he says i hate everyone except you and that is addictive and that is kind of romantic and beautiful because you're young and you're kind of a sarcastic asshole too and you don't like bad boys, per say, but you don't really like good ones either. and you like that you were the exception, it felt like winning.
except life is not a romance book, and he was kind of being honest. he doesn't learn to be nice to your friends. he only tolerates your family. you have to beg him to come with you to birthday parties, he complains the whole time. you want to go on a date but - people are often there, wherever you're going. he's just so angry. about everything, is the thing. in the romance book, doesn't he eventually soften? can't you teach him, through your own sense of whimsy and comfort?
at first - you know introverts often need smaller friend groups, and honestly, you're fine staying at home too. you like the small, tidy life you occupy. you're not going to punish him for his personality type.
except: he really does hate everyone but you. which means he doesn't get along with his therapist. which means he has no one to talk to except for you. which means you take care of him constantly, since he otherwise has no one. which means you sometimes have to apologize for him. which means he keeps you home from seeing your friends because he hates them. you're the single exception.
about a decade from this experience, you'll type into google: how to know if a relationship is codependent.
he wraps an arm around you. i hate everyone except you. these days, you're learning what he's actually confessing is i have very little practice being kind.
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Also the reason I write Gortash so obsessed with Durge and literally holding them above everyone else is because
Imagine: You meet a child of god. A child of cruel and evil god who is an awful murderer. Killing is their Sole Purpose, the reason why they were even created.
And that person one day REFUSES their father, their GOD. Why? Because of you. A child of god defies a god for you. They are made for killing but refuse to kill YOU when their god commands them to.
They get betrayed and disgraced because of you. You think they're dead. BECAUSE they chose you over everything else.
And then they return and alright, the memory is lost, but it's still them. You know it's them.
Like imagine the power trip Gortash had to have upon the revelation what Durge disobeyed their god for HIM.
Of course he'd be obsessed. The child of god said only he matters.
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are you okay with folks writing about your guys? i know they're very personal to you!
I'd consider it an honor! They are very personal to me that's true, but it always makes my day/week when people draw gift art of them, and I find written works comparable to that. If you end up writing something and posting it somewhere, please let me know, I'd love to take a look as well.
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my problems with discovery's spore drive have nothing to do with the wacky mushroom science. Like this is Star Trek™ not some bonefide diamond on the Moh's Scale of Sci-Fi hardness like The Martian. I know to expect the writers playing a bit fast and loose with physics and how the real world works. I'm here for that wackniess, actually. Love me some technobabble about mycelial spores or tetryon particles or whatever!
the thing that doesn't work for me is the way the spore drive acts narratively, and how the technology was introduced within the timeline of the series.
Like it's just obvious that the writers aren't willing to let anyone else but Discovery have access to the spore drive. They twisted up the Glenn in season one, so Discovery is the only ship with a spore drive. They hemmed and hawed about genetic modification in season 2 so no one else got a spore drive. They purged records of the spore drive's existence from history and claimed that no one else had tried to make anything like it in 900 years despite a massive dilithium shortage and canonical search for other methods of propulsion in season 3. And then at the very end, just when you think, oh hey maybe the entire population of Kwejian will make for a nice crop of new spore drive pilots, the writers fucking blow up their whole planet just so they don't have to let anyone else have the spore drive.
And to be fair, they can't really let anyone else have it, or else Discovery loses it's right to be "the only one we can turn to in a crisis". And that's really all it has going for it. So, I get it! Still hate it, though.
And, even moreso than all the silly narrative contrivances that are used to nerf transporter technology so that the plot can still happen, this bothers me. Because sure, all the ion storms and interference can get a bit stupid. We all make fun of star trek for inventing a technology that could immediately yoink our blorbos away from their problems, only to turn around and force it to not work when it's needed most. But at least there isn't just one ship that has the ability to use the transporter at all. That would be ridiculous. Everyone would want their own transporter.
And yet, that's the situation we have in Discovery. Only one ship can travel across the galaxy in the blink of an eye. The show writers keep contriving to keep it that way. And given how useful instantaneous travel is, the fact that it hasn't been replicated once, by any species in the galaxy, not just the Federation, in 900 years is just stretching the limits of my willing suspension of disbelief.
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the difference between zosopp and sanuso (romantic OR platonic) is that Usopp is Zoro's specialest little guy and Zoro is someone Usopp hangs out with and looks up to and hides behind when things get scary, but Sanji and Usopp are best friends. They horse around, they beat each other up, they confide their worst fears trying to one up each other. Usopp hides behind Sanji sometimes, sure, but idk, Sanji's weaknesses are more obvious (bugs, fighting women, etc) so there are times when Usopp has to stand in front of Sanji too, yknow?
Like, how do I say this, all the crewmates are equal- Usopp and Zoro are equals- but with Sanji it feels like more... comradery? Zoro's a rock in a terrible storm- even rocks tend to get weathered and chipped and worn down, but they overall stay strong and steady. He has trouble being vulnerable and there are times when the burden he's placed on himself to keep the crew safe is crushing his chest. Usopp would help with that and be very understanding, but the point I'm trying to get with that is that those moments are few and far between. So I feel like Usopp, especially after Water 7, would take Zoro's lead on something like that, and keep most of his worries to himself or only talk about them sparingly unless they're really bad and/or he can't hide them.
Sanji is like a tree in a storm; he can be strong, yes, but it feels like he bends and sways with the storm, and has more obvious breaking points. He can relate more to Usopp's struggles rather than resorting to blunt honesty that might border on callous like Zoro. And while, with Zosopp, I tend to think of scenarios with Zoro being blunt like that as a good thing- because sometimes when you're spiraling, it's nice to have someone say exactly what's great about you and shoot down all your worries with straight facts that you can't argue with- I can also see this as being a bad thing. Anxiety can really twist up your brain sometimes, you know? And despite the words, the tone could still mess someone up if they're already feeling like a burden on others in some way.
With Sanuso it's a lot more understanding and thoughtful words. It's distractions and comfort food and patience- the kind reserved for Usopp- until Usopp talks about whatever's troubling him. Compared to Zosopp, it doesn't take as long for Usopp to open up, since he's done the same thing to Sanji at times and it's more familiar to him to talk and commiserate with Sanji about his worries and doubts and such. However, there are times stuff like this has absolutely no effect and Sanji will end up at a loss, no idea what to do or how to help over the course of several days with Usopp being quiet and keeping his distance, and he'll end up working himself up about it which will only serve to make Usopp feel worse and. yeah. bit of a vicious cycle with them.
So it's like. Usopp can be weak with both of them, but since I see Sanji as the type of guy who'd be more open with his worries (at least compared to Zoro), there's less of a need to 'perform' and be his best self around him. He's comfortable around Zoro, yes, but he is constantly wanting to show that he won't be a problem to him. On the other hand, while he's more open with Sanji, and Sanji with him, they tend to relate a bit too much with each other and they both have issues with causing trouble for others and being 'deserving of love' so failed attempts at consoling one hurts the other and creates an unpleasant cycle of misery and avoidance before some other crewmate (Zoro) tells them to quit being stupid and just fucking talk to each other.
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To explain The Goblin Problem and not go on a tag rant on someone else's reblog, I will explain it in the nutshell.
The Goblin Problem is when a story establishes a group of creatures to serve as recurrent antagonists (not necessarily all one species; in a lot of rpg games this can broadly apply to "monsters") THAT:
Are never negotiable, or the negotiable parties among them are Token Heroic Orcs- that is to say, they are seen as objectors or 'good' versions who have absolutely no connections to, and hold no objections toward you attacking, the rest of their brethren, who they have forsaken as the price to be paid for being good.
Have obvious unique technology; they may attack you with weapons found nowhere else in the game, demonstrate the ability to speak, have their own obvious language, tame a creature that nobody else tames so that it's thus impossible that they are stealing already-tamed specimens from someone else
Are characterized primarily or exclusively as raiders who attack others, with the justification this means they are inferior creatures parasitically dependent on Good, Civilized Settings, e.g. they cannot possibly be sustainably hunting, gathering, or practicing either nomadic or settled agriculture.
Are often defined as having no choice to be evil or are created by a greater evil to serve as thralls, and yet, will not under any circumstances be regarded as indoctrinated victims, or if that is mentioned, there will nonetheless be an overarching lack of narrative concern as to where or how the survivors should live after the greater evil is taken care of, or if effort should be made to challenge the indoctrination and give them the ability to choose their lives.
What this ultimately creates is that they are unambiguously people, who obviously check all the marks of sapience, who are quite possibly wearing clothes, but the goblin or orc exists as a stopgap. You want your fantasy hero to get into a swordfight but you don't want him to kill another human being. So you invent something that wields a sword but is in some way "not a person", which is senseless. Unless you want the nature of this swordfight to be that a chimpanzee picked up a knife, at which point they are not going to use reliable sword techniques.
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Alan Wake (whose face and voice we find on Thomas Zane and Casper Darling, respectively) ends up in an antagonistic relationship with Alex Casey (whose face and voice we find on Sam Lake and Zachariah Trench, respectively).
Casper Darling and Zachariah Trench? By the end, their relationship was antagonistic.
The Casey-Trench voice was once a guide-friend for Wake-Darling.
And then, they were fighting.
One was suspicious of the other, thinking he was lying, hiding something.
While the other was unaware of the darkness that was growing and consuming the former's mind, his ignorance letting it fester. Feeding it, even.
The original faces, Thomas Zane and Sam Lake? In this latest iteration they've spoken with their own voices while in the Dark Place, only in the presence of a camera.
Alan Wake and Zachariah Trench? In the end, while in a nightmare dimension, both get shot by a woman who both of these men meddled in their lives, threatening the well being of their loved one.
At least one had a hand in his fate, willing it, accepting it. The other? He was fully gone, his will overtaken by the nightmare.
A version of Alex Casey did say it after all. He and writer, they were the same.
And finally, the real Sam Lake? By happenstance he offered his face for a collaborative project, and became a symbol. Even if he tried to fight it, tried to replace it, he had to concede. The story demanded it, as if writing it wasn't enough, the narrative claimed his visage.
There's no need to make overt mentions or put the image of the Ouroboros in posters. The serpent is interwoven in the fabric of the narrative itself.
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honestly beth and jerry have maybe my second favourite relationship in the entire show just for how interesting and tragic it is. like its brushed aside a lot in favour of other stuff but they were really both just kids... and the saddest part about them is that they maybe do love each other but its always in some way artificial
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do you ever just sit there thinking about your favorite ocs while violently shaking. god. clenches fist. They're So.
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Sometimes i remember a comics moment i randomly came across somewhere, where Sam Wilson mentiones a musical and Steve Rodgers says he doesn't like musicals, to whitch Sam goes "Guess that means you really are straight" and even tho i don't care about Cap America or the Avengers, the moment stuck in me for that quote by Sam. And like....Sci, any ideas if straight men actually don't like musicals or is that bullshit?
actually i think i know more gay men who hate musicals than i know straight men who hate musicals. i've had a drag queen stop me point blank when i was about to sing a barbra streisand song, and i know so many gays who pointedly hate abba. so based on my experience i think the inverse is true. most of the straight men i know are kind of impartial about musicals, but gay men? hate.
my theory is that a lot of gay men don't want to fall into stereotypes, maybe. but thaaaaat's just a theory! a gay theory.
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el has never been able to kill vecna. she wins the battle by casting him away, but she fails to win the war. he's patient zero for powers, absorbed the powers of all the lab kids, has the upside down and all of its monsters on his side, and has even absorbed her powers.
she's a force to be reckoned with, but she's not stronger than him. not even with the help of everyone fighting together and hitting vecna from every single angle was she able to defeat him. she isn't the cure, she wasn't the right choice, the risk did not pay off, they rolled the die and they came up short, the odds were not on their side, and blahblahblah insert every other phrase that people used in this season alone to defend that choice here.
she fights, but she doesn't come up with plans. she knows him from her childhood, but she doesn't have direct access to his mind. she's brave, and she's strong, and she's powerful, but it's not enough to win on her own in a one-on-one fight.
will knows vecna's plans. he knows how he thinks, what he thinks. he has a direct status update on how he's doing. he's the first to know when something is happening regarding the upside down and vecna. he's familiar with the upside down, with possession, with the man that's eluded them for so long. he has access to invaluable knowledge that no one else does. it's not something that he has to think about—he just knows. and he's never been wrong.
the demogorgons knew where he was, but they never killed him or camped at his house. we know that he was dragged to the library, which is where the rifts collide, instead of being instantly killed like so many other victims. we know that he manipulated the lights in a way that is different to how the teens did it in season four, and that he also managed to make them move in a circle the way that the lab kids did. we know that there was a point in time when vecna wanted to kill everyone but him. we know that there was a time when vecna wanted him and sent in dogs to get him back. time in the upside down is stuck not on the day that el first opened the gate at eight years old, but on the day that will entered it. furthermore, if henry entered the upside down as we know it on that day years ago, then that also means that will was able to shape it to look like hawkins.
dustin rolled an eleven and lost. eleven went against vecna with the help of everyone and lost. the gates opened up and max is now missing. it's a repeat of season one. everyone that told them this was a risky idea and that they weren't ready was right.
meanwhile, mike and will worked together as a team with no daylight between them in season two, and they managed to close the gate and save the world. they failed to do that in season four, because they were keeping things from each other and thus weren't working as a true team. when they finally start being entirely truthful with each other again in season five, we'll undoubtedly see them save the day again.
will told el that they would fix this together. erica subbed for lucas against vecna, rolled a twenty, and won. will was positioned next to a "the cure" poster, is the only person truly aware of vecna, has a greater connection to the upside down than we previously thought and capabilities that we've yet to uncover, cast the winning fireball against their campaign villains before, was associated with the number twenty and one, has beat the odds more than once, is vecna's character foil, and is confirmed to be getting a bigger focus next season.
it's all right there.
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have to say I really loved how Shiv brought up the waiter. Does she give a shit about him, or that Kendall killed him? Nah, not really. Will she weaponise it to appear more moral in the moment? Yeah, absolutely.
It's like she said to Mencken: she's flexible. She LARPed as progressive to get her career in politics and genuinely believed she believed all these things--it's easy to believe you believe nice things, when the shit you actually do care about isn't in conflict with those beliefs. But then she wrangled Gil and Logan into a handshake, and she played her card as a woman to silence a victim--and, by shooting the one with her head above the parapet, many more victims--of institutional sexual abuse. She has even hurt herself by sailing too close to the wind in her girlboss liberal lean-in shit sometimes, with her dinosaur cull comment at Argestes, or with overplaying the hand she thought she had at Tern Haven.
She was viscerally angry at having to take the photo with Mencken, and perhaps angrier still when ATN called the election for him. Not because he's a fascist, although he is, and not because she dislikes him--although she does! She was angry primarily because the photo nuked any chance of a political career for her going forward, and because the call for Mencken hurt her chances with Matsson.
Did she ever make any of that clear in the moment, though? No. She talked about fascism and morals and things do happen, Rome. It is easier to wear that cloak that sometimes helps her--the woman cloak, where she claims to care for the group that she belongs to and steps upon its members at the same time--than it is to admit personal rage or vulnerability. That would be hysterical, and grasping, and not CEO material.
Shiv's relationship with womanhood is like Peter Pan's with his shadow. She used to be able to cast it off, or feel like she could, and now it is sewn in to her very fabric: it's everywhere she fucking walks.
She hates that there is not a play she can make that will separate her from the group of women-who-experience-misogyny. And still she makes use of that group, because it's one of an increasingly limited set of options she has. She was never allowed to gain experience--so she's inexperienced, and implausible, and shut out. It's the treehouse, again, Kendall up there playing king of the fucking castle. Shiv must have spent some holidays like that: Roman might have stayed with his mom in England on shorter breaks from military school, and Shiv was left to snotty, whickering horses and fucking tennis, throwing rocks up at Kendall whenever she saw a limb emerge from a window or doorway.
Anyway, if Shiv can't have the high ground, at least she can try to claim the moral one when it suits her. That's what I see as the context for her jab about Andrew Dodds.
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honestly, though. sometimes when the drakes are discussed it does seem a little "oh, they never would never do <insert terrible fanon trait here>, they just <insert a different trait they....also never really did and is actually kind of contradicted by canon? here>"
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Imagining an ending for CR3 where a single instance of true resurrection is on the table and they have a choice between making Laudna un-undead and getting FCG back
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