let it all go.

cotton - the mountain goats // smith college girls - i-d magazine 2004

thinking about Obi-Wan and Cody's last scene together in revenge of the sith but specifically the NOVELIZATION and how Cody flirted with Obi-Wan in a way that made Obi-Wan Kenobi 'Master of Sass and Trolling', the FAMED Negotiator blush and duck his head!!! and wondering if perhaps the fact that this was potentially their last battle and that Obi-Wan had just killed Grievous and they all could practically FEEL the end of the war brushing against their fingertips had given Cody that spike of courage, hope, peace that had made him pursue the drumming of maybe maybe maybe to his heartbeat that led to Obi-Wan blushing so profoundly he tried to fucking laugh it off and then zoooooomed tf out of there on bogas back.

1. Hell - the tail of envy.

2. Grasping salvation.

Happy Dragon Age Day!! Here’s a neglected drawing of my idiots in love

ok i’m thinking many thoughts stick with me here yall

“power and glory and nothing else matters.”

and “olympians fight. we betray. we backstab. we will push anyone down a flight of stairs to get ahead.”

this is the essence of the gods’ way of thinking. which is why sally says about percy that:

“i want him to know who he is, before your family tries to tell him who they want him to be.”

she doesn’t want percy to be like that. she doesn’t want him to be ruthless and willing to hurt anyone just for personal gain. she wants him to be considerate and human and kind.

and now throw in annabeth saying: “it’s easy to forget what’s important when you’re alone.”

and how the gods, in a way, are alone. they are immortal, disconnected from humanity, millions of years old. they lose touch of what’s important because of their immortality.

and guess who else is alone. luke.

luke doesn’t get to figure out who he is before he’s thrown into the demigod world. he loses his mother, in every way that matters, so young. he gets thrown into being on the run, into fending for himself, into going to camp. he sees the way the gods are and he turns angry as a result. and in doing so, luke becomes who the gods would want him to be. “power and glory and nothing else matters” is what is eventually luke’s whole motive. he may have the same intentions as percy: to bring justice to demigods, to help the unclaimed, to get their parents’ attention. but he doesn’t go about it the right way. he does it the way the gods would. he lets kronos tell him who he should be. he chooses violence and anger and wants to take down the gods entirely. get rid of everything, good or bad, and let kronos take over.

but percy, because his mom didn’t send him to camp so young, does get to figure out who he is. he learns about unconditional love. he learns that there is more to life than power and glory. he isn’t that way. he’s better than that. because sally didn’t send him to camp at a young age. because he got to figure out who he is before the gods could tell him who they want him to be. because he has that humanity, that unconditional love, that support from sally. he still has the same idea as luke: the gods shouldn’t be allowed to birth a bunch of children just to ignore them and leave them to fend for themselves. but he is never swayed onto kronos’s side. he doesn’t think the destruction of the olympians is the answer to solve that. he works to dismantle the broken system. instead of taking immortality as the reward for saving olympus, he uses his reward to force the gods to swear that they will be different. that they will stop leaving their kids to fight for themselves. he does this because of his humanity, because of sally jackson. because he doesn’t become who the gods want him to be. because his mother raised him right.

crawling out of my grave for a day-

started watching the moomins, have crossover work :]

I love you when we haven’t talked in weeks and months I love you when I have 12 unread messages I love you when im not in the mood to talk. We’re still friends even when we spend time apart

His eyes suddenly seemed to catch something in one of them, "The Westminster Gazette"—I knew it by the colour—and he grew quite white. He read something intently, groaning to himself: "Mein Gott! Mein Gott! So soon! so soon!" I do not think he remembered me at the moment. Just then the whistle blew, and the train moved off. This recalled him to himself, and he leaned out of the window and waved his hand, calling out: "Love to Madam Mina; I shall write so soon as ever I can."

The delivery of this line in @re-dracula was excellent and made this moment stick out to me in a way it hasn't before. This is when van Helsing first realizes Lucy has risen and is already feeding. He didn't think it would have happened yet.

That totally puts a new spin on him reaching out to Jack today. After meeting the Harkers, he is more willing to open up about vampires. But the way he does so, first coming to see Jack super urgently, thrusting the paper at him. And then rushing Jack along and skipping past all the actual useful connecting information... I wonder if a part of it is because he feels a sudden sense of urgency, now. He thought he would have more time. But she's already feeding. And it's nothing fatal as yet but that could change soon, she could start making vampires herself maybe, this could start a plague. And he now knows they have Dracula to deal with, a very dangerous foe. It's super important that he get Jack on-board quickly so they can deal with this. So he's rushing, in a sudden panic at things moving too quickly.

you'll never guess which level we're up to in this dishonored 2 rewrite

The way that Oscar's (heretofore unguessed-at) white knight syndrome is evidently activated by someone confiding in him that she feels trapped by the financial and social machinations of a father she doesn't feel like she can say no to IS making me wonder to what extent he is projecting. At least a bit.

i see a lot of interpretations of zor being this otherworldly, anomalous presence- larger than life, practically non-human. and i, too, like perceiving zor through this veil of anonymity. i think making them too tangible or perceivable really detracts from what's been established about their character.

but, i personally really, really like the thought of zor being human. mortal. but terrifying to the point where you'd be forgiven for forgetting it.

i think one of the things that i adored about ieytd before the third game dropped (and honestly made me a little disappointed when it was changed later on) was the fact that the agency never had a face. it just... was what it was. it had facets- granted, the EOD was always the only one of any relevance. but, really, think about what we know about the agency between all three games. compare that to how much we know about zoraxis.

there's something really appealing to me about zor being who they are... they're probably the most wealthiest person on earth. they had a monopoly that quite literally gripped the world in their first- as their emblem would suggest. they hire some of the most lethal minds in the world- chemists, inventors, engineers.

and yet... despite it all, they're just one person. to me, their anonymity is a shield against the fact they are a person. they hide behind the lethality and prowess of their elite operatives- not to mention we've seen how clever they can be when it came to manipulating prism. they're by no means useless.

but what would they be without their anonymity? what would they be without the weapons they didn't design, the lairs they didn't build, the employees they use as human shields? the second zor is gone, zoraxis crumbles. they are the support pillar of their entire corporation.

... but what's the agency's equivalent? even post morales being a character, can we be certain that he's the glue holding the entire organization together?

think about zoraxis' most lethal schemes. seizing control of the world's atomic weaponry. striking targets anywhere on earth's surface with a giant laser. exploding the brain of every telekinetic agent on the planet. are they really seeking to cause as much damage as possible- to the agency specifically, collateral, or otherwise?

or do they not know where to strike. zor's tactic- for as high the stakes have been escalating- has always carried a similar motif. cleave and strike indiscriminately until the threat is neutralized.

but it never works. zor is lashing at a hydra- sprouting new heads where the old ones have been lopped off. they don't seem aware of how to destroy the agency other than exterminating each and every one of them off the face of the earth, in whatever way is most convenient at the moment.

i just think there's something to be said about zoraxis- and by extension, zor- always being seen as this oppressive, near-otherworldly force, constantly applying pressure on phoenix... when for all we know, zoraxis could be perceiving the agency in the exact same light.

zor, ultimately, has one beating heart. the agency has thousands. and all of them are dispensable.

As an addendum to this post, the triple repetition of the phrase "trust me" by both Fintan Pyren and the spark Marella has planted in her heart could imply, using prose structure, that not only are Fintan and flame one and the same, but that Fintan and the spark in Marella's heart are one and the same

and as sparks can catch and lead to infernos, the next question is what inferno is Fintan sparking in Marella's heart?

this keeps me up at night btw.

cute cool boy who smokes cigarettes only sometimes

WAIT! tomorrow it’s exactly 7 days until the of release…

i genuinely think they fucked up the scheduling and that’s the ‘technical difficulty’ 💀

the nebraska plant // the mess inside - the mountain goats