i do think it is legitimately very funny whenever someone tries to make the claim that lavabending is inherently a very slow subbending and therefore not good in a fight. specifically when using that argument against Bolin's skill as a bender.
Sure, I feel like in very specific instances with Ghazan that could be a fair argument to make. It takes him a moment to destabilize the Ba Sing Se wall and for him to kick up enough lava to destroy the airbending temple. (to the point I would argue that if Bolin had been versed in lavabending like he was in s4 he would have swept the ground with Ghazan), but in moments where he's actually in a fight his lava is incredibly quick.
Just the lava frisbee on its own is an incredibly quick move
But making that argument with Bolin in particular is absolutely batshit when outside of lavabending he is an incredibly quick fighter. I would say it is one of, if not the, most defining things about his fighting style. He moves very, very quickly and uncharacteristically agile for a earthbender. This is a known thing. Like
I am not the first person to say this but no other earthbender does backflips like he does. And THEN with lavabending he is just as quick if not more so
Bolin since season 1 has had an uncanny knack for bending incredibly fast, and his lavabending is no exception to that rule. It's honestly something that haunts my brain all the time because how quick he is with it low-key breaks the balancing? a little?? Like earthbending was always shown to be very strong but in turn it was slower than other types of bending, but with Bolin that doesn't really seem to be a hangup he has.
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Like everyone else I am rightfully obsessed with Shauna and Jackie's shared wardrobe, but can we talk for a second also about the very specific jealousy sharing clothes comes with? This experience might not be as universal as I think it is, but: The babyish instinct to want to grab it back and say "mine!" and all the self-conscious thoughts of it looks better on her than it looks on me. Feeling protective over your clothes ("I don't want her to borrow it, she'll mess it up!"), or feeling resentment when your clothes get compliments while someone else is wearing them (the instinct then to laugh awkwardly and deny credit, "thanks! it's actually hers.") And even larger scale! That strange push for competition when two girls show up wearing the same outfit. Who wore it better?
All this to say buried under the love stored in wearing the butterfly tops and sharing the flannels and saving the virginity dress there is also that distinctly meaner and pettier voice of a ghost in Shauna's ear saying "did you ask if you could borrow that?" saying "you're going to ruin it." saying "it looked better on me." saying "hey! that's mine!"
The brief and amazing moment in the pilot when Jackie is suggesting outfits to Shauna speaks to this too. Shauna's frustration at finding anything of her own that's suitable. Wear the red dress I gave you! It's such a sincere suggestion. But it's Jackie's old dress. It's Jackie's suggestion. Shauna knows when she puts it on the cruel voice in her head that sounds a lot like Jackie will remind her all night that it isn't really her dress, and Jackie wore it better anyway, and every compliment she gets will be politely redirected to Jackie. "Thanks. It was hers." (This sentiment echoes into infinity).
Then we have Jackie's funeral, and the ferocity with which Shauna insists Jackie keep her clothes. Sure, for the humanity and the dignity of it. But just as much, how could she bear to see Natalie or Akilah or Mari or Misty or anyone else walk around in Jackie's shoes? She didn't want to borrow Jackie's clothes. (I kind of doubt she wanted Jackie to borrow hers either). Nor did she want Jackie's whole hand-me-down life. But fuck if she was going to donate it to Goodwill for just anyone to take, and it wasn't like she was satisfied with her own.
I think of this The Haunting of Hill House post via @2008hondacivic and of Twin Peaks' Laura Palmer yelling "Don't ever wear my clothes!" at Donna. Don't ever become me! But also, there is so little left of me, and That's Mine! Give it back! I'm sure they wish they could.
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OK, SEVERELY rambly post incoming but - Anderperry Stardust (2007)/ The Little White Horse AU, anyone?
Rundown: I think many of us are familiar with Stardust, originally a Neil Gaiman book but also a great film, starring Claire Danes as a falling star and That Guy Who Plays Daredevil as the lad who promises to bring her to the girl he's infatuated with. The Little White Horse is, to the best of my knowledge, more unknown, but equally very good (for sentimental reasons, I think of it much more highly than Stardust). Published in 1946 by Elizabeth Goudge, it tells the story of thirteen-year-old orphan Maria Merryweather, who moves to her cousin Sir Benjamin's Moonacre Manor in the West Country, where she finds a) a thriving cosy community and a long family history, b) the little white horse of the title, c) a longstanding family feud cutting off Moonacre from the sea, d) her imaginary best friend Robin, real and in the flesh, and e) some of the most deliciously-described food that has ever been or will be. It's a great book even past the rose-tinted glasses of my childhood. Go read it. (The one (1) marring is that you can't find a bloody edition that doesn't have a JK Terfling quote pasted onto the cover, because apparently it was one of her favourite books, but fuck OFF, I'm reclaiming it now. Thou shalt not keep the cosy low fantasy from me.)
Anyway even though I mention Stardust this isn't really part of the AU I have in my mind, except for the bit with the Star, because Todd as a main character who thinks he's a very forgettable bland boy-in-the-corner until he finds out he's a star is a great thought to me. Particulars on /how/ he's a star to be fleshed out later! (I only thought of this AU about two hours ago, lol.)
In my mind this is how it goes - nebulously Olden Times setting (TLWH is set in 1842, so perhaps then). Todd is around seventeen/eighteen and Geoff has just graduated from university, and gone off around Europe, accompanied by their parents. Months go by. Something happens - he's never given the liberty of knowing, but Geoff and their parents stay in Europe, and the townhouse in London is sold, and Todd is packed off to stay at a distant relative's - Keating, as it turns out. It's a blessing in disguise, because Todd is finally away from his family for the first time in his life and around people that appreciate him. He begins to bloom under this new care - but there are strange family secrets only now being revealed to him, and dark forces beyond the valley which threaten to disrupt the haven he's found...
The rest is very cosy fantasy, featuring Mr Perry as the local uptight vicar locking horns with Keating at every opportunity, Neil as his withdrawn but friendly son just longing for a rebellion, and more! (Read: Charlie is here and he is Outrageous as usual. Read also: Pitts as a sailor because I think he'd like it.) Right now I'm thinking of adding an equivalent of Monsieur Cocq de Noir for a villain (Mr Perry is NOT the villain), and Cameron can play a part there so I can give him a good redeeming! Here are a couple of extracts from TLWH to show the kind of mood/tone we're working with:
Thematically, I REALLY like the idea of Todd as a star because it allows me to work in a very fun trope, of "not of the rose but near the rose" - when a character perhaps is shy and a little quiet and reclusive, but inspires other people around them to brilliance and greatness. (Honestly I do think this kind of goes in with the film, where it's not just Keating's teaching but Todd's reaction to it and his presence that galvanise Neil to continue.) This ties in really well if Todd's a star and adds to the overall self-confidence journey - plus I was really thinking about the sun/moon motifs! They're very prominent in TLWH (Maria is a "moon" Merryweather and Robin is a very sunny boy), and I really want to implement them here with slight twists. I think of Todd as a sunny moon; yes he's warm and caring and cheerful but once you go a little closer it's more of a luminosity rather than a blaze, there's a coolness and quietness to him I like. You know, a quiet character doesn't always have to be quiet because there's something "wrong" with them, sometimes they're just like that. For Neil it's the opposite, he's a moony sun; under the thumb of his father he's polite and decorous and demure but somewhere under all of that there's a very loud and booming laugh and a healthy sort of ruddiness. I don't know, I just like sun/moon motifs!!!!!!!!!!
(On a more personal note: this AU, which I already love very much despite not having known very long, would be above all a careful love letter to the West Country. It's been lovely living around here almost all my life and by this time in September I'll be hopefully up very far north at uni, so I'm pre-emptively kind of :') about it. Mutuals who are at uni/college how on earth did you cope?)
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I can’t shake the feeling that Mew calling Boston instead of Chuem about how he was about to have sex with Top was just a genuine display of friendship but Boston took it as Mew attempting to gloat.
Mew was just happy and wanted to shake his happiness with someone else. Someone he thought would be happy for him. So he called Boston, because Boston has a lot of sex and Mew thinks that he’ll be happy that Mew is finally losing his virginity. Boston however, seems to take it as Mew attempting to one up him.
They might both look down on each other for just about everything, but I think this was the one time Mew wasn’t trying to do that. Instead he was trying to connect about something he knows Boston enjoys. Boston has just slide too far down the hill of his own sanity (like many other have said, I’m thinking Hitchcock type slippery slope) to see it as anything other than being in bad faith.
Both are usually so committed to seeing each other in a bad light that this feels like the last time we’ll see either of them making any attempt to connect with the other.
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hi I am still not normal about how we never get much of an epilogue for Emily and Corvo in the second game we are told how the rule turned out and that Emily is the beloved empress now but nothing beyond that and I get that the entire game is very much built on that I get that the first game we have close relationship with Emily and become fond of the staff that work with the Loyalists so we feel alone because we do not quite see eye to eye with our allies and all we have left is this little innocent child that sees Corvo as someone who can do no wrong in this world which is strongly contrasted with the second game where Emily (or Corvo) has few trusted allies that they can actually rely on and it feels like a group of almost-friends working to dismantle the conspiracy but at the very end of it all Emily is all alone, even her return to the Tower is so much more grim, her taking down Delilah, the entirety of Dunwall- it all feels so incredibly and thoroughly isolating, she is all Alone now, and maybe that's why it bothers me so much to see the story end so abrupty.
it would've been so, so poetic if both the first and the second game ended with Corvo and Emily embracing
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okay, so I've been to our new apartment twice now (once when we got the keys, but it was dark and the landlord was there too; and we went back this morning for several hours).
I really like it, it's a lovely space, it's big enough, everything is great. except. we're on the ground floor and the side our apartment is on means that 1. you can look right into our bathroom from the carport, and 2. you can look right into the bedrooms when you're walking to the front door.
and that really unsettles me. obviously we'll do something about it (we'll put a window film of some sort on the bathroom window + curtains too probably, and curtains for the bedrooms).
but. I don't know if that'll be enough to get it out of my head? I have always been very paranoid about being watched, so, I don't know if just knowing that theoretically people could look in would be an issue...
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The boys reaction to the princess getting married off during an arranged wedding?
Just an what if sorta thing. I doubt the princess would stay for the wedding and just run off with the boys.
Also princess disapperes during an outing, only to be found muching on some pastry XD
How would they react to that?
I just see it as those boys freaking out only to see the princess with jam on her nose or something like that, and fully unaware of the panick they caused
I'mma be honest, the first glance I had over your ask made me think of the Princess being married off into an arranged wedding and instead of waiting for their "doom", she would instead walk out during the ceremony and stuff her face with pastry while waiting for the assassins as they were also cordially invited (although as they are masked so no one really knows they're robots atp) as stand-ins for King Afton. So yeah, I think that's the most fitting reaction tbh AHAHA
The boys would be SO ready to gatecrash the wedding and object (since their identities aren't really revealed) but during their arrival they just find that the wedding has been called off and the Princess ran off somewhere-- which they find her raiding in the palace kitchen eating cake or something WAHAHA
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