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#death alignment
ace-and-ranty · 4 months
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No, but the thing is, when I was reading Harrow the Ninth, I thought it was gonna be an Orpheus situation. I thought Harrow had fucked herself up as a means to an end, that she had a plan to bring Gideon back, that the lobotomizing and everything else was her way of getting into hell to get Gideon out.
It really made me feel some type of way when it finally dawned me that she never thought that far. I mean, you'd think it makes sense that, if GOD tells you something can't be done, you accept it can't be done, BUT IT'S HARROW WE ARE TALKING ABOUT. It is INSANE to me that she just accepted she couldn't undo Gideon's death.
The trauma of living in a death cult really got to this girl. She was so awash in it she couldn't even conceive of living a life with Gideon; a more acceptable death is as far as she could go. Absolutely insane. Harrow is not Orpheus because Harrow never tried climbing back up, she couldn't look back because she never got that far, she went into hell to sit there with Gideon forever, and it just didn't occur to climb back up the stairs.
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zoe-oneesama · 9 months
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Has Lila been helping Alya collet statements and prof of SL incompetence, or is that list just a personal vendetta against her? Because honestly, I can see both happening
Oh, no, she's helping Alya. She's basically the No. 1 supporter, witness, beta reader, editor, etc. just for this hit piece. That's why she has these bullet points saved on her phone.
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cervideity · 3 months
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look how cute red is in sketch
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izzymarksthespot · 4 months
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Half naked Izzy aside, this is by far my fav scene from "The Curse of the Seafaring Life":
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cantsayidont · 6 months
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Despite its protestations of progressive values, STAR TREK media has always explicitly presented (and, with only fleeting exceptions, consistently celebrated) the Federation as an expansionist imperial power, engaged in a large-scale project of colonialism.
The usual apologia/rationalization for this, both from the franchise itself and from its fans, is that the Federation is also a post-scarcity socialist utopia. However, that is expressly not the case in TOS, despite the attempts of the later series to insist otherwise.
Indeed, the plots of some of the most famous and acclaimed episodes of TOS are specifically about resource extraction and ensuring the Federation's access to crucial resources, including lithium (in "Mudd's Women"), pergium (in "The Devil in the Dark"), and dilithium (in "Mirror, Mirror," et al). We are told repeatedly that the Enterprise has a mandate to use force to secure these resources if gentler methods fail. Moreover, while the Federation has a strategic interest in these resources, it's clear at various points in TOS that their extraction and exploitation are, to a significant extent if not exclusively, overseen by private interests for profit. For instance, in "Mudd's Women," Harry Mudd remarks:
Well, girls, lithium miners. Don't you understand? Lonely, isolated, overworked, rich lithium miners! Girls, do you still want husbands, hmm? Evie, you won't be satisfied with a mere ship's captain. I'll get you a man who can buy you a whole planet. Maggie, you're going to be a countess. Ruth, I'll make you a duchess. And I, I'll be running this starship. Captain James Kirk, the next orders you're taking will be given by Harcourt Fenton Mudd!
In "The Devil in the Dark," Kirk ultimately takes a regulatory position — he will not permit the pergium miners to kill the Horta or continue to destroy her eggs — but at no point does he suggest that stopping the pergium production that threatens the Horta is a viable or even acceptable alternative. The accord he proposes is contingent on the Horta's agreement that she and her children will support the mining efforts on her planet, since Kirk emphasizes that "a dozen planets" are depending on the miners to supply needed pergium. (What would have happened to her if she hadn't agreed is not stated, but the episode strongly suggests that she would have been severely punished for noncompliance with Kirk's mediated solution: forcibly relocated to some kind of Horta reservation away from the main mining operations, perhaps.) When the Horta does agree to this proposal, Kirk assures Vanderberg, "you people are going to be embarrassingly rich," which once again suggests that while the miners may have contractual agreements to delivery pergium to Federation worlds, they are still a private, for-profit business, not a Federation department or nationalized entity.
Profit is also Ron Tracey's motivation for breaking the Prime Directive in "The Omega Glory": He believes that he's discovered a "fountain of youth" that he can own, monopolize, and exploit, and that the value of that resource will be enough to buy his way out of legal trouble for his regulatory violations.
We mostly don't see the Enterprise crew handle money except on away missions in other cultures or times, but there are a number of indications that the Federation in this era has not abandoned money: For instance, Harry Mudd's list of past offenses includes purchasing a space vessel "with counterfeit currency," while in "The Apple," Kirk rhetorically asks if Spock knows how much Starfleet has invested in him, which Spock begins to answer, "One hundred twenty-two thousand two hundred …" before Kirk cuts him off. More tellingly, in "I, Mudd," we have the following exchange:
KIRK: All right, Harry, explain. How did you get here? We left you in custody after that affair on the Rigel mining planet. MUDD: Yes, well, I organized a technical information service bringing modern industrial techniques to backward planets, making available certain valuable patents to struggling young civilizations throughout the galaxy. KIRK: Did you pay royalties to the owners of those patents? MUDD: Well, actually, Kirk, as a defender of the free enterprise system, I found myself in a rather ambiguous conflict as a matter of principle. SPOCK: He did not pay royalties. MUDD: Knowledge, sir, should be free to all. KIRK: Who caught you? MUDD: That, sir, is an outrageous assumption. KIRK: Yes. Who caught you? MUDD: I sold the Denebians all the rights to a Vulcan fuel synthesizer. KIRK: And the Denebians contacted the Vulcans.
Whether Deneb is a member of the Federation at this time is unclear, but Vulcan certainly is, and so we may assume that Vulcan and presumably the Federation itself are also part of "the free enterprise system."
The first indication that the Federation does not use money is in STAR TREK IV, and it's not obvious there if Kirk's remark that "They're still using money" is talking about money more broadly or just physical currency, which the Federation may have phased out even if it still uses credit or electronic transfers of monetary value. (Certainly, McCoy's attempt in STAR TREK III to charter a starship indicates that he had some means of paying for passage, since the captain of the ship specifically demands more money upon learning of the intended destination.)
If we accept at face value the assertion of TNG and DS9 that the Federation has genuinely abandoned the use of money, rather than simply going cashless, the most reasonable Watsonian explanation is that this has been a relatively recent development during the 70–80 years between the TOS cast movies and TNG, most likely related to the development of replication technology (which the Federation did not yet have in Kirk's time).
Of course, from a Doylist standpoint, we could chalk up some of this incidental dialogue to the franchise's evolving construction of its own setting, in the same manner as anomalous references to Vulcans as "Vulcanians." Roddenberry and his apologists might also insist that he always meant to depict a socialist utopia, but was prevented by the nattering nabobs of negativity (i.e., the network's BS&P); I'm very skeptical of such claims, but the writers were acutely aware that depicting what Earth is like in Kirk's time would be opening a can of worms, which is why we didn't actually see 23rd century Earth (even briefly) until the movies.
However, the focus on resource extraction and its ramifications is such a load-bearing story element in TOS that the revisionist assertion that the Federation was already a post-scarcity socialist utopia in Kirk's time (as both DISCOVERY and STRANGE NEW WORLDS have attempted to claim) would require really substantial retcons of the original show, perhaps to the extent of insisting that some of those events never took place at all, or happened radically differently than what's in the TOS episodes most STAR TREK fans have seen. For me, anyway, that crosses a line from willing suspension of disbelief to "don't trust your lying eyes," and suggests a frustrating and somewhat disturbing determination to insist that TOS is something much purer and nobler than it is rather than grapple with its actual conceptual flaws and ideological shortcomings.
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spirithunterfamily · 1 month
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Hey there, spirit fam!! Do ya'll have a favorite type of unatural?? And what type of unatural do you hate most of all??
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Well, it's certainly impressive for the younger ones to be this interested in spirits that way.
K*-fi
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northlight14 · 7 months
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Pt.2 of me summarising anime plots in a few sentences!
(Pt 1 here)
Possible spoilers ahead!
Anohana: grief, trauma and love triangles
Bungo stray dogs: great writers of the past, except this time they’re not misogynistic p3dophiles (well, most of them) solve crimes and give me gender envy. Also they all have superpowers and a lot of gay subtext with their rivals…like A LOT
Stars align: y’all remember when this was a sports anime and not about these kids trauma?
Your name: pretty animation and soul connections go brrr
Bloom into you: two lesbian demiromantic’s fall in love and the whole cast gets a bit too relatable for me to be fully comfortable
Terror in resonance: fucking traumatising game of cat and mouse
Death parade: fucking traumatising game of life and death
A silent voice: fucking traumatising
Wandering son: the most wholesome example of trans ftm/mtf solidarity you ever did see
Komi can’t communicate: local teen with social anxiety gets adopted by two extroverts and then they work together to help her adopt more extroverts (and a few introverts too for bonus points)
Ace Attorney: the sped up version of the gay lawyer game but made gayer, somehow
Buddy daddies: two assassins accidentally adopt a child and then accidentally end up in a queer platonic relationship and if you thought you were safe from the angst, you were sorely mistaken
Given: music as a love language and overcoming past traumas
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pinkeoni · 11 months
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It’s always possible that they really did just forget Will’s birthday, human error happens all the time, but I will say that emphasizing Will’s birthday in a previous season -> writing the birthday out on the screen -> throwing in a few other lines about birthdays and forgetting them in the same season -> building an entire storyline in the same season around forgotten memories -> throwing in a scene about Will not remembering something from childhood very well -> Will’s birthday being forgotten becoming big on social media and the Duffers playing into it -> claiming that they were going to edit their show to change his birthday -> later stating on twitter that they will never edit their show -> continuing to bring it up + making a birthday post for Will on his birthday is a very very funny turn of events if the writers really did honestly just forget
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darkfire359 · 1 year
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You know who I love? Edward Teach.
He's capable of such great selflessness and bravery: saving Stede's crew from the Spanish, taking the blame from Stede for Nigel's death, stepping in front of the firing squad, and taking the Act of Grace.
Yet he's also capable of such terrible cruelty: ordering a man flayed alive for a single insult, making a crewman kill his own dog, drowning someone who'd just tried to help him, burning a ship full of people alive, and of course the toe thing.
He's innocent and naive: curling into a ball and crying repeatedly from having done something bad, not understanding passive aggression and getting easily hurt by the French partygoers, and getting easily manipulated by Jack.
He's a charismatic manipulator: wowing and making friends with Stede's crew while keeping his hands on his weapons the whole time, flipping on the “insane eye-gouger” persona like a lightswitch to effortlessly intimidate the French captain, and even inventing the very concept of fuckeries (using fear to rule people).
He wears his emotions on his sleeve and is terrified of abandonment, getting easily heartbroken by Stede (and arguably reacting in e10 in large part due to fear of Izzy leaving him as well). He's stoic enough that he barely reacts at the mention of good crewmen dying for him.
He's a masochist who flirts by pointing a gun at his crush and asking them to stab him, and who asks his ex to whip him in the balls. He's a sadist who loves maiming people and who fed people their own body parts for a laugh. He's a goth who got his entire crew to wear black leather. He's a lover of pretty, bright colors who rocks a pink gown and made his first mate put purple bows in his beard.
He concocts brilliant plans but forgets the day's date. He's a master of the sea who thinks nature is annoying and stupid. He's a proud cannibal who loves sugar and sweet desserts. Sometimes he de-stresses by building a blanket fort, and sometimes he gets a pistol and tries to shoot up an entire party. He's a cute princess who can just as easily be a terrifying villain.
Ed is the most EVERYTHING of anyone on the show. It's no wonder so many people are in love with him.
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eroguron0nsense · 5 months
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Luffy and Garp after Marineford, Egghead
Minor, very vague spoilers for Egghead I have been pretty vocal in the past about my simultaneous fascination with/visceral hatred of Monkey D. Garp but I spend a lot of time wondering about how Luffy feels toward him nowadays. How he must feel knowing that his grandfather had a hundred different opportunities to defect, to resist, to try and intervene in some capacity to save his brother, and Garp didn't do shit until it was much, much too late aside from acquiesce after mild resistance and feel sorry for himself. That complete strangers and former enemies cared more for him, were willing to risk so much more to help him, than his flesh and blood, the man who "raised" him and his brother, the man who claimed in some fucked up neglectful capacity to love and want the best for them. Just sitting there on the goddamn platform watching things unfold, stewing in a misery he made for himself and a conflict of love and duty that shouldn't be a conflict at all, unable to do a thing for these wonderful, kind, innocent goddamn children, these beautiful kids who bring light to everyone they meet, who he took in and vowed to protect, out of some disgusting misguided sense of duty to a fascist military. That this horrendous thing that killed his brother and ruined the lives of multiple people he loves meant more to Garp than either of his grandchildren ever did. I wonder how Luffy's going to feel knowing that if/when he hears about Garp was willing to do to save Coby in Egghead. I can't imagine he'll ever want to see Garp again, or be able to forgive him, but Luffy knowing that his Grandfather would risk so much more for his friend than either of them when they needed him, when one of them was dying–even though he'd likely never hold it against Coby–is such a horrible thing to imagine
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ulgapodatkowa · 9 months
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hey guys do you think there's a chance that this butchered nose job guy
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is supposed to be Robert Maynard? you know, the one who killed Blackbeard in 1718?
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cause if so then strap on guys cause it's gonna get messy
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rmbunnie · 2 months
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Red Hood Characterization
This is really long so I'm putting a cut here, I've been thinking about Jason Todd's character motivations and the question of whether or not his actions are based in a Moral Code (I don't think so, not to say he's without any morality) and I talk about that in more depth here.
I saw someone say on here that Titans: Beast World: Gotham City was some of the best Jason Todd internal writing they'd seen in a while, and I've been a Red Hood fan for 8 years or so now? pretty much since I read comics for the first time, so I went and checked out and I thought it was good! The way the person I saw talking about it as if it was rare and unusual made me wonder though, because as well-written as i thought his stances on crime were, there wasn't really anything in it that went against the way I conceptualize Jason?
This kinda plays into a larger question I've been thinking about for a while with Jason though, which is that, do people think that the killing is part of a fundamental worldview that motivates him a la batman, and that worldview is the reason he does the things he does?? Because 8 years ago i was a middle schooler engaging with fiction on the level that a middle schooler does, so I simply did not put much thought into it beyond "poor guy :(" but ever since I actually started trying to understand consistent characterization, I don't really see Jason as someone who's motivated by a moral code in his actions the way batman or superman is!
tbh my personal read is that he's a very socially-motivated guy, his actions from resurrection to his Joker-Batman ultimatum in utrh always seemed to me like every choice made leading up to his identity reveal was either a. to give him the leverage and skill necessary to pull off his identity reveal successfully, or b. to twist the knife that little bit more when he does let Bruce find out who he is. Like iirc there's a Judd Winick tweet like "yeah tldr he chose Red Hood as his identity because it's the lowest blow he could think of." And I think that's awesome, I think character motivations rooted so deeply in character's relationships and emotions are really fun to read! I also think it's where the stagnation/flatness of his character comes from in certain comics, because if his main motivation is one event in one relationship that passes, and he is not particularly attached to anything in his life or the world by the time that comes to pass, it's a little harder to come up with a direction to go with the character after that, because there isn't much of a direction that aligns with something the character would reasonably want? But I do think solving this by saying "all of the morally-off emotionally driven cruelty he did on his way to spite Batman was actually reflective of his own version of Batman's stance that's exactly the same except he thinks it's GOOD to kill people" isn't ideal. To be fully honest, it seems to me like he never particularly cared one way or the other about killing people to "clean Gotham of crime," he just did everything he could to get the power necessary to pull off his personal plans, and took out any particularly heinous people he encountered along the way (like in Lost Days.) Not to say I think the fact he killed people keeps him up at night anymore than everything else in his life events, I just never really thought he was out there wholeheartedly kneecapping some dude selling weed or random guy robbing a tv store for justice.
Looping wayyy back to my question, Is this (^) contradictory to the way he's written/the overall average perception of the character? Because like I enjoyed his writing in Beast World i have zero significant issue with anything there, I just didn't believe it would be a hot take, like yeah, that is Jason. It's been a while since I've read utrh and lost days, but I don't think my takeaway directly contradicts either of those too bad iirc. Idk all this to say I think Jason killing and being alright with killing is an obvious and objective fact, but i guess i've always seen it as more of a practical tactic than a moral belief, and I think taking the actions made during the lowest points of a character's life where he is obsessively focused on this ONEEEE thing and trying to apply it as a Motivating Stance to everything he's done after that, doesn't really follow logically for me.
#edit: i am so so open to discussion and disagreement on this but please try to have something substantial to say. god bless!#like ofc jason kills but to me it was less “everyone I've ever killed deserves death objectively”#and more “when people are dead they stop doing things like heinous atrocities and trying to kill me"#i don't even think he wanted the joker dead (only) because he thinks he objectively morally deserves death#although the joker is one of the most extreme cases possible and he if does think that he's VERY justified#i really do think it was just about bruce#and wanting bruce to avenge him to show he loved him and he mattered and wanting his dad to give him security#all the killing was about the clown and everything with the clown was about bruce#i've NEVER forgotten the bit in lost days where he has the joker tied up at gunpoint and doesn't kill him#i think if it was only about a moral greater good situation he would have taken him out then and there#if you disagree i'd love to hear why provided you can be civil and not an jerk#also if you disagree PLEASE PLEASE put screenshots and comic issues if possible#i'd love to check them out and form my own stance on them#just know that if you say like. battle for the cowl. or the Tom King batman annual or something i probably won't care too much#comic characterization is ever-changing and inconsistent i truly believe that the best thing to do is just read the important stuff#and try to form your own stances from there#because there's never gonna be 100% of comics involving a character that align with each other perfectly and that's just a given#jason todd#red hood#dc comics
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fanficlerontheroof · 1 year
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craetor · 1 year
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♥︎Same...
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lokiiied · 8 months
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i love men named frenchie
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scarefox · 23 days
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How many ship / nicknames do Pooh and Pavel have by now? 😂
The ones I know so far:
PoohPavel PavelPooh
Papa x Mama (not to confuse with mommy!)
P'Tin x P'Naret
pupu x pewpew
Bokbak x Mu
I feel like every month they come up with a new one. Bet "Goddess Bless you from Death" will contribute some too.
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