acknowledges they see these elements in MHA as unintentional. That makes it easier for me to consider their POV and understand where they're coming from.

That said, my response can only be: it's not that deep.

If I want to, I can read elements of ANYTHING into any story. It's very easy to do. There are whole arms of literature study basically dedicated to reading certain philosophical angles into stories that they know are not intended elements in said stories. But there needs to be some self-awareness here before we take anything that far. Equating heroism in MHA to Humberto Eco's concept of a cult of heroism that equals a cult of death is just another version of the same take I've debunked before. I don't agree with the essay's interpretation of this theme at all. My impression is THEY had a certain reading on MHA in its earlier arcs that conflicts with later arcs, but I have a reading that reads the arcs as harmonious. We are at too many odds here.

But because I acknowledge that the major difference between me and this essayist is that we have VERY different readings of MHA in the first place, I don't really wanna take the time to answer all of their points. They all clearly come from a logical place based on their own interpretation, and I don't see anything wrong with that. If that's their reading, they are welcome to it. It's a little obnoxious to claim the rest of us lack critical thinking just because we don't point out these elements they see as fascistic. To me, the stuff they identify that fuels their branching criticisms is stuff hopefully everyone has to acknowledge before they even start reading the shounen genre. I have to suspend my disbelief in the first place when I'm reading about superheroes as a social system. I have to suspend my disbelief in a shounen action manga where the fate of the world is at stake. These are things we all have to understand going in. Not every story aimed at young teenage boys is going to have the space to explore the nuance in all these social systems. It's just not that deep.

So is MHA copaganda? Setting aside the dissonance of comparing western forms of copaganda to Japanese shounen manga forms, sure, fine--so far as the story depicts an organization, particularly one with law enforcement powers, as not wholly incompetent or corrupt goes. But like, the story itself does pose the question of whether the existence of this organization (the heroes) is necessary, which is posing the fundamental question of anti-copaganda at the narrative too. The question is, what answer to this question do we get from the ending? You can read the ending as, "Everyone needs to be heroes (cops)," or you can read it as, "Everyone needs to be good to each other and then the hero system becomes unnecessary," but no matter what, the ending still says, "The hero institution as it is is not the answer." This is what I mean about gradualism and collectivism easily being co-opted by fascism or by socialism. MHA does basically say, "The current system sucks, so we have to change it," and then changes it. It's just not a satisfying change for anyone who wanted a radical revolution. Gradualism is a position that has MANY critics for this exact reason.

But even on the topic of gradualism, I think it would be a mistake to say that MHA teaches us, "Only incremental change is possible." The way I read its themes are that it's saying "Trying is important; even when all you can achieve turns out to be incremental, it's still worth trying."

As for the themes of collectivism in MHA, collectivism can easily read like paternalism to a western (white) audience, which is a whole other issue. This is why there's so much debate about whether or not people are coming from a place of good faith when their criticisms don't seem to acknowledge the eastern philosophies at play in MHA. In truth, I would be hard-pressed to name an anime that doesn't have an ending that feels weird to me. Every single anime ending I know has an element I find confusing or disquieting or off, and my conclusion has been to acknowledge that anime isn't made with me in mind as its audience. Oftentimes, stuff happens in anime that just doesn't jive with my upbringing, but I recognize it is coming from a different worldview that my upbringing has often caricatured as evil and oppressive and wrong without any nuance. It highlights for me how the media from my general worldview must also look ridiculous at times to others not in the know. So while I think it's perfectly acceptable to point out elements that do seem fascistic in any media and to stay vigilant about them, I do also take care to be open-minded about learning what other things may be going into these stories that could provide a completely different perspective.

As @siflshonen would say, sometimes all I can do is say, "I'm too western for this," and move on.

[hamletthedane]

Falling deeper into obsession over the parallels between Hamlet and Juliet’s characters, and how both plays are ultimately about children playing out their parents’ revenge fantasies. Protagonists placed in the position of puppets who only exist to further the ends of others.

The revenge of their stories is not their own. They did not cause the problems that they now suffer for. And somehow they ended up as the protagonists to a story already in motion.

But that’s where it gets interesting: they actively CHOOSE to struggle against the legacies and ancient grudges of their parents. The plot is not their own, but they MAKE IT SO.

The story of Hamlet is not that of Othello or Macbeth or Henry V: he is not self-motivated in his revenge, and can only be the passive participant of the inevitable plot (as R&G Are Dead points out to great effect). The things he does don’t ultimately matter: this is his father’s story, and his father’s revenge will occur in one way or another. “The readiness is all…” But he can do something: he can choose to end the story, to accept his fate and refuse to forestall his doom any longer.

The story of Juliet is not that of Rosalind or Merchant’s Portia: her defiance and cleverness, struggling against the edicts of those who raised her to create a renaissance generation, does not result in happy marriages ever-after. She dies trying to change the course of her fate and trying to defy the inevitability of a revenge plot coming to a head. She dies at her own hand, aware that only her and Romeo’s deaths can resolve the story they’re in.

Incredibly, in the inevitably of a narrative set in motion - doomed from the start - there is still an element of choice.

We have two very different characters driven by very different goals but still bound by the contract of their narrative to play out the tragedy. They’re children doomed by their parents and characters doomed by their narrative and stories doomed by the audience’s consumption of them. But what makes Hamlet and Juliet exceptional is their struggle against it. Somehow, in all the chaos and violence of the stage, they gain a small amount of power and control - for just a brief moment, they make decisions that change their story.

(And maybe those changes only work to immediately end their story, but they work nevertheless. In the horrible time-loop of a tragedy narrative, their escape is arguably the ultimate resolution of their character arcs. They “take arms against a sea of troubles/and by opposing, end them” at last)

[lament4piligrim]

Frozen heart knows no pain

Arranged marriage AU, pre-MK1

Angst, No Comfort (at the beginning), Hate/Love, Jealousy

Before and after marriage Bi Han is in relationship

Brothers do love his partner (not legitimate wife, but they respect her)

Bi Han ignores (or try) his wife, while his partner tries at least befriend her

Wife is an excellent healer, but she hides her true powers because of an accident

Wife does not interfere in the relationship and avoids any contact with Bi Han, his partner and brothers

Her bestfriend is Sector

Character names are fictional, you can use your own

Prologue

If someone asked Bi-Han what, or rather who, he hated most in the world, he would have answered without a second thought: his own father.

He hid his hatred deep inside him, behind a mask of cool indifference, promising himself and his mother that none of his family would notice it. At least not until the right moment.

The eldest heir sought to become an unique Grandmaster, one that had never before existed in Lin Kuei. He spared neither himself, nor his brothers, nor his loyal warriors - since he was assigned to keep an eye on trainings, he toughened them up to bring out the most resilient and strongest who would become the backbone of his clan in the future.

The first benefits he tasted a few years later, when his mother's death and his father's cold "I'm sorry" didn't haunt him at night.

When the ice in his heart was melted by the warrior in whose eyes he saw stars and whose tinkling laughter captivated his mind.

She had joined Lin Kuei willingly, loving martial arts with all her heart that she had to run away from home because of her parents' prohibitions. She probably wanted to prove to herself and the world that she could protect herself and those she loved, that she was worthy of something more than just a young girl who was stuck in the village for good.

Bi Han thought that such a fragile and insolent girl had no place in Lin Kuei. She dared to contradict the words of the eldest heir and even more so to argue with him, finding it amusing. Not surprisingly, she quickly found favour with Tomas and Kuai Liang. Together, they never missed a moment to mock him. It was annoying as hell.

However, Bi Han couldn't help but notice the wounds and bruises on the girl's arms. The results of hard work and determination. The first thing he realised as he began to look at the girl differently.

He saw the way she agonised her body, balling her fists into bloody knuckles and clenching her teeth tightly as she broke bones. Saw her rise up, unwilling to admit defeat in practice fights. Saw her eyes shine with excitement when she would take down her opponent and then happily help him back to his feet with a satisfied smile. Her smile was like the sun that warmed on spring evenings.

And Bi Han realised that he was deeply in love with her.

He tried to change, to become more open… to let her into his world, to shield her from evil, to protect her at all costs. Only for her to smile at him, not expecting him to blame or criticise her.

He truly felt happy when she kissed him first. Shyly and awkwardly, standing on tiptoe and putting her hands on his broad shoulders. Her face was crimson with embarrassment, and yet she couldn't stop smiling foolishly, as if she had received the most precious gift.

It took a few more years before the whole of Lin Kuei was aware of the relationship between Bi Han and the fox (as they nicknamed the girl for her playful nature). Both weren't shy about showing how much they loved each other, and sometimes fought in public if they saw each other in strangers' company trying to flirt with them. Fox could even throw a tantrum, but Bi Han was skilfully able to suppress it by not letting the girl go all night.

His relationship with his brothers improved, thanks to her. They began to spend more time together, and Kuai Liang thanked fate for giving them Mingzhu.

The Lin Kuei warriors thought that nothing would shake this strong alliance. Even those who disliked Mingzhu didn't doubt it.

Things began to crumble when Grandmaster made the decision to marry Bi Han to the daughter of an important and close ally of the Lin Kuei.

Chapter 1

P.S. Probably I'd publish it in AO3. As I said, you can use your names for characters, or even put yourself in their place

[chaoticsoulsword]

*sigh*

Let's do this again.

The most harmful and irreparable damage the MCU has ever done is definitely Wanda's characterization and how the "fandom" perceives her even when non-cb readers migrate to the 616 side.

(This is screenshot depicting a fan reacting to Russell Dauterman's redesign of Lore, an evil Wanda variant who first debuted in 1993 in Scarlet Witch #1. She will return in the new Scarlet Witch series this year)

In addition to all the "she's always been white" constant, toxic and racist comments, which only reinforces their lack of ability to recognize issues such as colorism, Rromani representation (when they actually know the difference between Rromani and Romanian, that is) and straight-up whitewashing, they also fail to identify a most essential trait of her entire characterization: her desire to do good and become a symbol of heroism.

Wanda despises doing harm to others. Her first iteration is legitimately a depiction in which she and Pietro are being forced by Magneto to work for him and his brotherhood of evil mutants, all thanks to emotional manipulation. She never means to hurt the original X-Men except when Pietro is hurt and/or in danger. It's her protective side, not her "evil" side.

(Uncanny X-Men v1 #4; #11)

It's also fundamental to be aware that Wanda and Pietro come from a place where there's trauma for being abused by Magneto when it comes to their powers. This is why they are hesitant to join the Avengers, and yet their sense of responsibility is stronger.

(Avengers v1 #16)

Now, when it comes to Chthon, it's another rabbit hole of struggling with independence, power and agency. Being controlled by an evil force is as an old trope as any other in comic books. Still, I can't help but notice that her relationship with Chthon is never truly solved as other magic characters' issues, so why does it stick to Wanda the hardest?

Allow me illustrate with other examples:

1. Magik and the Darkchylde.

For those who don't know, the Darkchylde is "an evil side" of Illyana Rasputin, result of her captor and abuser's tampering with her soul.

The Darkchylde has several interpretations, from abuse to struggling with self-worth, and it has been established for decades as a side of Illyana that she despises, fears and suppresses.

(New Mutants v1 #71)

Illyana took years to make peace with her inner self and even had an arc to leave her reigning place of power in Limbo to Madelyne, another character who was villanized by the narrative for the very same reasons. Which begs the question.... why would a fan root for the Darkchylde to be her standard self when this is precisely what she hates the most? When it's precisely what causes her pain and leads her to a process of isolation and unhealthy behavior?

2. Doctor Strange and dark magic

Throughout sixty years of stories, there are a few moments in which the Sorcerer Supreme is faced with the old dilemma if he should use dark magic or not. And yet, from everything he went through, even in his darkest moments, he still chooses to do good. This is an intrinsic part of him. Yes, we've seen alternate evil iterations, but the main version is still a recognized, praised character for all the good deeds he performs on a daily basis.

(New Avengers v3 Annual #1)

3. Loki against fate

(Immortal Thor #2)

Loki's most recent and important journey throughout the years is precisely changing their fate, from the god of mischief and lies to the god of stories. They know they also have antagonistic roles to play as such, and yet they look forward to building a better relationship with Thor and the Asgardians. They're as complex as they come, but never back to their first and oldest iteration.

--

There are others, of course, like Nico Minoru and the Staff of One, Daimon Hellstrom and his will to deny his father's desires etc etc. I can even point a famous non-magical one: THE HULK. Yep, the guy who has spent his entire existence struggling with said dichotomy.

So you see, this is not a situation where "women can't be villains, god forbid women do anything" like some of them love to claim. You have Amora, Morgan Le Fey, Umar, even Lore now. The fact is, the MCU pushed the main version of its Wanda to be an irremediable character. Fans may or not defend her actions, but the truth is, they went too far for a role of opposition/antagonism justified by mental issues, which is yet another problematic, hellish rabbit role that we discussed so many times, over and over and over.

House of M is by itself such a harmful event in Wanda's entire characterization that, even now in the 616 universe, she still struggles to be (re)accepted by the hero community. She's still demonized by mutants, she's still depicted as mentally unstable.

(X-Men #7 - 2019)

Meanwhile, few writers are doing their hardest to give her some independence and agency (praised be Orlando and McKay). She has finally showcased her resolve to deal with Chthon by absorbing the Darkhold. She finally built a place to help people in a small community. She's an avenger yet again.

(Darkhold: Omega #1)

However, despite all that, she's still being patronized and lectured on (for instance, Agatha trying to take the Darkhold from her).

(Scarlet Witch v3 Annual #1)

The fact that she hasn't given up on the role of super hero only showcases how fundamental, intrinsic, unshakeable is her desire to do good. The fact that she's a nexus being and that the Scarlet Witch is a role passed down through generations are enough reasons to reiterate how important she is as a defender of the universe, same importance we often see in the role of the Sorcerer Supreme.

No fan has ever advocated for readers to be feared by a Sorcerer Supreme. Those are roles of heroes.

So yeah, "evil mother" and "serving cunt" will not do it for me. Because being evil means embracing everything Wanda hates the most and fights the hardest. So you come here and tell me that Wanda was supposed to be evil incarnate, to the point of comparing her to Voldemort, is plainly offensive and shows how little you understand her. You have other mothers to kneel to if you so desperately need one. Wanda is not one of them. Leave her alone.

TL;DR: Saying Wanda should be evil is stupid and harmful.

[alyrasturnz]

HOW DID IT END ?

❐ summary » you would be prevaricating if you claimed to know precisely how your relationship with chris ended, for it was not a single moment or event, but rather a gradual unraveling of the threads that once bound you together. each day brought a new fissure, a subtle shift, until the tapestry of your connection was left frayed and incomplete, serving as a poignant reminder of the impermanence of even the deepest bonds.

❐ pairings » bf!chris x fem!reader

❐ warnings » angst, no happy ending

❐ a/n && w/c » idk if its my writers block or if im just bad at writing😐 cause why is this so short 😭 • 1.85k

it has been an exorbitantly protracted period for you to be ensnared in ceaseless rumination over your erstwhile relationship in the manner you presently find yourself, continually revisiting the echoes of a past that no longer serves your present or your future, as if the sands of time have trapped you in a relentless loop of introspection and unresolved emotions.

your friends would invariably remind you of the passage of time, yet you would nonchalantly dismiss their inconsequential remarks.

your eyes fixated on the lockscreen, chris' visage eternally captured on it, as you anxiously awaited the digital chime heralding a message that might never appear.

perhaps you wouldn't be ensnared in this relentless cycle of introspection if chris had offered a substantive explanation for why he abandoned you so unceremoniously. yet, he chose silence, and in the recesses of your mind, you were acutely aware that such an explanation would never be forthcoming.

thus, you find yourself ensconced in a state of inertia, ensnared by the tendrils of uncertainty, awaiting with bated breath the unfolding of events shrouded in the mists of ambiguity.

but as the hours inexorably march onward and the cerulean expanse above gradually metamorphoses into a profound cobalt hue, so too does your reservoir of patience diminish, ebbing away like the waning light of day.

you hurl your phone across the room with a forceful motion, a guttural groan escaping your lips, reverberating through the silence like a thunderclap in the still of night.

you and chris were two disparate souls hailing from divergent realms, yet an intense and immediate connection magnetized you together, defying the chasm of your differences and intertwining your fates in an inexplicable bond.

Chris was a refined and delicate soul, flourishing in the meticulously curated confines of controlled environments, much like a hothouse flower, thriving only within the bounds of its cultivated sanctuary.

chris was a refined and delicate soul, flourishing in the meticulously curated confines of controlled environments, much like a hothouse flower, thriving only within the bounds of its cultivated sanctuary.

and despite the chasm of differences that lay between you, you both navigated the labyrinth of your hearts, discovering a love that was as profound as it was deserved. yet, in the end, chris departed, leaving behind not a whisper of his presence, as if he had been but a fleeting shadow in the tapestry of your life.

he had severed all digital ties, blocking you on every conceivable platform, and meticulously returned all your belongings to your doorstep, as if erasing any tangible evidence of your shared existence.

your love could've been perceived as a tempestuous whirlwind, burning bright and intense like a comet streaking across the night sky. however, the inherent differences between you created an insurmountable chasm, a gulf so vast that neither of you could ever hope to bridge it.

your relationship was marred by maladies of the heart and soul, afflictions so deeply rooted that neither of you could ever hope to find a cure.

and just a week before he left, an awkward closure began to loom over your interactions. the touch that once felt like a birthright to you became foreign, as the threads of your connection started to unravel and fray. 

conversations that once flowed effortlessly now felt stilted and strained, each word a reminder of the growing distance between you. the familiar warmth of his presence began to fade, replaced by an unsettling chill that signaled the inevitable end. it was as if the universe itself conspired to draw you apart, leaving you to grapple with the painful reality of a bond that could no longer be sustained.

maybe the weight of it all had become an unbearable burden, an unrelenting stress that gnawed at his very essence? maybe he found himself yearning for an escape, a desperate need to flee from the oppressive confines of a situation that had grown too overwhelming to endure.

you had conjured a myriad of rationalizations and justifications for his actions, each one more intricate than the last, yet the enigma of how it all unraveled remains an impenetrable mystery. despite your exhaustive efforts to piece together the fragments of your shared history, the conclusion eludes you, shrouded in an unfathomable haze.

you found yourself unable to decipher the enigma of his departure. yet, despite your earnest attempts to keep your inner turmoil concealed, the empathetic curiosity of those around you both descended like a relentless tide, seeking to uncover the depths of your unspoken struggles.

your friends' concern was but a mere facade, a thin veil for their true intentions—their insatiable curiosity. with their prying eyes, they bore witness to the gradual disintegration of your love. you and chris, blinded by unforeseen circumstances, endeavored to learn the right steps. yet, it became painfully evident that you were engaged in different dances, each step further entrenching you in the unsolved mystery that might never find resolution.

you endeavored with all your might to mend the rifts, yet you fell prey to the penetrating glances of the interlopers, their scrutiny weaving a web of doubt and discord around your efforts.

as the fabric of your relationship frayed, your friends indulged in gossip and speculation. you and chris were perceived as wandering in endless circles, ensnared in a labyrinth of disconnection and bewilderment.

the news of your separation spread like wildfire, igniting whispers and conjectures in every corner.

the empathetic hunger descends once more, and their friends gather, still asking the same question: "how did it end?" despite the passage of time and the myriad retellings of their story, the answer remains elusive, a mystery that lingers like a haunting melody.

they would implore you incessantly, yet you would evade their probing, for the reasoning behind his departure remained an enigma even to you, cloaked in the mists of uncertainty and unanswered questions.

following your agonizing separation, you and chris embarked on individual odysseys of self-discovery. chris, at first, sought refuge within the sanctuary of familiar environs, gradually venturing into the uncharted territories of the real world beyond his comfort zone. 

each step taken beyond the confines of his greenhouse existence became a stride toward comprehending the untamed wilderness of your love.

meanwhile, you were tormented by the specters of your shared moments, seeking solace in the depths of introspection. it was within this reflective sanctuary that you came to fathom the profound depths of your love for chris.

fate, the unseen weaver of destinies, orchestrated your reunion in a serendipitous encounter at a place steeped in mutual significance—a secluded garden where nature and nurture intertwine. the air was laden with unspoken words and lingering emotions, creating an atmosphere dense with the weight of unresolved sentiments.

your eyes meet, and in that fleeting moment, the chasm of time and space between you dissolves into insignificance.

the garden, once a sanctuary of shared secrets and laughter, now feels like the stage for a bitter confrontation, where every leaf and petal bears witness to the tension that hangs heavily in the air.

you sit behind an ancient tree, its gnarled branches whispering tales of bygone eras, each rustle of leaves echoing the wisdom of ages past.

chris speaks first, his voice trembling yet resolute, as if each word carries the weight of his internal struggle. “i didn’t know what else to do.”

your heart pounds with a ferocity that mirrors the tempest within, anger and hurt bubbling to the surface like a long-dormant volcano. "you just left, chris. without a word, without a trace. do you have any idea what that did to me?" your voice, laden with raw emotion, rises and reverberates through the once-quiet garden, shattering the tranquil facade.

chris flinches, their shoulders slumping as if the weight of the world has suddenly descended upon them. "i was scared, y/n. scared of what we were becoming, scared of losing myself. i thought leaving would make things easier." his voice wavers, a fragile thread of vulnerability woven into the fabric of their confession.

"easier?" your voice cracks, the words barely escaping as tears well up in your eyes. "for you, maybe. you left me in the dark, questioning everything, wondering if i was the reason you disappeared." the anguish in your voice betrays the depth of your torment, each word a dagger of unresolved pain.

chris finally looks up, his eyes brimming with regret. "it wasn't you. it was never you. it was me. i felt like i was suffocating, and i didn't know how to handle it." his voice trembles, a poignant admission of inner turmoil and fear.

you take a step closer, your fists clenched tightly. "you could have talked to me, chris. we could have faced it together. but you chose to run." your voice, a mixture of frustration and sorrow, underscores the chasm that has formed between you.

chris's eyes drop to the ground, guilt etched across his face like an indelible mark. "i know. i was a coward. i thought i was protecting you, but i see now that i only caused more pain." his voice is laden with remorse, each word a testament to his misguided intentions and the unintended consequences of their actions.

the silence between you is heavy, each unspoken word a dagger to the heart. you take a deep breath, striving to steady your voice. "do you have any idea how many nights i spent waiting for a sign, a message, anything to tell me you were okay? i deserved better than that, chris." your voice quivers with a mixture of anguish and righteous indignation, the weight of the unspoken words pressing down upon you both.

chris nods slowly, tears brimming in his eyes. "you're right. you deserved so much more. i was selfish, and i hurt you in ways i can't take back. but i'm here now, and i want to make things right, if you'll let me." his voice is laden with a mixture of remorse and hope, each word a tentative step towards redemption.

your resolve wavers, the anger giving way to a deep, aching sadness. "i don't know if i can trust you again, chris. you broke something in me when you left." your voice trembles, each word a reflection of the profound hurt and betrayal that lingers in your heart.

chris steps forward, their voice trembling like a fragile leaf in the wind. "i understand. but i'm willing to spend every day proving to you that i'm sorry, that i can be better. just give me a chance." his plea is a delicate thread of hope, woven with the earnestness of someone desperate to mend the fractures they have caused.

in the tranquil embrace of the garden, you stand facing each other, the wounds of the past still raw and unhealed, yet the faint glimmer of reconciliation within reach. the path to forgiveness is fraught with uncertainty, obscured by the shadows of doubt and fear, but in that moment, you both recognize that the initial step lies in acknowledging the pain and seeking a way to move forward, together, through the labyrinth of your shared history.

[llondonfog]

ough listening to The Prince of Egypt soundtrack again. The Plauges. Malleus and Silver. Ough. Im psychologically damaging myself 🛌.

allow me to contribute to the psychological damage even further!! :) (+ sorry in advance for the incredible word vomit because i got in a Mood!!)

The relationship between Malleus, Silver, and Lilia is one that has me foaming on the floor, scratching at my walls, and genuinely rocking back and forth in all around despair, and I don't think it's given the nuance that it should be.

Lilia hatched Malleus out of the love he had for Meleanor and Raverne, a grieving and mournful love that he's carried for centuries for the two people in the world who he cared for most and could not save. The fact that their child, the only remnant left of their existence in this world, might die because of the cold, aching loneliness it has suffered under for so many centuries without its parents, is simply unthinkable. He cannot fail again, and whatever the price may be, he will not allow Malleus, Lilia's last link to his loved ones, to perish. And yet we know from Malleus during his youth, Lilia was not one to raise him directly, though he was called in from time to time to help aid in Malleus' tantrums despite the fact that he was most likely exiled. While not cruel nor unkind to the young prince, he is not fatherly material, nor does he pretend to be even as he softens over time due to his travels and worldly experiences. However, one cannot fault Malleus for latching on to Lilia to perceive him in that role, whether or not he's ever spoken such a desire— without another male figure in his life, Lilia is the only constant enough for Malleus to look to for guidance.

On the other hand, we have Silver. Silver, the child of Lilia's greatest enemy, the one who is directly responsible for the death of Meleanor and most likely had a hand in Raverne's disappearance. A child who Lilia fully considers killing in his cradle in an act of revenge for all that had been lost due to the Knight of Dawn and the Kingdom of Swords' quest for power and control. And yet Silver is the very same child fated to be loved so truly by Lilia, waking for him from a sleep of four hundred years. And with Silver, Lilia truly becomes a father— albeit, not the best example of parenthood as we know. But there's a depth of care here that we do not see with Malleus (understanding it would have been impossible— Malleus was the crown prince, Lilia a disgraced and lowly species in the hierarchy of Briar Valley), and Lilia truly tries his best to ensure Silver's childhood is a happy and healthy one. It's clear that even Silver reciprocates that same devotion (cue me blubbering over the acorn scene), and that Lilia does recognize himself as Silver's father to the point of feeling agitated when his "lie" is discovered and he refuses to dig deep and confront the reasoning behind why he simply couldn't tell Silver the truth of their relationship before.

(Don't get me started on THAT, I could have a whole page on my fascination with Lilia's twisted relationship on love and bonds.)

So we have two young men for the sake of comparison— both owe their lives to Lilia, both raised/guided in some capacity by him, both viewing him as a father/father figure. And yet, there's a difference in their closeness with this man; Malleus has the gift of having spent more time with Lilia, and yet Silver is the one who views himself as Lilia's one and only son. Silver constantly thinks of how to ease his father's life, how to repay him for all that he's done, and how he can best ensure Lilia's "happily ever after", devoted to him in a way that almost makes him Lilia's knight in shining armor instead of Malleus'. Whereas I feel like Malleus not necessarily takes Lilia for granted, but I don't think he's as acutely aware as Silver of the precious nature of time, and how they might have so little left with Lilia until the start of Chapter 7. And I think it's that separation of Silver viewing himself as Lilia's son out of gratitude vs Malleus' view of Lilia being his because he's simply always been a protective, guiding force that really sets off this confrontation for me.

It's this difference in how they think of Lilia that has me spinning wildly in my head. Lilia's departure is tearing Silver apart, it is breaking this boy into a million, shattered pieces, and he is hiding it from his father! He wants nothing more than to beg the man to take him along, to stay by his side and protect him, and yet there is simply no way that he feels that he could demand such things from Lilia if this is the choice that his father has made— he will respect Lilia's decision even if it breaks his heart. For Malleus, this is simply unthinkable— Lilia MUST stay, because it is what both he and Silver want. And while I do agree that Lilia handled this entire decision in the absolute worst way possible, it was still his choice (to be a dick) and Malleus is robbing him (and everyone) of this agency by forcing them into his dreamworld.

So now Silver must stand before the prince he's sworn to protect and serve, on behalf of the man who truly loves him out of everyone in this world, and fight for Lilia's right to leave them and die alone even if allowing him to leave will destroy Silver. And that's just Wild to me— the son of the man who took nearly everything from Lilia is now the one to love him so fiercely that he is willing to stand up to the greatest mage in the world and fight on Lilia's behalf. And every day I live in fear of the next update where Malleus has had enough of Silver's meddling, and finally fulfills what his mother was not capable of accomplishing.

All for the love of the man who believes himself to be so truly unnecessary in their lives.

When I get you, Lilia Vanrouge, WHEN I GET YOU!!!!

[binomech]

I’ve talked about how I think the past defines, haunts and shackles Kim (his seolite grandparents coming to Insulinde, the commune’s fate that it shared with his parents, the presence of the coalition in Revachol and its moralist ideals, his experience as a seolite gay man in the RCM, eyes’ death) and how he cannot let himself not be haunted because it’s a reminder of all the things that could happen to him if he slips for a second. He wears the aerostatic brigade jacket as armor against oblivion (+1 Volta do Mar against the Pale, the physical embodiment of all things forgotten).

He states that his preferred medium for thought is his Mnemotechnique notebook, which is an A6 size (extremely portable), equipped with two pens (just in case) and brought out constantly throughout the story in case-related contexts (even the notes regarding Harry are framed in a professional let’s-see-this-through way, and you can see he keeps notes for previous cases on the Cuno route) and references memory in its very name.

I think this fear of the unknown, of forgetting his place, of losing the important things is informed by many things in his personal history and is shown through many aspects of his dialog in the game, but I want to talk about his gun and his camera.

His Kiejl A9 Armistice is stated to be a single-shot (presumably Kim brought ammo along) – The two shots he can take are the shot at the belt buckle, and the shot at Ruud. His shots have to matter in the heat of the moment, he only gets one chance.

Much like his gun shots, his camera shots are also limited: He brings the Trigat Sunshine Mini and two glass ampoules that break whenever he takes a picture to release the ink. Even Harry is aware of how precious they are if he has enough Interfacing. The two pictures that can be taken are of Ellis Kortenaer’s hanged corpse, and of the Insulindian Phasmid.

His eyesight is the lens between him self, his mind and his flesh, and the target of the shot. And much like any lens, it colors and shapes the thing on the other side of it and every interaction of the self and the other is mediated by it. In this case his visual impairment is a big part of that understanding of that which is outside of the self and a big obstacle for getting the self to cooperate with the outside. 

Memory, remembering is something that anchors Kim and sight loss is an obstacle for that as well. You will miss important details (and what if those are the difference between life and death?) and even if you do see them, given enough time, you will forget them alongside things that weren’t minor at all, faces, thoughts, life experiences. This is inevitable for anyone, but made more evident and frustrating when it interferes with the identity you cling to: policeman, driver, the inhabitant of the Revolution’s abattoir.

The photo of the Hanged Man is taken to show something you want to understand but don’t to someone else who might (Ellis’ tattoos); you can justify it as a necessary part of police work, the cataloguing of evidence and the piecing together of clues. The photo of the Phasmid is also a capturing of the things you cannot comprehend but are a witness to, to communicate something to someone who might understand this wonder. This is also proof of something, but something that you can’t justify using your finite ampoule budget on. 

But Kim, who clings to memory, who records everything in a notebook and dreams of the people he couldn’t save, still takes this picture of something that he couldn’t believe existed until he saw it with his unreliable eyes.

Harry asks if he sees it and, god, yes, he does. And that photo is proof of it, proof of Harry, proof of all the life that is out there that he refuses to let himself imagine. He uses his rare shot to capture this of all things.

Memory is a lens between us and the world: What was, who we were. A photo is the bridge between the past and the present, allowing our memories to remain. Kim’s choice to preserve this thing, unrelated to his role in the RCM, is also a choice to look at the world and all the things that could be forgotten, and wanting them to remain. He has one bullet, two ampoules, one shot at living - use them.

[watchernotculture]

heya!

Can I get 14, 2 with Ranpo?

14 (“you’re gonna love me back.”) + 2 (“even if you do hate me, it doesn't matter, i really love you”)

did something a little softer here, more short and sweet. plus im still a little woozy from getting high so if something does make sense i apologize haha.

-WC 562 // valentines event open!! TWs: none? well i guess implied kidnapping.

There's a lot you regret in your heart, things ranging to minor, and things ranging to more major. Ranpo Edogawa was a major regret. But you knew your fate was sealed the moment he was aware of your existence. Lulled you into thinking it would ever be normal between you two, you didn't mind his childlike attitudes when they came. It started off simple then became more constricted by Ranpo’s possessiveness which became suffocating. Other than constricting, it was hard to exactly explain the relationship between you and him.  But yet you still foolishly carried on because he's your bestest friend. Even sometimes when he supposedly accidentally tells you of the most gruesome mysteries he's done or is doing, souring your mood slightly. You trust Ranpo you really do, but you still have some doubts.

You don't exactly love Ranpo in that way, you just like him. However you were oh so unaware of how much he loves you, but he's just in wait. Even if he gave the most comforting hugs and shared his snacks with you, you could only see him as a good friend.

And this bothered him so much, but with a little time he was sure he could make you love him, even if it is a slow process. He requested more of your time and you made time, even if it got you in a little trouble. The conversations didn't differ, his current case was incredibly easy and he should’ve taken you along with him. Then that started the whining, and he got closer to you, snuggling into your side while you could only wrap an arm around him in return. “You’re gonna love me back, I hope you know that.” 

His words were muffled under sinking into your form, they were gentle as well, you almost didn't catch what he said. He suddenly hugged you and hugged hard, you flinched not expecting the tough hold on you. The most you let out was a little gasp in surprise before quickly gaining your composure back. The hug did start to hurt but Ranpo didn't let up, you were sure, if he could hug harder he would and you’re also sure your ribs would crack a little. Attempting to push him a little so you could get a little more comfortable was futile because all he did was pout at your actions. 

“Even though I know everything about you, it still isn't enough.”

Letting out hum to show confusion, but just to acknowledge his words, he let a little grip off while his head rested on your chest. “I hate it when you’re with anyone else, don't you know I am wayyy more important?” 

Letting him ramble on, closing your eyes, continuing to rest despite the comments of Ranpo’s complaining.

“I don't understand why they don't see you belong to me, taking your attention away from me, in the end you will be mine even if you do hate me, it doesn't matter, i really love you.”

You like Ranpo but you don't love the man, how unfortunate for ever getting to know each other, for falling into his obsession. It was peaceful until a life was taken for you, but that's a gruesome tale for another day. Being stuck in a place you will never call home, with a person you will never call your lover.

[impossibledial]

i’ve always found it odd that clara says, “i have to be with danny pink” in dark water.

to preface this, let’s discuss the difference between “need to” and “have to”:

“i need to” - usually refers to a necessity.

“i have to” - usually refers to an obligation.

i would be remiss if i did not acknowledge that the two can be and often are used interchangeably. that being said, doctor who is a work of fiction and has writers. in my opinion, the line sounds unnatural in the context of the scene. i would think steven moffat would be aware of the connotations belonging to each phrase.

clara says this line in response to danny saying, “you have your life. you have your whole life to live. you have to stay there.”

unlike with clara’s response, if you replace what danny says with, “you need to stay there” the meaning behind the words would still remain the same. so, why does danny say she has to?

well, let’s think about clara’s obligations; clara has a family - her father, her grandmother. friends - she takes care of angie and artie as an obligation to her friend that died in series 7, the doctor. and, of course, a life to live - the life her mother always wanted for her.

let’s not forget one of the key character traits the doctor admires about clara, she doesn’t run out on the people she cares about.

in listen, we discover that danny grew up in a children’s home. he has no family to speak of - any family that he knows of, anyway (moffat mentioned his father has an estranged brother which explains the existence of orson pink.)

now, i’ve seen people mention orson pink. meeting him may have lead clara to believe that her fate lies with danny.

but, i don’t think it’s that simple.

i think meeting orson is one of the reasons that lead to clara going to danny’s apartment at the end. but, clara was already forcing the date to work out. she had already asked the doctor to send her back in her timeline to fix it. this is probably due to her need for control as the date didn’t go as planned.

there’s also no ignoring the fact that clara loved danny - although, she wasn’t very good at it. but, was it love of the self-sacrificial kind? not before dark water.

the episode starts off with clara making a promise to danny - a promise to be faithful to him. she does this to make up for all the bad things she has done over the course of their relationship.

now, it’s easy to make the lies she told him all about the doctor because in a way, they are. but, they’re also about herself - she could never be open with him about who she was.

and, that’s not because of danny. it’s because of clara’s need for control. she wants to compartmentalize the two different lives she is leading. she wants to be two people at once but in doing so, denies her true character.

during this entire dialogue, clara continually asks danny to stop saying i love you. she even says, “i love you means nothing right now.”

she may just be referring to the words here but in the context of the scene it could represent a whole other aspect of their relationship. it’s interesting that danny couldn’t find anything to say that could convince her that it’s really him (he doesn’t even know her mother’s name if you read the script).

her love for danny means nothing here but her obligation towards him does.

shouldn’t the fact that he asks her not to sacrifice her life for him be enough of a giveaway? throughout their relationship, we saw that there was a lack of trust and sincere communication, and, this is the culmination of it.

[witheredoffherwitch]

I can't help but cringe when I see some people trying to push Aegon v. Aemond or Helaena v. Alys in these online spaces. Each character in the show has their own role in the storyline--and it's absurd to think they could be pitted against each other. It's just too weird.

Aegon v. Aemond isn't a thing because despite these two hating each other's guts, they fight besides each other till their last moment. Aemond fights this war in Aegon's name -- and despite him thinking his brother is nothing more than a drunken wastrel, this fool still offers this challenge to Luke by asking, "did you really think you could just fly about the realm trying to steal my brother's throne at no cost?" In F&B, the conflict is mainly panned out between Aegon v. Rhaenyra and Aemond v. Daemon. Helaena's role is much more passive all while being extremely crucial to how the Dance ultimately ends. Many are quick to point out that Lucerys' death was the catalyst that jumpstarted this whole civil war (even though in truth, it had been simmering since that Driftmark incident) but fail to notice that Halaena's end is what cements the final conclusion of the war.

I have acknowledged my hesitation in discussing Helaena-centric topics on my page because I have always felt like I understand her the least out of all the Green characters. But the way some of y'all go ahead and make assumptions about her relationships with her family -- and make up fake conflicts to justify your own crackship is truly bizzare.

I cannot even comprehend how stupid this forced competition between Helaena and Alys is. People really need to stop injecting Aemond into Helaena's storyline. Her loss, grief and trauma is separate from her brother's struggles -- and Helaena's tragic end is one of the turning points that change the tides against Rhaenyra. Infact, I suppose in this Aegon v. Rhaenyra clash (where Rhaenyra is unbashedly favoured in the show), Helaena's presence might be offered as a false positive for Team Black after the fall of King's Landing. Helaena's death comes right before the Storming of the Dragon Pit that ultimately sealed Rhaenyra's fate -- what remains to be seen is how the show is going to depict the events leading up to that point? In the book, Helaena is more or less a passive figure who is reduced to a grieving queen after the culmination of B&C. I had previously suggested that Helaena's role is going to be bigger than what was depicted in F&B - and given the fact that she has prophetic powers in the show, I assume she will be playing a much bigger role! Helaena is a seer who can see into the future -- and since the show is already exploring the 'song of ice and fire' (a la the long night), it needs to be seen how else are they going to use Helaena beyond season 1. Does she see her line ending after the Dance? Is she aware that dragons might cease to exist after the war? Does she see the eventual demise of her house? Does she see the Dance's conclusion as some sort of inevitable truth that must follow to achieve Aegon's dream?

Alys on the other hand has a completely different role all together. She is either Aemond's high-calling or his partner in chaos. Much of her story is shrouded in mystery. We don't even get a full account of how her story concluded; what happened to her and her child during Aegon III's reign. She becomes the witch queen of Harrenhal but for the next thirty years, we do not know what happened before the castle was eventually given to Lucas Lothston.

In conclusion, I will once again remind folks that each character serves a distinct purpose in this war. The common denominator between these character is unfortunately their father, Viserys -- and this story is essentially a run-down on how the prophetic king himself dooms his entire family (and eventually his house) into the path of self-destruction. For most of his life, Viserys' main aim was to ensure both stability and longevity for his line, and despite his efforts, he failed at that task quite remarkably. Each one of his kids possessed that distinct Targaryen 'trait' and yet this is a king who places his oldest daughter above the rest out of the guilt for killing his first wife. In the end, it was his choice that ultimately doomed his own house.

[nonokoko13]

Me when the first coherent thought I have in the morning is that Grim was either abandoned or his biological parents died and the only family he has ever known are three ghosts everyone was afraid of so everybody left them alone for centuries and a human who doesn't belong who doesn't entirely fit there just like them so they were all alone until they found each other.

Ghosts tied to a space which is unsure whether they can leave or not and a human who may have somebody waiting them back home and may leave with no chance of return. Who can't take Grim with them because where they come from things such as fantasy creatures and magic only exist in fairytales so he'd either live hidden from the world or in danger of being treated as a monster and experimented on because when faced with what it's new and different the world reacts with anger and fear and want to control it and tear it apart until nothing it was before is left.

He doesn't know or understand this but MC does and that's why they would have to leave him behind. His dream of studying magic and be the greatest mage wouldn't come true on Earth, that's the reason they would tell him. It's true even though it's not the main reason why. But Grim would understand they just don't want to stay with him and prefer to leave and forget him because if they did love him they would stay.

Then again he could try to dig up in his origins and find his first family but what if time travel exists and MC from a previous timeline was who gave him the ribbon, his first gift and only possession before arriving at NRC? Meaning MC was the person his world revolved around before he even knew who they were and there was no other family he had.

Doubting the trouble squad has ever have a heart to heart conversation about Grim and MC's fates if or when they depart either because they have forgotten or pretend they aren't aware but deep down Ace and Deuce and all of MC friends know but prefer to keep ignoring it instead of confront their feelings. Grim and Malleus being the only ones who may have never think of it until the moment arrives nor accept it. Just like young children who believe their parents, their pillars, their everything that makes them feel safe, would always be there until death knocks at their door. Because MC have friends and a home in Twisted Wonderland and they need them so why would they leave?

They know MC keeps searching a way home and wondering if their loved ones misses them as much as they do and how much time have passed on their planet without knowing MC wishes they could have it all so they didn't have to choose between their previous family and the one they found there. And neither Grim or Malleus won't admit they know because thinking of it brings back the feeling of abandonment and losing everything that make them feel completed.

But the prince will have both Silver and Sebek and his grandmother for the rest of their lives with him once he returns home, people who was there from the beginning. Time to grow with them and accept they'll leave too. Everyone will graduate and go home and except special occasions each one will go their own path.

Grim will stay with somebody else but it won't be the same for him because he already had a family he wanted to keep together and failed to do so and without the dorm ghosts and MC the only thing left for him is the wound he carried before finding them opened once again that will remember him that nobody in this world can stay by his side forever so he'll stay and search a way to reunite with MC again and wonder if they miss him as much as he does and wishing MC have had everyone they loved in twst so they didn't have to choose or if they had to they had chosen him instead in the end and thinking of how all the future plans they shared and promises they made of growing old together were empty and the words that made him happy about how they loved him now hurt and they failed him and he failed to have everything he wanted and they left they left and he's thinking of them even after promising himself he wouldn't anymore a lie just like theirs and he's crying again and it hurts it hurts and

[taldigi]

After seeing your art with Philemon it got me thinking, how do you think Joker feels about the Velvet Room after all is said and done? Like, his experience there SUCKED but it also wasn't really Igor's fault. But Igor also happens to look exactly like the evil god that manipulated and tortured Joker, and I don't know if he'd be able to differentiate the two so easily. Plus, even if it wasn't completely their fault, it's not like the Velvet Room does much to make it up to him. Just a: We are sorry you did not get the Velvet Room experience that you were supposed to. Please take a Morgana as compensation. So I can't help but wonder what his end views are regarding Igor and Lavenza, as well as how he'd view Philemon. What do you think?

Ohh- now I think it's a really interesting thought experiment

I think Joker is, so far, the only one that Philemon never appeared to in some form or another (main series). IIRC he appears to Makoto Yuki and KIND OF Yu Narukami.. but the butterflies in p5 are explicitly Lavenza.

Perhaps the altercation between the Velvet Room and Yaldabaoth is considered petty in comparison to some of the other fates presented in other games- perhaps Philemon felt it unnecessary to intervene in the same measures he has before- especially at risk of agitating Nyarlathotep into like action.

Maybe cause the stakes were never a world-ending one (world altering, yes- but Ending? No.)? Maybe because the beef was with Igor and not him? In the end, he trusted the VR to get themselves out of their own mess (Which they ultimately did- so he was right on that front.) I mean.. Yaldabaoth is essentially a toddler compared to shit like Nyx, and he barely interacted with that mess- both times.

Joker isn't a hate kinda guy, and I think he's able to come to terms with the fact that the VR were kind of always on his side- even if they don't go out of their way/are unable to assist more than they are allowed to. There is an element of affection when it comes to Lavenza after all, and Igor wasn't responsible as he was locked away- and Igor's demeanor is so radically different, even having the same face shouldn't affect too much. Unnerving, sure- but when isn't he unnerving? Canonly?

That being said, Joker's whole MO is "People with authority who don't use that authority to help others are assholes." and he exists as a kind of Lucifer allegory in that sense (is he not, after all, the ultimate rebel who chose to defy god? Joker is beauty, he is grace, he shot god in the face.) And.. should he have been aware of Philemon, I think he's on team "punch him in the face".

That being said, I have a feeling that Philemon would find that absolutely charming. How very Joker for an action so unlike Joker.

From what I understand of Philemon, is that his role is that of the guide. Even though his guidance-only approach seems underwhelming and roundabout, it's been the best solution that is able to empower humanity to save themselves from themselves. Rather than having to rely on a god to fix their problems.. which is a very very very p5 sort of narrative, it's an approach that emphasizes that the flaws and failures of humanity are important building blocks. Philemon snapping away someone to save them robs the rest of the world of their growth. Joker and Philemon are very very much on the same wavelength, if Semester 3 is anything to go by.

Would Joker be angry? Yes. Disdainful and Dissapointed due to being the designated nanny for an infant god? Absolutely yes! And he'll even take every opportunity to make sassy little remarks in retaliation. But... Hateful? Never.

[outsidereveries]

how newjeans members view le sserafim members

i have no permission to share big amount of the readings. both minji and haerin don’t want to share their thoughts either. i’m sharing what i’m allowed to do.

curiouscat request

hanni could see yunjin in both ways: strong, independant woman who is in control of herself as well as someone who is too bossy, too much checks on everything to be under control. nothing in between. the bottom card, ironically, strengths the both sides and doesn't help me if hanni meant the positive things or the negative.

hanni sees kazuha as someone who's aware of everything surrounding her, as someone who's simply woke. since kazuha and hanni have 1 year difference, hanni might accept kazuha as someone from who can learn a lot.

danielle personally doesn't like chaewon, she feels that both of them have different energies, different vibes even. she isn't sure if whatever she potrayed to her is really chaewon herself, she overthinks and doubt her and her whole existence. also, danielle warned me that this is the only thing that she can share, she seems to bottle her thoughts on ls' leader despite the fact she allowed me to share this.

danielle likes yunjin's independence, even her "motherly nature" and she thinks they match really well. yunjin might've an impact on danielle.

hyein likes chaewon a lot, she might've want to get close to her for a while. does she like/bias her from iz*one? it really looks like it.

hyein however, doubts kazuha's intentions. this could be due to the ways both of them have been raised since there are some walls in some way between both of them.

hyein has doubts from eunchae too. however, their friendship seems to be a 'fateful' one, like from past life? i would say that honestly nwjns' maknae is just attached towards eunchae just because their age difference is the least one, or for another reasons. hyein just want to be around her a lot, she loves her too much?

[larrythefloridaman]

Thinking about the different levels of awareness different characters have (or seem to have) of Spectrum and the Script in the nccts

Theres characters who are perfectly aware of its existence and their collective nature as the crafted playthings of a gestalt god of their fictional reality and what it is capable of to some degree but have no ability to percieve it innately, like larry or cobalt,

theres characters who have a little bit of a sense for it, but no name for it or even cognizance of what theyre picking up on, like the grunk (prism attempts to change his words/actions and he resists fairly easily, is faintly aware that something happened, feels it ebb away and doubts what he felt shortly after,)

Theres dani and danthony who are (normally) like the previous but also have a little bit of power to change it theyre not particularly conscious of, mostly takes the form of capitalization and spelling changes when under Emotional Stress or when expressing Emotional Intensity, with special mention to dani understanding and speaking rat partly in the form of emoji,

There's J0hn who can sense and process it due to his machine nature parsing everything as the text of the script, emotionally percieves his text being changed as anxiety, processes things like smiley emoticons as changes in tone, and can consciously mimic and iterate on unique text formatting, like percieving the prism smileys and working out how to send winky faces on his own, but emojis and images are just static to him,

Google or Mac's exact levels of awareness are not clear iirc, though we do know google can feel it (see green,)

Theres Quad who has been very aware his whole life, percieves spectrum and the script they act through as a feeling of mist in the air and everything between the tournaments like being half-asleep, and Prism's edits as being Painful, like the mist turning to needles, and has full capitalization of his speech, although whether that's a conscious choice or just a TOJ type thing or part of his programming is unclear,

Speaking of, TOJ does not know the script or spectrum by its name and has never consciously altered text but nonetheless is eagerly guided by their whims to embody himself and HIS every whim at 2000% at all times in a way that shows in his very text as a constant capitalization and in his bombastic actions following the 'hand of fate' leading him to often being an unconscious vessel of spectrum's will, a powerful conduit and devotee for forces he does not understand in any technical way but does trust absolutely, capable of bizarre and incredible feats through sheer commitment to the bit,

Theres barry (susanverse) who has no innate sense for this but the life experiences he was created with and the clues he can percieve lead him naturally to questioning the apparently *consciously* created nature of the world he inhabits, and barry (neraverse) follows this curiousity to his psychological doom, becoming mentally unseated from time and an observer of his own nature as a mere pawn of a tragic backstory existing only in flashback for his daughter who would mean more than him, BE more than him, dreadfully aware of his own diminished life,

Then there's the gods who are not cobalt, who can read the script, speak in the script, have a natural awareness of when somethings amiss about it and thus a natural knack for learning to resist it (but not naturally perfectly resistant, crimson describing himself as having gotten better at it with time and peppermint being aware that she'd 'lied' but not being able to stop herself from saying it and not knowing why she said what she'd said,) have found loopholes and workarounds for communicating in it outside prism's notice, cosmic and crimson even communicating through thought-narration without being heard by anyone else in the room like a kind of telepathic connection,

Theres the prismatic, whose high level of awareness is dependant on their connection to prism and fades with release but may be able to get inventive enough with the awareness they temporarily have to innovate and create new avenues of communication that circumvent the conditions of their surveillance, like prismatic shadow's quickly adopted pastebin strategy,

Theres Jack, who is new to this and was struggling a bit due to a lack of guidance but has a very high level of ability- can parse individual names and voices in spectrum's gestalt and it doesn't take long for cosmic to show him how to send video (see: jack does a flip,) which is described as Advanced,

And then there's prism and cosmic, who are able to successfully temporarily (kind of. Its a fiction and ryan did sorta both let them do that and made them do that and is in control of all this when we stop engaging with the performance layer of the metaphor but we move,) usurp the author himself and can engage with it at the highest level with cosmic even being able to teach the especially sensitive how to communicate particularly 'advanced' things in it like video.