#there's really no way to justify this even a little

[bi-conbuckley]

On Tommy and the writer’s purpose for him in s2

The thing we all need to remember is that the writers created Tommy for a reason. He was the character chosen to represent the “Boys Club” that the 118 was under Gerrard, he was the character chosen to show that Gerrard enforced a very toxic racist/misogynistic/homophobic work environment. Hen and Chim, and the way they were treated by Gerrard and this by the men under his command, shows what happens when you’re not a straight white man. Tommy was the chosen character to represent the 118 at this point, which means he is also the chosen character to represent how it changed because of Chim and Hen. You watch Tommy grow to respect them, and grow to understand that he was being a really shitty person; you watch him actively then begin to try and mend things between them and become friends.

And they do. They do become friends. This is shown in Bobby Begins. The three of them actively hang out outside of work. They have created their own little group to survive the revolving door of captains, the three of them: Hen, Chim AND Tommy. They don’t even stop here to show the way he grew and changed into a better person, they bring this specific character arc to a close by having him be the hero. Chim calls Tommy for help and he saves the lives of the rest of the 118, even the cinematography is meant to show it as this really big, cool, heroic moment. THAT is the bookend to his character arc; his REDEMPTION arc.

Remember when I said “shows what happens when you’re not a straight white man”? Let’s not forget that Tommy is gay. He was a gay man who grew up with a shitty father who was like Gerrard [as said in the finale], was then in the army [remember don’t ask don’t tell?], and then under the command of Gerrard [we all know how he feels about gay people]. All he EVER knew was to hide who he was to protect himself. Does that excuse how he acted toward Hen and Chim? Absolutely not. But he was doing the only thing he ever knew how to do in order to keep himself safe. It wasn’t until he got to know them that he realized there are other ways to live your life, pushing back against the people like Gerrard when you have the ability to [he was one of the ones who helped oust Gerrard, remember].

These are the things that people tend to ignore in order to justify hating him. You don’t have to forgive him nor like him, but you do have to accept that Hen and Chim did and you do have to acknowledge that the writers PURPOSEFULLY wrote him to have a redemption arc and to be forgiven and befriended by Hen and Chim in the end, and then gave the situation more complicated nuance when he came back and revealed that he is gay and had been scared in the closet the whole time Gerrard was there. It’s in the writing but that requires actually being willing to acknowledge what the writers are trying to show you.

[cloudiinumaki]

on the horizon. . . (2)

CONSIDER . . . — from his side, what's likely to cause troubles in your relationship?

CHARACTERS ! — satoru gojo, suguru geto (separately)!

NOTES ! — i've already done a megumi & inumaki version of this. sorry for the geto one i literally can only write geto angst whoops

WARNINGS ! — uhh angst, NOTT proofread

REQUESTS OPEN !

SATORU.

— i feel like an issue that satoru gojo definitely has is that, in the relationship, he'll be totally upbeat and joking— which is nice, but when it comes to the emotional connection past that, he'd be horrible.

confiding in one another, allowing yourself to be vulnerable, is something that he doesn't really allow himself to do.

and, it's not unsurprising that he'd limit himself, given how everything went with his best friend geto before.

i think this issue would be slightly less if you were a sorcerer, and even less if you were quite strong. then, at least, he'd be able to speak with you candidly somewhat.

but, if you're not a sorcerer, i feel like he'd definitely want to keep you away from that stuff, so you would be left in the dark about it a little.

also, i feel like whilst you'd probably be more open to confiding in him, and you would trust him as he'd end up knowing a lot about you, but he wouldn't really do the same.

and, because of his jokes and usually light-hearted nature, you're distracted and honestly kinda deluded from the fact that you've not actually emotionally connected as much as it might've felt like.

SUGURU.

as for suguru, i honestly think it's really obvious what would cause a problem. after his defection, it's clear that he's changed as a person, and what he's willing to do also, and despite your best efforts, it clearly has a knock-on effect on your relationship.

his duality is insane, with how cruel he can sometimes be when it comes to other things, and how gentle his touch will be when it comes to you. still, that doesn't stop the sinking feeling in you. yes, suguru loves you, it's undeniable.

but, he won't compromise on his ideals. since that day that he defected, it became clear to him that there was no turning away from the path that he'd chosen.

you, no matter how much he loves you, will never be able to convince him to change from what he's decided, and so if you're not as enthusiastic as him (which is probably the case), it'll be difficult staying with him.

compromising his ideals at this point simply isn't an option even if it's obvious that he's on a one-way track to losing everything.

it's easier for suguru to mentally justify his decisions if he continues moving on his path without any hesitation, because hesitation proves that he doesn't trust in his ideals as much as he should.

and so, after the events at the village, you have two choices.

either accept him as the way he's decided to be, or leave him too.

after picking the former, he's still just as gentle with you, even though he's a cult leader now, and not much has changed in your relationship.

but, there's a sinking feeling that you have to try your best to ignore, the feeling that you're watching a man on a path to death.

[nynyhaha]

Do you think Chrollo expected the Troupe to last 12+ years? The expectations set at the start largely determine his current views. How good did they do?

Now Ofc he’d want it to ✨last forever✨ or as long as possible,but how long did he think they’d actually get to live?

Chrollo in yorknew carries himself with a confidence that the Spider will live on way beyond him,we somewhat feel like the adventure is only starting. But at the same time he is lost and doesn’t really know the direction the Troupe is heading in.

At the start he mentioned offering up their lives in order to: -find Sarasa’s murderers and get revenge -free Meteor City from crime/mafia so that no child can be kidnapped again

We know the troupe later also broke the deal where Meteorians are exchanged for money. This is a significant achievement,it implies the Spider provides enough money instead,and it hints at the fact that the previous points are already done,that Chrollo has achieved what he planned.

Those were things that he was ready to die for,things for which the others were also ready to sacrifice themselves. And that’s what they kind of expected,right?

My theory is that they greatly surpassed their expectations.

If they were still fighting for any of the above,we wording have this sense of directionless roaming around that is present in the yorknew arc. The Spiders seem to be beyond the theme of revenge unless it directly affects them. Uvo even said he hates those who fight him for revenge reasons (and I wonder why).

Maybe little Chrollo would’ve marvelled at the progress he managed to make in those years,but he probably couldn’t know how it would affect his psyche. He knew he’d become a “villain” but he probably meant that he’d be fighting for a noble end using bad means. What is that end now?

The Spider needs some sort of plan to justify its existence. For its death to be a tragedy,it needs the will to live and some goal to achieve. Or is it a question of a candle stump losing its flame once it’s burned down?

Should the Spider just retire?

If they have achieved all of their previous goals,the answer could well be yes. Sadly those goals aren’t milestones that you have to reach once and for all,but Meteor City’s safety is fragile and needs maintenance.

And yet,it’s never stated as the reason why the Spider has to keep moving. Maybe to the characters it’s obvious,but we as the audience can only speculate. Also it would make the problem way too simple.

“Oh the Spider is still needed back at home” Ofc it is,duh,but that’s not enough to satisfy the quest for meaning.

It would be interesting if the Troupe started out as a team that’s some sort of necessary evil (and the backstory chapters present it in such light) but now that all it’s done it’s no longer necessary so just evil, but they don’t see it as such.

You know,a band of child soldiers that grew up and is now terrorising the world because their original purpose is completed.

But how is the Troupe unnecessary when it’s the solution to the Mafia problem? It’s rather that they don’t know how much more that can do and how much of that will matter at the end.

No one is forcing them. All of their duty is “self inflicted”,they chose to carry that burden.

Are they suffering from success?

Chrollo thought on the way to avenging Sarasa he might loose his own life or some of his friends. He made that commitment still,and then they all survived. Ok,they lost number 8 & 4,but those weren’t original members and it’s still lucky that the rest made it all the way to yorknew. Yk,after they’ve already done what they wanted (and yes,they have already found the murderers,fight me on that, I KNOW its the truth).

So Uvogin and Pakunoda didn’t die on the way,but after they’ve arrived at the top.(But at the top there was nothing :()

Is that to say that they could’ve hopped off and lived a safer life? At this point they were unable to. Much like Chrollo,they might not have a proper self outside the Spider. AND YET the reason it hurts so much is because they died for the Spider after it lost its main goal. This is why Chrollo quickly needs a reason to ground it all since they couldn’t have died for nothing.

There must be a reason why they’re still doing this other than “we can’t otherwise”, right?

RIGHT?

In conclusion, Chrollo is what happens after one survives the “Kurapika arc” and completes his revenge. He might be free to live on,but after he threw away his life and morals already,this existence looses meaning and so do all deaths for the sake of it.

[treedaddymcpuffpuff]

Excessive Force : Tom Ludlow x Fem Nurse Reader (COLLAB W/ THE INCREDIBLE @johnwickb1tsch) - Chapter Map Twenty-Seven

TW: medical stuff, talk of dying, nsfw

The next time you go to see Detective Washington Linda is there. She’s always there, bless, and you think that maybe she could use a change of scenery. “Would you like to get a coffee with me?”

She blinks up at you, as though the thought of being anywhere but by her husband’s side never even occurred to her. You sympathize, maybe even more now than a few days ago. You know that if Tom was in that bed…you would be losing your fucking mind. You try not to think about how real a possibility it could be, with the dangers of Tom’s job. Of how it could be not if, but when.

You need caffeine.

You go to the little café, Linda following a step behind you. You order a super sweet frappe drink that barely masquerades as coffee. She gets a latte.

“So…how is he doing?”

“Better,” she answers, looking into the frothed milk atop her coffee. “Stable, now, thank god. But…when he wakes up, we’re still going to have a long road ahead of us.”

“Yeah,” you acknowledge, understanding all too well. “But he’s strong. And you are too. I can tell. You’re going to make it.”

“We were going to leave LA, you know? That money they found in the car? We sold our house. We were going to start over in the Bahamas.”

“Well, maybe you can still do that? After he recovers? I’ve seen people recover from gunshots really well.” You hope you’re soothing her, instead of breaking her psyche down even more, but in truth you’ve never really thought you were good at this human connection stuff. 

Linda gives you the tiniest of smiles, and it warms you up more than the steaming cup in her hands. “You could be doing anything with your break…Why are you coming to see me?” 

“I don’t take breaks,” you say, leaning over with a smile like this is top secret highschool drama stuff. “Well, not usually.” 

She laughs in a huff. “Well, thank you.”

“I wanna be there for you,” you tell her truthfully, toying with the plastic, icy cup in your hands. “I think you could use a friend if I’m not mistaken?” 

“You’re right,” she nods, looking down into her own brew. “Although I’m sensing you need the company, too? After all, the only person I’ve seen you around here with is Ludlow.” 

Oh….Oh. 

Yeah, you suppose it makes sense that everyone knows by now. Tom is a little hard to miss, and you’ve been pinned to his side since the grocery store shootout. Every piece of you wants to defend him again—from the venomous way Linda says his name—dust off his badge and put him on the pedestal he deserves, but this isn’t about Tom…or you right now. “I’m… sorry,” you say, unsure of what else to provide. You bow to her grief, her anger, her pain, because sometimes that’s just what you have to do.

“Can you just tell me something?” She asks, her sorrow suddenly forefront.

“Of course, anything.”

“Tom…didn’t try and hurt him? Did he? He didn’t help the shooters?”

“Linda… No. Jesus, no. Tom, he…” you rub a hand over your face, forgetting that you’re wearing mascara to work because you feel this new sense of pride and confidence and beauty thanks to the subject of your current conversation. “He tried to help him, just like me. He did what he could. I swear to you.”

“And if he didn’t? Would you still be with him?”

For some reason, and it’s a reason you’ll have to do some soul searching about later on, you hesitate to answer that question. Because you’re not sure. Not sure if you would have blacklisted Ludlow for being involved with Washington’s near death, or comforted him about it—“you did what you had to.”

It’s scary, to give all of yourself when you…fuck it, when you love someone. Push morals and decencies and laws aside for a person. Lose yourself trying to justify their behaviors. You’ve been here, what? A dozen times? With friends, family, lovers. Thinking that if you could just see something in them, some redeemable quality, maybe that would erase all their copious horrible ones. 

So, would you? Defend Tom if he had tried to kill Linda’s husband? You answer with what you truly believe: 

“He wouldn’t. Maybe he would try and fight him. Break something, even. But he wouldn’t kill him, Linda. I know he wouldn’t.” 

She appraises you with something in her eyes that resembles trust, and it makes you wonder what you did to deserve it. “I believe you,” she says, confirming your suspicions about her expression. 

“Look. I know…our boys have had their differences. I know I don’t know the details. What I do know, is that Tom is determined to find the guys who shot your husband. He’s…all in on that.”

You’re surprised when Linda frowns at hearing this. “And what does the almighty Captain Wander think about that?”

Now you’re frowning too, because her skepticism maybe puts some things into perspective for you. You remember what Tom told you, about going around the official channels to get things done. “Honestly? I’m not sure it’s official. I just know Tom is on it like a missile. He’s not going to give up.”

Linda sighs, looking down into her coffee. “There’s a part of me that just wants to sweep all this under the rug and start over. But the other part of me?” She looks up at you, a fierce fire in her honey-brown eyes that makes you feel like you just stumbled on a lioness on the prowl. “The other part of me hopes Ludlow kills them all.” 

***

It’s a long, hard day. The weather is getting colder, although it’s hard to call outside cold right now, especially considering where you’re from, but dropping temps, no matter how insignificant Kansians think they may be, still come with colds and sepsis and lung troubles, even here in sweltering LA. 

It’s easier to get through the shift, though, because you’ve made a new friend, and she’s pretty damn cool. Linda is fierce, loyal, beautiful; you would envy her if it wasn’t for admiration getting in the way. Even better, you just seem to click with her so naturally, the vibes between you are immaculate—you feel like you’ve known her your whole life, and that’s really rare to have with someone. 

You chart with a smile for once, because you really hate charting more than anything else on God’s green earth, but take a pause when your phone vibrates in your pocket. 

Hey, baby, am I still picking you up at 1930, or you gonna be late? 

Your smile sharpens and spreads, warmth flaring up your bones like freshly plugged Christmas lights, at Tom’s message.

I can do seven thirty if you stop distracting me.

But I miss you :(

Oh my god. Now you’re blushing and giggling.

C’mon, you know you’ve been thinking about me all day.

Nope. Forgot your name, actually. Who is this, anyway? 

I think it’s time we give you that spanking.

I can take the bus home….

You know I will stop that bus with my lights and sirens on. 

Fuck u, handsome.

Maybe after I turn that little ass red. 

You roll your eyes, scoffing just as hard as clenching. This man is going to kill you. He’s so goddamn sexy it should be illegal. And he’s making all your dirty little fantasies come true while simultaneously making your heart melt. You shove your phone back into your pocket, determined to go back to work so you can actually get out at the time you’re supposed to, but it vibrates again. 

I’m very serious about pulling that bus over. Don’t even try it. 

Yes, officer. 

Good girl. 

What a dick. You’re absolutely head over heels for him. Asshole.

How the hell are you going to betray his trust and let Julian have his way with you? How are you not going to feel crippling guilt every time you look into those coffee brown eyes? How. Furthermore, is Julian going to want to keep doing this with you? Training you like you’re some sideshow pony? You grimace at the thought. 

It’s wonderful, how when you see Tom all those bad feelings seem to go away—especially since he picks you up in full uniform, those delicious glinting handcuffs strung proud to his belt. You bite your lip when you see him, and he kisses the sting away. 

“Working late?” You ask, shimmying your thumbs into his belt loops and pulling him closer. It’s been long, hard hours without him, and you missed him more than you want to admit. 

He presses you up against the wall, just like you want, and tucks stray, wild hairs behind your ears. “Had a residential disturbance,” he says, “let me make you dinner.” It’s beautiful, how such mundane things sound so sinfully promising through his voice. 

“You are dinner, Officer Ludlow.” Because God, you really have just been aching to lean into this cops and robbers fantasy that he started on that dark highway. All you’ve been able to think about is getting on your knees and undoing this uniform and sucking him empty.  

Fuck Julian, and your job, and everything else when he kisses you with a growl, hands cupping the back of your head and threading through your hair so he can get you closer. He either really likes this feral beast you’ve become, or really doesn’t like it judging by this lip splitting dance of tongue and teeth that leaves you gasping for breath. “Careful, baby, might have to lock you up and keep you all to myself.” 

You do love the sound of that. 

***

You ask Tom to take you somewhere…somewhere high and airy where you can look down on the city of Angels. The city you both protect, with shining colorful lights that fight valiantly against the dark night. Tom holds you in his arms, chin on your head, and you don’t mind that all the shiny bobbles on his uniform poke at you. You feel so safe, right here, even though you’re alone in the woodsy hills of LA, and it’s because he has you securely tucked between his biceps. 

“Something’s going on with you,” he says, kissing the top of your head. “I can tell, you know that?” 

The fine hairs along your spine lift, and you hide your face in his arm, trying with all your might not to start crying like a baby. 

“I’m just scared, of those guys trying to get rid of me…” it’s not a total lie, although it, surprisingly, between Julian’s clutches and Tom’s freedom, is the least of your worries. 

He pulls you closer. “Listen, baby, I’m gonna protect you. I know you’re not used to that, to someone having your back, but I do. I’m here and I’m not going anywhere…not even if you want me too.” 

You chuckle. “Yeah, I know.” 

“I think I should probably ask you out properly, but I’ve been a little nervous.”

Your chuckle turns to confused laughter, and you look up at his sheepish smile. “The unbreakable Tom Ludlow, nervous?” 

“Yeah, that you’re gonna tell me to go pound salt…again.” He tries to smile his way out of that statement, but his eyes droop and the corners of his mouth twitch with the effort of nonchalance. And you are a fucking asshole for trusting Julian and snubbing Tom—that’s all you really know for sure. 

“Will you go out with me?” 

His grin turns authentic, and it scares you how much lighter you feel now that he’s genuinely happy again. 

“Yeah,” he agrees on the soft crown of your hair.

[from-the-coffee-shop-in-edoras]

Question: since Eowyn and Eomer have the same parents (read: Eomund’s hothead genes), do you believe Eowyn would be just as hotheaded as her brother if she were a man? As a lady, there were different expectations of her, so perhaps that’s why we don’t get to see much of that hotheadedness?

Ooh, thinking about what someone with Éowyn’s personality but who was born into the opportunities and freedoms that men had is a really interesting exercise! Thanks for asking! ❤️

I do believe Éowyn had those same hothead genes, and I actually think that we can already see them in her in the canonical story. She doesn’t have all the same opportunity as a man to show it, but she does repeatedly act impulsively and decisively; is very brave and heedless of danger; is very consumed with realizing her own goals to the exclusion of other considerations, etc. — all characteristics that are definitely hothead-adjacent.

When Aragorn unexpectedly appears in Rohan, representing everything that Éowyn wants to be and do and achieve, she wastes very little time before she is literally begging him to take her away with him. She’s immediately willing to throw overboard almost everything about her life to date to follow a man she barely knows into a situation that she doesn’t fully understand. That’s not exactly careful, rational decision making (even if we, as readers, don’t disagree with her choice!). We also famously see her boldly defy the orders of her father figure and king by sneaking into battle on her own — and with an unauthorized hobbit in tow! — not because she made a reasoned calculation about what was best for Rohan or Théoden or herself but simply because she was so singularly focused on her own goal. So again, even if we are entirely sympathetic to that decision and in retrospect know that it was the right one, that’s got some clear hothead vibes that go with it. 

She also repeatedly courts death, mouths off to the Witch King himself (“be gone, foul dwimmerlaik, lord of carrion!”) and laughs in his face, demands to be put back into battle as soon as she’s awake again in the houses of healing even though she doesn’t know anything about how conditions have changed since her injury, and is a little bristle-y with Faramir in some of their early interactions, jumping to her own conclusions about what he thinks and means when he speaks to her. All of that feels consistent to me with someone who is quick to their emotions, recklessly brave, and willing to act without sitting around to carefully analyze a situation first. She even talks about herself as being ungentle and a wild woman that others might seek to tame, which suggests to me that she also saw herself as embodying many of those same hotheads traits — bold, unconventional, potentially dangerous, etc. 

So I think she and Éomer both show some signs of hotheadedness throughout the story, and I think they show that a little hotheadedness isn’t always a bad thing! Éomund just had way too much of it and was impervious to being curbed, whereas Éomer takes advice when it’s given and Éowyn comes to see that acting with more deliberateness (as Faramir does) isn’t a bad thing either.

But all that leaves open to question whether Éowyn would have been an even bigger hothead if she had been a man. I see two possibilities there. Either her personality would have been exactly the same but the effect of her actions and behavior would have been magnified (making Lord Éowyn SEEM like a bigger hothead than Lady Éowyn) because a male version of her would have had more opportunities to follow his impulses and cause a ruckus. OR, perhaps some of her instincts would have actually been dampened a little bit by the additional freedoms of life as a man — without some of the (entirely justified!!!) resentment and frustrations that Lady Éowyn felt, perhaps Lord Éowyn would have been a bit mellower. I’m inclined toward a middle ground — some of the latter, but with the clear stipulation that even then Lord Éowyn was NEVER going to be an entirely cool, collected cucumber because that’s just not his core personality or how this family works! 

All my own 2 cents of course. I’d be very curious to hear others’ thoughts as well! 

[justatalkingface]

I have to say, it is endlessly frustrating that every female character in mha, bar like, Toga, is not allowed to be angry. While Fuyumi’s response to abuse is realistic, I think its a really good showcasing of how hori views his female characters. Out of four children, the only one who even remotely puts up with endeavor’s behavior, who wants to have a real relationship with him, is his daughter. Why is she the only one who’s forgiving of him? I mean, I know why, but its still infuriating that none of the female characters in this manga are allowed to be anything other than alluring, happy, scared, or *briefly* upset.

Yeah, when I was writing that post out I noticed that stark difference between Fuyumi and the three guys, all of whom rebelled, and how their broad personality traits came down pretty straight from their same gendered parent.

Like, in general, all of the various Todokori family's reactions to Endeavour are legit, though Dabi's is, fittingly enough, turned up to eleven, but when you look at it from a broader perspective like that it is... prominent.

Like, real talk for a minute, if I could choose how Fuyumi was written, I'd have had her been quiet and passive her whole life, like she was knuckling down under the pressure... but the second she got of age she was gone. And when I mean gone, I mean gone: not just out of the house, like Natsuo, not just out of the city, but out of the country. Just... gone. The day of her eighteenth birthday, that morning the family wakes up and realizes that she vanished, there's nothing left in her room, and there wasn't even a mention of even wanting to leave or anything beforehand, nothing. Fuyumi just plans and executes this completely under the radar.

And then it turns out she's off somewhere riding motorcycles or something, probably in the US since that's the second most developed country in the story, living her best life and never looking back, with a changed name and a different hair style, nothing to connect her to her old life. It'd be easy enough for her to enter the story proper when Dabi Dances, wanting to see her long lost brother (maybe build that up as the point where she just gave up on Endeavour and everything and everyone even remotely related to him) and such, and there's a lot of potential conflict to play off her just abandoning everyone, but... a Todoroki wouldn't be a Todoroki if they weren't fucked up somehow, right?

Refocusing though... if anything, you're too generous to Hori. Toga was half assed angry for a handful of chapters, and even then it was muted and nonsensical, mixed with a basic inability to grasp reality ('"a hero killed us?", she said incomprehensibly; there was this bizarre lack of understanding of the consequences of the the PLF's actions and how killing people, gasp, may get you killed!) and a really weird refusal to actually be angry at the person who flatout murdered Twice. The murder that, you know, she watched happen, since Dabi conveniently broadcasted it for the world to see. After that though, she was depressed, and now she's in some weird 'Let me be evil' subplot where she's thoeretically doubling down on being an actual villain (like she wasn't already), but she's too busy having an identity crisis or something to actually focus on that, and a good half of her airtime is still about the weird, completely undeveloped 'love triangle' thing.

And now that you say this I really, honestly, can't think of a time a woman was properly angry in this series. I mean, hell, Mirko is usually the exception that proves the rule to most of Hori's sexist treatments about women, but even she's more determined and just plain aggressive rather than angry. It's pretty nuts when you think about it.

And it's just... it's not like we need a lot, but there's enough shit that happens in MHA, to everyone, that there's every reason for some woman somewhere to want to scream at someone good and proper.

I mean, normally I'd expand on this a bit, but I can't really think of anything to say beyond the obvious. Women should have been angry throughout the entire story. They weren't. There's nothing that can really explain it, or mitigate, or anything, beyond just Hori not wanting to write a woman that way for reasons that are all too obvious.

[possamble]

What are your headcanons about Marcille's mom if you have any? It's interesting that what drew Donato to her was cause she lived the history he studied, or that was said somewhere at least. She must've had an interesting life.

so this was going to be just a normal answer but then I realized I have a Lot of Things To Say. so here goes, a compilation of what we know for a fact from the canon, what I've extrapolated from the visual cues and details, and my theories based on all of that.

Things we know for a fact about Marcille's mother because they were explicitly stated in the manga and supplemental materials:

She was a court mage for a Tall-man kingdom at the southern part of the Northern Continent

Donato, a court historian, fell in love with her because she had lived through the history he was studying, and he courted her for 17 years (age 15 to 32) before getting married

She was a cheerful person who rarely showed extreme emotion and took things as they came

She always cooked a huge meal for Marcille on her birthdays

She remarried a gnome after Donato's death and a short distance away from Marcille's childhood home

Pipi, Marcille's pet bird, was actually older than Marcille and originally belonged to her mother (bird died at 62)

She was extremely heartbroken when Donato died and ultimately ended up instilling a deep fear of mortality in Marcille with her words

the only time she showed extreme emotion in front of her family was when Donato could no longer eat his favourite dish near the end of his life.

She scolded Marcille for being cruel to ants (implying she can have a stern side when needed)

Things that are explicitly shown but mostly through visual cues

She has a very distinctive style of dress always involving a ribbon choker (mirroring Marcille's habit of always wearing a matching choker with any of her outfits that don't cover her neck)

She was almost stereotypically good at housekeeping and traditionally "wifely" things (very frequently depicted wearing an apron or doing some domestic chore when not at work, seems to have been an avid cook).

She knits? (also, note the affectionate smile as she's looking at Donato and Marcille reading a book together in the full panel)

She was as excited for Marcille's milestones as Donato was.

She didn't tell Marcille much about elven food

(there are a couple things that this panel in particular implies:

She lived a good deal of her life (if not being born and raised) in a mainly elven country in the West, implied by her knowing enough of an elven region's cuisine to prefer Tall-man food over it

seems to have a pretty carefree and casual demeanour overall, if this is how she replied to Marcille asking her about it (sounds like she never gave her culinary preferences that much thought to begin with)

slightly related to number 2, it seems like she and Marcille had a fairly casual parent-child dynamic (especially in comparison to the Toudens' memory of their father)

(local elf tastes Italian food once and never goes back))

However, she seems a lot more... serious in most of the other times we see her? Almost like the very stereotypical archetype of a graceful elf.

Subsequent conclusions about her personality:

Usually pretty carefree and cheerful at home, has been a loving and attentive parent throughout Marcille's childhood (while not being so doting that she didn't discipline Marcille).

Slightly more conjectural theories on her personality:

Had a much more graceful and professional personality at work, which would explain the more serious portraits we see of her.

Given that both she and Donato had positions at the royal court, it seems a little odd that she'd go out of her way to do all the housework herself, so maybe she just enjoyed doing it?

Now taping all the evidence together and toeing the line between analysis and fanfiction:

It's clear that she loved Donato very much and was utterly devastated by losing him. But there's one thing that really stuck out to me in what little we see of her:

Doesn't she seem... angry? The way she's gritting her teeth, clutching the tablecloth, and how this is the first and only time we see her eyes opened that wide. In the following panel, you see her being quiet and dejected after her initial outburst. She's still crying very intensely, but her brows are furrowed, and she's not really responding to Donato's affection in her body language.

We're not told the details of how she felt about losing Donato other than that it upset her. But this, to me, implies that she was angry and resented that he was aging, that the end of his life was approaching. An "it's not fair" type of preemptive grief. And if this was the first and last time she cried like this in front of her family, she was either very good at coping in private... or very bad at letting herself feel unpleasant emotions until they become unavoidable and end up overwhelming her.

It's not too remarkable a detail on the surface. It's even reminiscent of what the audience has seen of Marcille. But... when it comes to the big picture, you'd think an elf who voluntarily chose to marry a tall-man and have a half-elf child would have been better prepared for this.

It kind of recontextualizes her cheerfulness to me.

"I'm sure everything's gonna be okay!" (or some variation thereof, depending on what translation you have).

And this is stated to contrast her extreme grief when finally confronting Donato's failing body and eventual death. But I'm wondering if... maybe this optimism was why she was so upset. What if she went into all of it thinking "everything's gonna be okay"? What if she was a little young by elven standards, and just followed her heart thinking that her own resilience would get her through anything?

Of course, only to get completely overwhelmed when she actually loses Donato. She turns into a completely different person. And that's heartbreaking on its own-- but what the audience sees is the effect it had on Marcille. Can you imagine being her, watching your invincible and upbeat mother suddenly lose all the light in her eyes in one go?

I've already made a huge post about how I think Marcille models her "work persona" off her mother, but another thing that stuck with me as I was looking for more details in the manga was this:

copy pasting from the other post i made about it lmao it's like... the second she resigns herself to lifelong pain and terror, there's another portrait of her mother facing her like this. with their heads bowed, in mirrored body language of resignation and despair and sorrow. Except it's posed like Marcille is still looking at her mother but her mother is looking away.

It took me a second to realize, but I think that it's a visual metaphor for the fact that Marcille's mother was the only long-lived role model she had-- and she failed to model healthy grief for her daughter. I don't say this as an accusation or to disparage her as a character, but just as a matter of fact. In her, Marcille was seeing herself older and losing a short-lived spouse or loved one of her own, and all she saw was hopelessness.

But her mother didn't mean to instill hopelessness and terror in her. She wasn't really thinking of how it would truly affect Marcille at all (at least, that's how I'm interpreting her looking down and away from Marcille in the metaphor), she was just sad. And she, in her own way, was trying to protect her daughter and help her prepare for future losses.

What she meant was "loss is inevitable, and you have to learn how to be in pain but live on anyway." What Marcille heard was "loss is inevitable, and you will be scared and hurt for the rest of your life."

Again. Marcille's mother doesn't feature explicitly in the story the way her father does -- but in so many ways, her shadow, her silhouette, her reflection is always hanging over Marcille.

All that to say... headcanon-wise (everything from here on is 100% without evidence lmao), I'd like to think that she matured and realized that she failed Marcille. I imagine her being regretful about it, wanting a chance to fix it but never finding a way to insert herself back into Marcille's life when Marcille is so so so busy becoming the most accomplished mage possible. I imagine her being herself again, now, so many years after her loss and after remarrying -- but with her cheerfulness tempered with a lot more wisdom and the pain of having gone through loss like that. I think the second Marcille actually tells her what happened in the dungeon, she'd want to go running to her daughter again -- if Marcille tells her the full truth instead of just being embarrassed she let things get that far. (oh, the tragedy of her wanting to be more like her mother and an accomplished adult who doesn't need to be babied... being embarrassed to actually tell her mother how much she fucked up...)

There's also the tension of her having remarried -- I know that there's at least a little bit of resentment that Marcille harbours about that, because she's childish like that at heart even if she makes an effort not to externalize it. I think that her mother would be aware of that, potentially adding to her sense of guilt and apprehension at trying to reappear/intrude on Marcille's life. I honestly don't think Marcille has met her stepfather -- or even considers him a stepfather rather than "mama's new husband" and kind of a total stranger. I think she and her mother actively don't talk about it in their correspondence, like an elephant in the room.

but, ultimately, I think her mother is on her side no matter what. Ancient magic? Dark necromancy? Sure, she'll feel guilty and like she was partially responsible for setting Marcille down such a painful path, but she wouldn't care. that's her daughter!! she would've moved back west and been petitioning for her at the court, buying a house right next to the Canaries barracks and visiting her every day that she wasn't on a mission. And if her husband had opinions on Marcille becoming a "dark arts user," he either gets over it or it's divorce with him. Yes, she might have had her optimism completely humbled by losing Donato like that -- but she's still headstrong and self-assured and she doesn't care what people think of her. It's her way or the highway and she's always going to be in Marcille's corner.

(She also needs a name lol. I went with Juno, just to be cute about "Marcille"s closest real life equivalent being Marcella, which is the female version of Marcellus, which in turn is a diminutive of Marcus, which was derived from Mars. Absolutely in love with Marcille potentially being named after Ares/Mars the fucking god of war btw)

[total-drama-brainrot]

i now wanna hear your very long character analysis on how the drama machine affected alejandro

Yeah alright.

So I haven't actually watched All-stars, but I did skim through this video to get a feel for Alejandro's characterisation in it, since All-stars is the only canonical material we get from Alejandro post Drama Machine.

And by skim I really do mean skim; I was mostly looking out for signs of his imprisonment's influence, which for the most part seems to be as follows:

His legs fell asleep.

He developed a minor case of agoraphobia, mostly in the context of sleeping in open spaces.

His standards of human interaction have plummeted; something he's aware and accepting of.

Interestingly enough, he doesn't really seem to acknowledge the volcano itself (outside of an offhanded comment) or the injuries he got from the explosion. His focus is solely on his time in the suit, not what out him there in the first place. He even skirts over a memory loss issue, which could contribute to this.

I'll tackle these three points in more detail, and then give examples of how they can be developed into actual characterisation points instead of (for the most part) gags.

Number one; Leggy McLatin and the paraplegia scheme.

Alejandro's inadvertant and unintentional escape from the Drama Machine, and subsequent readmission into the competition (as himself, instead of as the machine) is, for the most part, entirely focal on the fact that his legs no longer work after his year of entrapment. It's a big deal - or, at least, as big of a deal as any injury or ailment can be in the context of Total Drama, considering that he doesn't miraculously get better in the span of an episode. Of course, we learn fairly early on that he's faking the paraplegia, but it's fairly heavily implied that his legs really were asleep initially (and that, in all likelihood, the massage we see him getting from an intern is what "wakes them up").

What's interesting about this particular plotline choice is that it would, realistically, be entirely feasable for Alejandro to have mobility issues after spending a year inside a robot.

Now, I'm no doctor, nor do I have any formal medical training, but I do know that not being able to move your body for an extended period of time results in a serious case of muscle atrophy. We see in canon that Alejandro was essentially locked in a seated position for the year; his arms, head and (assumedly) torso had place to move around, but he couldn't really stretch out his legs. This would explain the "weakness" of his legs in the first episode - i.e. their wobbliness, and the fact that they couldn't hold up Alejandro's body weight. The numbness he cites would be explained by poor circulation - again caused by him being sat down for a solid twelve months.

Or it could be nerve damage from the eruption, but given that Alejandro doesn't seem to have any long-term issues that stem from the volcano itself, it's unlikely.

So it can be assumed that the numbness of his legs was offset by the massage he gets after the first challenge. The masseuse kickstarts the blood circulation back into his legs, resulting in him regaining sensation in them - enough feeling to notice a crab pinching at his feet.

And, if I really want to reach into headcanon territory/realism, the reason he keeps up the "ruse" is because, despite having feeling in his legs, the muscles there are still fairly atrophied and he has a lot of trouble walking, let alone running, for extended periods of time. Though, as it stands, any long-term impact on his health would be entirely headcanon/fanon territory, due to the nature of the show itself.*

Then there's the psychological aspect to consider. Alejandro's a very prideful person by design - that's evident in both the way he portrays himself and the physical standards he holds himself to. Having use of half of his body stripped away from his is bound to be distressing, perhaps even traumatising. Hence why he tries to make himself as useful to the team as possible despite still recovering; he needs everyone to see that he's still capable.

Eventually his legs fully recover, because this is Total Drama and things like "realistic healing processes" and "lasting damage" don't seem to exist in-universe.

Number two; snug as a bug in a rug.

Alejandro's shown to have started sleeping in a sleeping bag throughout All-stars. He even canonically states that he needs to, because of his time in the Drama Machine. He cites that sleeping whilst srpawled out makes him uncomfortable, unspokenly referring to the fact that, for a year, he'd only had the option to sleep in an incredibly cramped position/environment.

This is interesting since, for the most part, you'd assume that someone held in close-quaters captivity would develop claustrophobia instead of a form of agorophobia, and yet Alejandro seems to have internalised the need to be in an enclosed space to sleep. Maybe it's symptom of just how long be was encased for - a year is a long time - or maybe it started out as claustrophobia, but the indefinate nature of his captivity morphed the initial fear into a twisted sort of coping mechanism.

It begs the question; what else can't Alejandro do in open spaces?

Is he perpetually uncomfortable with the openness of the outside world? Does he resort to hermiting himself into closed-off corners and enclosed rooms, just to feel a semblence of normalcy after he escapes the confines of the Drama Machine? Would he take to wearing tighter but more concealing clothing, just to immitate the feeling/pressure of being trapped in a too-tight enclosure?

Is his need for a snug sleeping space indicitive of him missing his isolated imprisonment?

Which brings us nicely into the third point.

Number three; long-term isolation and the effects thereof.

Alejandro explodes out of a glorified toaster and one of the first things he really comments on is Heather's off-putting personality and her facial hair. In a positive manner. He's so starved for human contact that he attaches himself to the first "friendly"/familiar face he sees, which in this case is Heather, and focuses on the aspects of her that make her human.

If he were a "weaker man", I have no doubt Alejandro would be clambering for attention from his team, mostly for proof that he's no longer completely isolated. It's a well-documented phenomenon; people who experience a long time in isolation, or who suffer through long periods of loneliness, become desperate for socialisation (and physical contact), to the point their immune systems and biological rhythyms (from circadian to infradian) start to deteriorate.

Realistically, Alejandro would've come out of the Drama Machine a desperate and sickly mess, riddled with insomnia and paranoia and incredibly touch-starved. But, as established, the show isn't exactly true-to-life when it comes to things like this, so...

As it stands, the fact that he emerged from his prison and immediately jumped back into his charming persona attests more to the fact that his flirtatious act is so deeply ingrained into his psyche than it does to his mental wellbeing. It could be argued that he's using the same act/mask/persona as a tether to his old self and an anchor to normalcy, as he'd likely crumble into an inconsolable mess without the scaffolding of his "TV personality" keeping him upright (metaphorically of course, as Alejandro is in fact not upright in the show. He's upside down for the majority of his time on All-stars).

Or maybe he's just built different? Who's to say.

We don't exactly know what went down during his year away, so it's impossible to make any concrete statements as to whether Alejandro was afforded the luxury of other people's company, or if he really was kept 100% isolated in the machine. The only thing we do know is that he likely had access to a phone, though didn't have the capability of using it without assistance, since he calls Heather out for never trying to contact him but also states the impossibility of him doing the same in turn.

Number four; lava damage and the lack thereof.

It's sort of explained during his scene at the end of World Tour, but Alejandro's whole "being trapped in the Drama Machine" deal - alongside being a parody of the scene where Anakin Skywalker is first put into the Darth Vader suit - is stated to be for his own benefit. He's essentially being locked away into a healing suit. Again, just like Anakin - they both even sport similar burn wounds.

He mentions at the beginning of All-stars that he doesn't really remember being put into the machine, and it's safe to assume that the majority of his time in the contraption is likely fuzzy to him as well; being fully concious of complete isolation for a whole year would be enough to drive anyone completely mad, and Alejandro is decidedly not insane (for the most part). Ergo, it's also a safe assumption that the inner mechanisms of the Drama Machine act as a sort of stoporous healing chamber, keeping Alejandro semi-concious and healing his various lava burns over the course of his concealment.

Sort of like a medical coma. Inside of a robot. A portable medical coma.

The "healing properties" would also justify why Alejandro's whole body hadn't deteriorated from muscle atrophy, or developed any (visible) burn scars from his stint in the Hot Sauce. Of course, as far as burn scars go, unless they're significantly deep they do tend to fade into near-invisibility over time. That, paired with the ~magical healing properties~ of his confinement, likely resulted in his lava burns scarring over into insignificance.

Then again, I once again have to take cartoon logic into account - the show itself likely just didn't consider the semi-realistic consequences of a year of entrapment, and wanted Alejandro to be near-enough the same character he was at the end of World Tour before the consequences™.

The main point here is this; Alejandro doesn't seem to remember the majority of his injuries following the volcano eruption in the World Tour finale, or if he does he's had a year of semi-conciousness to work through his thoughts and feelings on the matter, and as a result he doesn't seem to carry any (reasonable) trauma regarding lava, volcanoes, or other related stimuli.

He does, however, retain some "quirks" from his time in the machine.

Number five; an overview.

Alejandro comes out of the Drama Machine with a surprisingly little amount of visible trauma, both in terms of physical damage/scarring and observable mental changes.

He developed a very minor case of agoraphobia, spurned on by him becoming accustomed to existing in a very small, very cramped space, but otherwise attunes himself to the outside world incredibly fast.

Is this probably related to his social training, as a diplomat's son, and his heavy reliance on a "suave and charming" persona. He's likely battling with a lot of internal issues throughout the season, but squahing down his inner turmoil under his determination to win, which explains how/why he falls so easily into his scheming mindset - it, in and of itself, is a coping mechanism, though not a very healthy one.

*The paralysis of his legs was in all likelihood genuine, and a result of poor circulatory issues and minor muscular atrophy, which was almost immediately treated by the masseuse intern after the first challenge. Realistically (and how many times have I said that word) he'd have some lasting weakness in his legs, and maybe require the use of a mobility aid and/or physiotherapy. This is not the case, because... Total Drama.

There are subtle signs of the mental impact of his imprisonment, mostly in his immediate attachment to Heather (despite her taking away his reproduction privileges the last time they spoke, and her being Heather) and his innate need to prove himself as useful/capable despite his gameplan riding on him appearing pitiable and unthreatening (due to his "sleepy legs"). He's so starved for social interaction and validation that his actions are directly contradictory to his gameplans.

Though in the case of his Heather attachment, he could just be like that. He was also fairly infatuated with her in the latter half of World Tour, and the pineapple scene speaks for itself.

In conclusion; Alejandro is either completely goated and (for the most part) just shrugged off the trauma of being trapped in a tiny box for a year, or he was already so traumatised that the imprisonment was just another needle in his haystack of turmoil.

[batsplat]

hello i saw in your tags that you don't think people on here get casey stoner and as someone relatively new into the sport i would love to hear your thoughts <3

(context here) okay first of all, this post will be framed as ‘things I wish people talked about more with regards to casey stoner’, rather than arguing against what I think people think

I've tried to come up with a concise response to this ask but kept heading into thesis-length territory. so I decided to write a bullet point list and it’s still… yeah… but well it could be worse. if you, dear anon, wish to read thousands of words of casey stoner lore then please let me know. otherwise, here are just a few things I find interesting about this bloke:

casey has a very complex relationship with the concept of confidence, both in other riders and himself, in the sense that he KNOWS how important it is but also believes/wishes that he specifically is kinda above all that

this feeds into how he wishes that racing were Just Racing and not all this other stuff… not his brain not his body not other racers being assholes on/off track not talking to journalists or doing photoshoots not having to deal with politics etc etc - central underlying tension of his career

he has openly spoken about not ever really enjoying race day, saying the only thing he's missed after retiring is qualifying. very perfectionist, the anxiety, the over-thinking, craving control… all key casey traits

(which also ties in with the valentino rivalry, because valentino obviously adores racing (in particular wheel-to-wheel battle) but he’s also great at all that other off-track stuff)

some very rigid ideas of How The Sport Should Look, which you can see in everything from how he talks about racing standards to the introduction of CRT riders (he had it OUT for them, head hot every time aleix espargaro shows up in parc fermé) to valentino’s influence on ducati and the importance of the colour red

let him have his mean streak! the grim satisfaction in discussing jorge’s 2008 injuries after his early-season arrogance towards casey, the dismissiveness towards dani, some of the wilder valentino remarks (this isn’t a criticism to be clear, alien-on-alien violence is part of the natural order of things)

casey is a classic case of ‘just because you’re paranoid, doesn’t mean they aren’t after you’. definitely a suspicious guy and perpetual underdog 'me against the world' mindset. not to get too psychoanalytic-y, but I reckon this was partly born out of how he had to leave australia as a teenager (with his family completely dependent on him succeeding) because of how the racing establishment down under fucked him over

they definitely were out to get him a lot of the time, cf yamaha and then ducati drama plus the slander from some of the greats of the sport, fellow riders, the media etc etc (particularly egregious in 2009 when he was dealing with his mystery illness and a lot of people said some pretty unpleasant stuff in his absence - here is just one example)

his struggles were constantly downplayed. the chronic fatigue misdiagnosed as lactose intolerance led to people calling him weak-minded, broken, running away from the sport (part of why he was so allergic to the idea his results might in any way be connected to what was going on in his head). add in the undiagnosed anxiety and you have all this invisible strife people wouldn't even take seriously

that being said, he definitely did have a propensity for jumping to the worst possible conclusions

two specific examples: firstly from his autobiography, where he makes the claim that valentino may have been sabotaged in the 2006 title decider and was deliberately given a rubbish tyre to make him lose the championship - to which casey’s response was: “welcome to my world, mate”. he does have a tendency to believe he’s being sabotaged, and is constantly on the look out for conspiracies even when they are… unlikely

the other example is mat oxley talking about his issues with casey in his stint working for ducati, partly based on a misunderstanding:

something allegedly written about him in 2001!

let’s just say he can definitely hold a grudge

the moaner stoner stuff was definitely nasty, calling him mopey and whiny and all of that, but he also has never shied away from some good old-fashioned complaining (some of this was a bit of a spiral - complaining for good reason worsening public perception of him leading to more reasons to complain)

see also the lingering marc grudge, who probably did play a significant part in getting casey kicked out of honda (as casey has accused him of). whether marquez prevented stoner from racing in 2015 is more of an open question. casey still speaks about how honda made a mistake by only listening to marc (which, again, does have some truth to it)

casey was always very quick to shut down the idea that momentum, motivation, confidence etc could affect his results (unlike that of his competitors) because he argues he was always very rational & clear-sighted about when things were his fault & when things could be blamed on the bike + extraneous factors. he really goes into detail about this when discussing 2008 laguna seca in his autobiography, which he argues had no effect on him psychologically (but was followed by him crashing out of the lead of the next two races)

has definitely spoken more about his rivalry with valentino than valentino has, which probably has also helped shape perception of it over time

on ‘ambition outweighed talent’ - I feel like people almost understate just what a (hilariously) out of pocket remark it was in context. it was rossi’s second ever race at ducati (and the start of his season was impacted by his shoulder issues) - and the rain meant he had a ~win it or bin it~ approach because he knew it was as good a chance as he might get for some time (despite starting from 12th). the move on stoner for second place was at best optimistic, most definitely impatient and at worst foolish - but sort of understandable in that situation, rossi was definitely rapid, and this stuff can happen in the wet. in that sense, it was obviously more a reaction to the manner of the apology (and his frustration with the stewards) than to what casey himself described as a racing incident

stoner made a remark in his autobiography about how rossi had stolen 25 points in a title battle he was never going to be a part of (oof). whether you're obligated to race title contenders differently is already a bit sketch but certainly should not be a consideration for anybody in round TWO

he was forced to publicly retract the remarks, though he doubled down on them to a deeply funny extent in his autobiography by suggesting they were true of valentino’s entire career and that he’d just benefited from a weak era. rossi mostly took it on the chin especially when interviewed about it for documentaries, probably because with something like that you do just need to take the L

it's understandable how it’s become such a defining image of their rivalry (along with laguna seca), not least because of how evocative the whole thing is - rossi showing up still wearing his helmet, trying to make a PR apology stick while he’s been eating nauseating amounts of humble pie at ducati; stoner casual as you like, pissed off about the points loss while still indulging in schadenfreude about how the Great Big Ducati Adventure is working out for rossi

but again, I think it’s funnier because of just HOW over the top an insult it was in that situation (and more broadly how it does have a different vibe to their interactions when they were meaningfully competing, aka 2007-2008)

in conclusion: casey has his doubts and his insecurities and his obsessions and his foibles… a complicated guy in his own right

and a big thing I’d like to stress here is that the rivalry with valentino does benefit from treating them both as somewhat unreliable narrators

I just think he's neat

[yandere-daydreams]

i can only guess that the currect poll results are resulting as they are because 1. people love desperate puppy boys and potential crying while knotting (maybe that's just me) and 2. a surplus of dommy foxboys and yandere kitsunes in fanmade media has burnt them out.

what where all you all finding these foxboys. am i the only one that's not getting foxboy burn out. are you keeping them in a basement or something where are they.

[silvesi]

✨️MESMER PROPAGANDA!!✨️

Daily enrichment for Fedsy (On his way to flirt with and manipulate the workers of New Kaineng so they will let him try a sip of the tasty green liquid in the power plant core 😫)

[smallnico]

nobody asked but i want everyone to know that when i draw karlach doing a happy tail thrash, it's stimming. i'm drawing her happy flapping. i'm not trying to compare karlach to a dog (or, rather, i'm not trying to condescend to her or minimize her pain or awareness or intelligence). i think everyone knows she's got big feelings and she's a very physically emotive and fidgety person (we've all seen her little dance) so it just makes sense to me that she would vent her excitement physically somehow.

also it's what i would do if i had a tail. i'm stuck using my hands lmao

[unproduciblesmackdown]

omgg lol [guy who won't stop going "more like scapeGOATED" voice] now hold! on!! lmao [same guy just saw encanto voice] Hold on!!!

[btsbs]

.

[tacticalhimbo]

wakes up. lost voice. go on youtube. "nikocado avocado was a social experiment". i have no voice and i must scream

[vaugarde]

maybe its the presentation like i said and also that ive muted the game and turned off battle animations so it goes faster but man. im coming to the brutal realization that my kanto issues probably dont stem from gen 1 as much as they do with pokemon yellow