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#sometimes i meta i guess
geezmarty · 3 months
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we all know that wyllstarion goes crazy as hell but you really have to think about it from Wyll’s perspective. You’re the most fairy tale brained man on earth whose life is a continued sequence of romantic and heroic ideals set up to fail. You want to be a heroic duke and save your city but wind up making a pact with a devil. You want to use that pact for good and are almost (or straight up) tricked into killing an innocent. You go on the most princely quest of all to ask a dragon for his help and we all know how that ends. And then in comes Astarion jangling like the most weaselly evil court advisor, a vampire no less and you’re like actually fuck it this slippery eel is where it’s AT. and this time you actually do get a happy ending with it. it goes crrrrazyyyy
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bluefox192 · 15 days
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dont think i can explain this one tbh
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borbology · 1 year
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Part one of my Meta Knight doodledump. The theme here is that I wanted to focus on his wings.
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the-far-bright-center · 8 months
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In discussions of TCW-Anakin vs. film-Anakin, I understand why some people see them as being incompatible or entirely different portrayals. But whatever problems I personally have with TCW are more to do with certain OOC dialogue lines that I don't agree with, or the overly-contrived situations that TCW tends to force him into just so an episode or scene can function as a 'meta-commentary' on his character or storyline. Believe me, I have issues with specific aspects of TCW's writing for Anakin, but the fact he's more outwardly 'suave' or 'dashing' than some people expected is not one of them. If anything, I see the 'Skyguy' persona as perfectly in keeping with Anakin as portrayed at the beginning of RotS, and I would argue that a great deal of the TCW characterisation is pulled directly from those Battle of Coruscant scenes. (TCW Anakin is also heavily inspired by Jake Lloyd's Little Ani in TPM, which, lest anyone forget, counts as FILM-Anakin.) The actual baseline 'persona' for both versions of the character isn't actually that different, and I'm tired of this idea that film-Anakin ISN’T supposed to be seen as ‘cool’ in-universe, just as much as I’m tired of the idea that TCW-Anakin ISN’T supposed to be viewed as a figure of pathos by the audience, either.
Imo, they’re both takes on the same character coming from different angles, set at different stages in his life, and portrayed through different mediums (animated series heavy on self-aware, darkly ironic humour in a more contemporary style intended to entertain and increase enjoyment of the Prequels-era and its characters vs. serious Greek tragedy with Shakespearean overtones made with old-Hollywood-style sensibilities as part of a mythic six-film saga). Just because TCW Ani doesn’t shed literal tears on-screen doesn’t mean he’s not emotional or emotionally vulnerable. As far as I remember, there's even a scene where Obi-Wan and Anakin discuss the fact that Anakin has trouble keeping his emotions hidden, which is the opposite of the 'macho' ideal the TCW version gets accused of being. And the amount of times we're constantly bashed over the head with dramatic irony about his fate as Vader in that series surely drives home the point that his trajectory is still a tragic one. (The way he cries out in agony in the Mortis arc, 'I will do such terrible things!' gets to me, every time.) Despite his powers and prowess, TCW Anakin is even shown as being physically vulnerable at times, as well. (See the Jedi Crash storyline which he spends mostly knocked-out unconscious, the nod to his mechanical arm as a liability in the Zillo Beast and Citadel arcs, and the scene of him futilely struggling like a wild beast before being captured with ropes in the Zyggerian arc, or the fact he gets captured and tortured by Dooku in 'Shadow Warrior'.) Fandom makes endless jokes about TCW Ani getting electrocuted every other episode, but then turns around and uses this to fuel the dismissive view of him as just some dumb himbo instead of understanding that this, too, is supposed to add to the character's pathos.
Likewise, fandom claims that film-Ani is 'uncool' and 'cries all the time', which is simply not true. Film-Anakin banters, jokes, laughs, makes daring jumps out of speeders, does bold piloting moves, is in fact an imposing duellist, and so on. Sure, his character is not supposed to be seen as aspirational (obviously!) and the most memorable and dramatic moments of the latter two Prequels films feature him in the midst of extremely intense emotions. But the oft-repeated view of him as 'uncool' completely ignores the fact that by the time that RotS starts, Anakin is also supposed to be a well-known and widely-admired charismatic general, aka the Hero With No Fear, who is viewed as almost singlehandedly saving the Republic. The audience may be privy to Anakin's inner turmoil, but in-story he is supposed to be seen as THE golden boy of the Jedi Order and the Republic. The RotS novelization frequently mentions that Anakin has 'dash', 'boldness', and a 'presence' 'like the Holo-Net hero that he is'. It literally says he's the best at what he does and he KNOWS it. He's not just supposed to be some sad, awkward idiot like the fandom thinks he is (rather, he's supposed to be shown as falling from a 'great height'). By the time of RotS, film Anakin has just as much swagger and self-confidence in his role as General Skywalker as he does in TCW. Just because that side of him is not the main focus of the film doesn't mean it's not supposed to be there.
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sioboi · 5 months
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denji in part 2 is such a great continuation of his character in part 1. being chainsaw man is so important to him because it’s the only way he’s ever gotten to be in a position of status and power. ever since he was a kid, he was forced to do others’ bidding. forced to pay a debt that wasn’t his.
early p1 denji believed that the key to his happiness was some sort of sexual gratification, but his experiences in public safety taught him the value of emotional connection. he learned what it was like to love another person as an equal, as a friend, as family. however, all those dreams shattered when makima broke them apart. he didn’t know what else to do with his life except take on a role of complete submission. he had nothing else.
denji wants to be chainsaw man so bad because he’s already had a family of his taken away from him. normal isn’t enough for him because he knows what it’s like for your normal life to get lost completely. being chainsaw man is all he has left. it’s the only way he can have some sort of control in his life. whether or not it’s the right choice , i don’t know. but control is what he needs.
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sickgraymeat · 10 months
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Here is a take. You need the context of the character outside of the relationship in order to fully appreciate the relationship, in an analytical/understanding sense. (What I mean is you can obviously enjoy it regardless) Most bubbline shippers are more drawn to Marceline’s context outside of the relationship than to Bonnie’s, which often leads to minimizing Bonnie by characterizing her as uncaring or a purely selfish partner, minimizing Marcy by characterizing her as purely a (Bonnie’s) victim who did nothing wrong, of oversimplifying the whole relationship by only acknowledging the bad parts (just the angst) OR the good parts (just the fluff). It’s really frustrating actually bc to me they’re both characters who shed a light on the complexity of the show as a whole, and when most people realize that they tend to latch onto the second layer beneath the surface so to speak— the big “reveal” that Bonnie isn’t just tea parties and smiley faces, and that Marcy isn’t just scary pranks and evil laughter.
The thing is, THIS IS NOT THE LIMIT OF THEIR COMPLEXITY. They definitely are not just those things, but they are not just “evil scientist dictator” and “depressed lost soul” either! They’re so many things, just like every other major character (and many minor ones) in the show. I see many of you getting into Bonnie’s complexities without sympathy because you think it’s cool or sexy that she’s evil or whatever, but there’s so much more to her than that. And while I’ve seen much more sympathetic introspection on Marcy’s character, it still tends to place her as the Victim with a capital V within the context of their relationship. Understandable considering we mostly see it from her side, and considering we mostly see the parts of it where it’s strained. But come on!! I know fandom is very capable of filling in blanks, but I rarely see that for Bonnie when it isn’t in service of a different character. I get that she is very withholding, but honestly so are all of them. That’s exactly what Obsidian is about, but I don’t think anyone waited for it to come out to acknowledge that Marceline was more than the series could directly show of her. So many people in fandom are willing to dig SO DEEP for interpretation, but with Bonnie, it’s like she surprised or angered or amused you so much by being 2-dimensional than you never acknowledge the dimensions beyond that. And if that’s because you don’t see them, then how are you seeing every other character’s so clearly?
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familiariscanis · 2 years
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atsushi seeing dazai as a good guy, actually (underneath all the annoying/bizarre antics) is always interesting to me because i think it can come across as naive, sometimes, because we know that dazai is generally a pretty terrible human being with a broken moral compass and a body count in the hundreds so we’re like damn, really atsushi? this guy? 
but atsushi doesn’t have the perspective of the audience, and he hasn’t personally seen that side of dazai. he hasn’t seen how dazai acted to akutagawa how akutagawa acted to kyouka (ah. the cycle of abuse). atsushi knows that dazai is ex-mafia, that he’s capable and willing to do terrible things, but he doesn’t know the specifics or the extent, nor has he seen any of it personally.  
atsushi has never been an altruistic hero. he’s never been determined to save everyone. kunikida told atsushi that the ada weren’t heroes and that they can’t be heroes when he was trying to save kyouka, but atsushi wasn’t really trying to be a hero. he wasn’t driven by some moral need to save people, or even by simple compassion. there was compassion, but part of why atsushi needed to save kyouka was because he saw himself in her. he could not see his own worth in himself, could not see if he had a “right” to live, to exist, to take up space. he saw himself mirrored in kyouka, and he was compelled to rescue her largely because of his own sense of self depended on proving that people like them could get second chances. 
atsushi does not want people to die, but he’s willing to overlook things that people have done in the past if there is a personal connection, if he can relate to them. he sees akutagawa initially simply as violent, as a danger to himself, and responds defensively to akutagawa’s hatred of him, but he only starts to truly dislike him once he realizes his connection with kyouka and sees him as kyouka’s abuser. he didn’t like akutagawa, because he’s obviously not going to like someone who is hacking off his limbs and trying to kill him, but his initial reaction is more fear than hatred. he doesn’t want to fight back, he wants to stay the hell away from this weirdo. after meeting kyouka though, atsushi’s perception shifts. he begins to actively dislike him, and when akutagawa pushes, atsushi has to push back.
it’s only in season 3 when atsushi starts to realize that akutagawa is not too dissimilar from him and that perception shifts. akutagawa is as haunted by dazai as atsushi is by the headmaster. they’ve been able to work together before that, but the way they work together shifts after that revelation from “we’re beating up the same guy and are kind of weirdly in sync accidentally” to actually melding their abilities in an act of trust and intentional cooperation. he tells akutagawa to stop killing people. he might not be able to accept someone who is actively and currently a murderer, but he is able to overlook it if it’s in the past. he did it with kyouka, he did it with akutagawa and he did it with dazai.
this post took something of a detour, but the point is that atsushi sees things through the lens of his own abuse. dazai is a representation of escape from that life of abuse, giving him a place to live and a people to belong to. atsushi’s entire life changed when he pulled dazai from that river. and sure, maybe he’s frequently getting stabbed or having a limb chopped off these days, but he’s also been able to learn how to be more confident, and has started to accept himself and his past and move forward with it. he’s started to accept the tiger and to believe that he does have a right to live, that he does have worth. 
not only that, but dazai tries to be there for atsushi. dazai is not necessarily an empathetic or even sympathetic person, but he’s trying to be good and to be on the side that saves people. he’s the one who finds atsushi when the headmaster is killed, and while he’s not comforting, what he says makes atsushi feel that he has permission to grieve this man who hurt him the way that he needs to. atsushi sees dazai as a decent guy, actually, because dazai is decent to him. it doesn’t matter to him that dazai has killed before, because that’s in the past and it’s disconnected from him. in the here and now, in what atsushi can see, dazai is someone who has helped him. dazai is someone who is on his side, in a way that no adult had ever been in his life.
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fouroddapples · 4 months
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Sometimes I take notes for fanfic in the middle of the night that end up not very coherent, but the vibes kinda slap. And I wanna do something with them, except I’m too tired to WRITE properly today and turn vibes into prose, so fuck it I’m going to yell things into the tumblr void unedited instead!
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This is a theme I always come back to—with more than one of them, but especially with Rajan.
Raj is someone who, to me, seems perpetually stuck in the denial and bargaining stages of grief. He spent his whole life essentially trying to turn back time and hit Undo on something he never got to apologise for, and feeling like he can't ever rest until he's earned the forgiveness of someone who isn't even there to forgive him.
His entire character feels like one big metaphor for that all-encompassing guilt—one devastating mistake that left you with something eating you alive that became so central to who you are that it sits at the heart of you, to the point that you get defensive of it because no matter how destructive, this thing has become so fundamentally yours that you can't even imagine a you without it anymore.
I'm not even going to get into how this low-key applies to both him AND Elsie in very different ways and the weird parallels-and-opposites thing their character themes simultaneously have going on because otherwise I will NEVER shut up!!
TLDR I'm fine guys I'm completely fine.
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lettucecomplexx · 11 months
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admittedly i'm not a really a tim drake stan, but like, i can't be the only one who hates this idea that tim killed those league assassins when he blew up the bases.
Like yeah, "they exploded there's no logical way the survived that" but non-killing comic book characters do stuff that seems like it would kill people all the time. Unless the narrative expressly says or insinuates that tim killed those people, i consider them alive.
Also i feel like it's detrimental to his character. Like saying that he killed people is a pushback to his woobified fanon image (where he can't take care of himself/needs to be coddled by his family and was horribly neglected by his parents) but saying that he killed a bunch of people doesn't fix that. It just twists his character even more into something that it's not.
Tim is someone who became a vigilante not out of any personal stakes, he just wanted to help. I think that's such an impressive and admirable part of his character. He is a good person. He admittedly is susceptible to becoming a super villain, but he doesn't want to be that. I don't see why someone who doesn't want to become a super villain to the point of threatening to kill himself would go and bomb hundreds of people.
idk i'm just really sick of seeing jokes about tim killing people, kind of ruins what i like about him.
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sisterdivinium · 4 months
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It’s the questions that keep us going, that taunt us so we’ll come back again and again, whether we’re given any “definitive” answers which we might each interpret differently or left to wonder and imagine possibilities all on our own.
“I’ve been waiting a long time for this, warrior nun.” Doesn’t this line invite us to ask who Adriel might be talking to, exactly?
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Of course Ava currently occupies the rank of warrior nun that gives the show its name… But we also know Ava is not a nun and that her qualification as a warrior is recent (setting aside the psychological fortitude she surely possesses as a survivor of the traumas that have shaped her past, to be sure). Even from his prison, Adriel was aware of the happenings in the outside world, be it from his connection to the divinium once used in his armour, be it thanks to informants such as Vincent in whatever modes of communication they might have had between them — so Adriel knows this, he knows of how unconventional it is for Ava to be the warrior nun. Isn’t it possible that, in this moment, he’s not talking to her, at least not as Ava Silva, the individual?
“I’ve been waiting a long time for this, warrior nun.” Only a couple of months have elapsed since Adriel has been freed of his tomb and made Ava’s direct acquaintance. Why would he make a reference to the millennium spent beneath the Vatican to her while calling her by her title rather than her name? It certainly cannot be a mention of those two months, as those are negligible in the conscience of an immortal being who has already waited a thousand years for reckoning.
He isn’t hinting at a vengeance against Ava Silva, as herself, even if she is the one standing in front of him in flesh and blood; he’s orchestrating a vengeance against “the warrior nun”, the abstract class of those responsible for his captivity in the first place.
It’s hard to say he necessarily sees Areala in Ava when he says “warrior nun”. Perhaps so, perhaps not. But he does seem to see in the current halo bearer an avatar of someone (or multiple “someones”) he intends to defeat, the echoes of the past embodied in a single woman, a vessel through which their voices may yet ring after they are long gone. Perhaps he can see more than any of us can — just as he sees the wraith demons and passes the ability on to Lilith, might it not be possible for him to see something else when he looks at Ava or, at least, in the direction of the halo?
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Could the halo, as once suggested to me by @ghostofcatscradle, carry some of its previous bearers’ “essence” — providing one explanation to Ava’s “meetings” with Shannon or Areala in season one — preserving some portion of them even as it inhabits another woman’s flesh? Could that be readily visible to a being of Adriel’s species and provenance, as the wraiths are?
Or could he think he saw something? Adriel is posed as a much more powerful creature than a human, with much more knowledge at his disposal. He mentions how no human can carry the halo for long before becoming somehow twisted — but what if there is truth in the reversed idea as well and his own long stay on Earth has warped him? Sometimes we find that those deemed “mad” are the most lucid, but would it be such a strange inversion to consider that this amazing being who boasts of his greater lucidity might be the greatest madman himself? He barely attempts to solve the contradictions so clear to Ava when she points out how his discourse of wanting to save the world from Reya's oppression is unaligned with his own forceful, violent methods of combat which cause suffering to the same creatures he claims to champion. Perhaps he comes from a pre- or post- logic realm. Perhaps he is insane. Maybe he is just a power-hungry sophist who will use whatever justification is at hand to legitimate his own selfish cause.
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“I’ve been waiting a long time for this, warrior nun.” Vindication, yes, but in what form? At the end of season one, Adriel sought to seize the halo, yank it out of Ava and be done with it. In season two, he wants a fight instead of just trying to reach for it and accomplish his goals. Yes, his plans concerning Reya had just been spoiled… But if he had been “waiting a long time”, then this battle is not about what just happened in regards to Reya and the ark. It’s ancient, it’s personal. It’s not just the halo anymore — was it ever?
When Ava resurrects, is that the halo’s doing? When Mother Superion is brought back to life, is that the halo’s handiwork? Could it be sentient as some like to hypothesise it is? Or, as an object said to have been stolen from Reya, is it accomplishing her mysterious will by manifesting such powers? Or could it be that the equivalence between Reya and God made by Michael after a lifetime under the former’s spell is not as true as he was led to believe and there might be another, grander, perhaps even will-less entity pulling the strings?
Or could it be that the miracle is not divine, but Ava’s? Perhaps not even just hers, but something available only to humans, that Suzanne might carry as well, something that recognised her as it recognised Ava while she was brought back. There are no records of the halo resurrecting people…
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… But it is said to give different bearers different powers. How or when does a bearer develop a new ability? Is there a limit to how many she can find and use? Might they not overlap sometimes?
Moreover, in an environment that firmly believes the halo is a weapon against its enemies, did anyone ever bother to ask whether it could do the opposite of slaughter, if it could be used for purposes unrelated to war against so-called Hell? It takes Jillian, an outsider to the Order, to voice that curiosity.
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For each possibility listed above as far as who is behind performing miracles, what accompanying conclusions might there be?
The halo as a sentient object seems to open less interesting consequences than a world where a higher force has confusing aims or is truly neutral and both favours and hampers the living; or one where even common people, even “freaks”, as Ava calls herself more than once, are capable of miracles, of changing their world given the right support and tools.
We don’t actually need hard, official answers.
It’s the suggestions, the maybes, the could bes that really hook us in — is it any wonder that the more dedicated avatrice shippers are so focused on the potential for that time period spent in Switzerland, off-camera, which we did not witness?
The questions are inexhaustible — even with just eighteen total episodes, even when there was yet so much to see. If we can keep asking questions, if we see the beauty in them and how much more enticing they can be compared to a creator’s answers or incomplete plans (Mary taking vows and replacing Superion, really?!), we’ll have perhaps even more on our plates than another season would have given us. Which isn’t to say we shouldn’t mourn the loss of a continuation but merely to duly cherish what we have effectively received and give it its due attention.
It’s what’s left unsaid or unexplained, it’s what even creators might say isn’t set in stone and still open for debate (such as the halo being sentient or not); the blanks, the doubts and possibilities are where we come in with our understanding or our own stories. Why? How? What if?
Keep finding questions to ask... And Warrior Nun lives on.
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elbowreveal · 2 years
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/rp
The thing is if you choose to interpret the Antarctic Empire as having taken place prior to the dsmp, contextually it means that the AE must have been a failure.
It leads to some tragic, tense dramatic irony if you wind back the clock. Emperors, leaders, founders, conquerors… that wind up opposing all power structures and taking up anarchy. I think about it all the time. What happened? What realization took place for the switch to flip?
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anxietiefling · 1 year
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essek as a child was a constant paradox. independent to a fault since he could do anything on his own, stubborn as a moorbounder, he would still climb into his mother’s lap as a toddler, whenever he felt tired enough to deem it necessary. entitled, they would say, with a sniff and a raised brow, unruly. misbehaved. but in truth, it was the knowledge that he could always come back to his mother and her arms and lap would be open for his comfort. the loss of it came later. or maybe it was only in that he told himself so often he started to believe it. deirta watches him, sees the walls pulled up high. if she is at fault then by not telling him, i do not mind what they say. let them talk and foam at the mouth. i always will be a home to you. her bright, brilliant, marvelous child, who told her and everyone in no uncertain terms who he was as soon as he could, disabusing them if any notions the gods may have had in his creation. it pains her, that her first thought had been „no yet, please let him be mine a little while longer“. it had pained her most when the time for anamnesis came and went, and he was already too far away to reach. when verin had been born, essek’s contrary nature had only increased; his hands held his brother with more care than anything, but his eyes betrayed the relief at another chance, another son to hope for, surely this time a vessel for a returning soul.
essek as a child would drive his tutors do despair, when he started reading the books they taught him from and pointed out their inaccuracies, which he would recount in great frustration leaning into his mother’s gentle hands while she brushed and braided his hair.
the way deirta loves is by keeping predators from her offspring, by baring her fangs. she has lived too many lives to not know how words, too, can be teeth and that some predators come with the finest of manners. her blood was made in the underdark. it feeds her heart, no matter which body she inherits. she will sink her fangs into that which threatens and she will tend and hold and sway what her body bears, a desire that is bone-deep and blood-old. in her darkest dreams she strangled leylas kryn with her own braids. she weeps after, holding her sister’s body close and following its fading warmth. other times, all she feels when she wakes is the deep satisfaction of a threat disposed of. but even in her mind, her son keeps his distance
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"fanon often mischaracterizes important traits of characters and twists things incorrectly to suit the whims of a fanbase which is often fundamentally misunderstanding the original content" and "fanon can actually be good, especially if taken with a grain of salt and used as a conscious choice and not blind acceptance of what the fandom prefers" are statements that can and should coexist
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humming-fly · 2 years
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Instagram might have the most atrocious UI for uploading digital art, but the filters really do go off
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unearthlycat · 3 months
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saw a jade harley post in the right mood and now im thinking about that one shot in cascade where jade has gone godtier and teleports the ship over LOFAF and we see her body, her old body, is still there. and there's a still almost calm to the music, the way it strips down some of the epic layers a little, this strange unearthly serenity not quite papered over by the magic of the moment. she is alive. she is dead. to become a god is to die.
and it's so wrapped up in game mechanics and quest nonsense and tragecomedy that it gets lost a little but. to become a god is to die. jade harley who was human is dead. jade who is bec and dreamer and ghost and space is alive and more. jade glides along over the foreground of her corpse and it is at this moment that she takes up the mantle of the game's idea of godhood and begins fulfilling echidna's request to take the planets with her. jade harley's dead body becomes just another thing to carry with her on this shrunken-down planet. do you think she ever came back to that spot? that any of them did? did john, to lowas? to the thirteen year old bodies they once were?
does it seem strange when they start aging but the bodies they left behind do not? do they rot? or are they by some sburban magic preserved?
three years is a long time to carry your own corpse.
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metabolizemotions · 2 months
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... and the association of Vic with Beckett...
There's this thing about associating a woman with a man. Whatever happens, there is like a transference of hate to the woman and love to the man.
Men already get less hate doing something worse than women and more love when doing something minimally decent. The way the narratives are framed on the show don't help.
The choice to - make Maya give Beckett the bottle shifted the blame to her, absolving him. Somehow to some, she became the worst person on the show and whatever she did was her personal unique moral failings. Beckett's long list of poor choices made throughout his captaincy that endangered himself, his team n civilians... The resolution was merely his voluntary stint at rehab. Oh and quietly demoted. No mention of his wrongdoings again. Everyone's just fine with him already. Just like how they accepted his bad behavior right from the start.
The choice to - make Vic to not notice maya's distress and say those words about her, a longtime friend and teammate while being hyper aware of Beckett's state and being especially empathetic towards him.
I hope the speculation isn't true. It'll be a disservice to Vic as a character. It's the use of a well-liked female character to redeem a disliked male character.
On a show where already
... the men don't really need to work on themselves - the characters around them simply lower their standards to accommodate.
... toxic masculinity is conflated with addiction/ mental health issues,
... the men's addiction and wrongdoings - related or not to the addiction, are systemic issues - of the healthcare system failing Sullivan or an inter-generational alcohol problem trapping Beckett
I'm all for the empathy for the struggle with addiction n underlying issues but against using them as excuses to not hold people accountable for bad behavior.
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