“omg gem is so mom coded” “pearl is so sibling coded” ok well i think gem and pearl are this

SIIIIGGGHHHHHHHH

finally i finished it!!!! and its... okay!

so yeah here ya go i hope yous like it :)

using the signs in the 1.6 update as intended

“utena is a bit like a shoujo equivalent of evangelion” = a common and inevitable comparison that is admittedly not a bad elevator pitch, giving an idea of utena's symbolism and the genre tropes it engages without requiring an essay-length summary of its plot and themes

“utena is evangelion for the girlies” = SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UPPPP

Now maybe this is too salty of me but I actually think the people complaining about farcille enjoyers "only caring about romance" are more detrimental to the general ecosystem of people trying to understand and ruminate on dungeon meshi's themes than the afformentioned farcille enjoyers.

I also find it funny that fandom will only accept Lyanna being her non-conforming, wild self in the context of saying that Arya isn't meant to be pretty; Any other day we get back-to-back posts about how Lyanna is actually super traditionally feminine cause she sniffled at a song once, so she's actually more like Sansa. Instead of constantly speaking on Arya and Lyanna, how about you guys reflect on why your standards of beauty for women are attached to how well they perform feminity within the patriarchy?

I think it is neat that there are multiple shadow users on Rhodes, and yet they represent different aspects of shadows.

Phantom's theme is theater, and, especially if you are familiar with Persona series, it is easy to see his shadows as Jungian: shadows are our own feelings we hide behind the mask, so Phantom's shadow manifests as a doppelganger.

Ascalon is an assassin working for an authority figure. She represents how shadows need a light source to be formed.

Ines's character is about fitting in with others, like how a shadow mimics the object that creates it.

All three have someone who they shadow. For Phantom, it's himself. For Ascalon, it's Theresa/Kal'tsit. For Ines, it's Hoederer. All three are some kind of a spy and/or killer ("working from the shadows") with a red/black/white colour scheme (this is probably incidental…), who experienced violence since their child/teenager-hood (they grew up mimicking people around them). Their aspects aren't exclusive either; for example, this is why Ines can glimpse intent from the shadows, which is more fitting with Phantom's definition.

its gonna be käärijä branded glögi mark my words

Reading some of my old writings from like 10-20 years ago with the benefit of being Me But Older and with more life experience and understanding of myself it's like... *points* that story is trauma processing. This one is me struggling to understand my sexuality. This is trauma processing. Trauma processing. There's straight up a stretch of time where I wrote various horror stories which I know I thought were wholly unique and cool edgy stories but reading them almost 20 years on with the benefit of hindsight and reading them all side-by-side it's like... they all circle around to the same themes and I just never realized it. I remember reading these a few years back and just thinking "Wow, what the hell was wrong with young me, so cringe and ow! the edge!" But now I'm like... nothing was wrong with you, you were processing. You were a teenager/a kid in your early 20s etc taking something you had a hard time understanding and dressing it up in a palatable horror costume so you could rotate it around and figure stuff out. It's hard to read now for sure, but it's not worthy of contempt.

I don't know, it makes me think how important it is to be kind to yourself both past and present because you go through stuff all the time that has such an impact on who you are but you so often don't realize it at the time

Kingdom Hearts Dream Drop Distance Commands - Meteor

Sorry for this long post but can people stop treating Vader and Anakin as completely separate people. Like. That type of dissociation were obviously coping mechanisms by Old Ben and Vader. Not like. A literal fragmentation of personalities. Like if you love Anakin Skywalker imo you have to accept that he was a cute kid and a padme simp and a fun older brother and a boy desperately in need of acknowledgement and praise and a father who ultimately loved his son but also a guy who commits atrocities in his anger and strangles people who annoy him and has a victim/persecution complex (although admittedly for good reason) and was also a notorious child killer. This man contains multitudes.

Imo falling to the dark side/using the light side of the force isn’t marked by a shift or fragmentation of personality, but rather what emotions are used to channel the force and guide one’s actions. I think part of what’s so hard about resisting the dark side and coming back to the light is that there’s positive feedback loops of power, and resisting that by doing good and healthily channeling emotions is just plain hard. Especially in the case of Anakin, who is notoriously a “in for a penny, in for a pound” type of guy. He’s loyal and loves completely and dangerously with his whole heart, and he hates just as much.

And I think guilt is a huge factor with him struggling to do good; it’s pretty much a thought process of “Well, I’ve already committed thousands of atrocities and have countless amounts of blood on my hands, I have to believe whole hog in what I’ve been doing because then otherwise what was it all for.” I think that’s what makes his sacrifice for Luke so poignant, because it speaks to how much he loves his son that he’s able to overcome that spiral and do one last act of love for his son, unselfishly and without rationalization.

Idk, I just watched ESB again, and I think beyond just wanting to possess Luke and use him for power, it’s reasonable to think that part of the reason Vader wants him so badly to turn to the dark side with him is that he still thinks the dark side is the only way he can have enough power to protect his family and therefore keep them—he’s objectively much more powerful than he was in the prequels, and a main part of his struggles during the fall of the Republic was that he didn’t feel “strong enough” to protect the people he loved as a Jedi. He wasn’t able to free the slaves. He wasn’t able to save his mother. He wasn’t able to stop Ashoka’s expulsion from the order. He wasn’t able to prevent Padmé from dying. With the commitment he’s had to his path and the objective amount of power he’s amassed since the twins’ births, I think it’s reasonable to assume he desperately grasping at the idea that somehow, this time, he’ll be able to achieve what he’s never been able to do before. But his failure always lies in the fact that his motivations are, and always have been, ultimately self-serving, that his pride and fear of loss—which are completely understandable in moderation and not something he should necessarily be punished for—outweigh his real and genuine care for his loved ones and the galaxy at large.

Idk. All this to say that Anakin has always been Vader and Vader has always been Anakin. They’re the same fucking person, you fools! Stop taking dissociative rationalization literally!!! It’s right there in the text!!!! His return to the light does not negate his time in the dark and vice versa! There is good in him !! He is capable of unspeakable evil !!! BOTH ARE TRUE AT THE SAME TIME!!!!!

emerald fennell will get on her zoom and say [posh voice] Nooo no darling the rich people are the worrssstt. You’re supposed to side with the povvo. referring to the 130 minute film she helmed in which a family of prejudiced but loveable aristocrats are murdered and usurped by an upper middle class lunatic

whenever i talk about wally and home's relationship on this blog, it is Usually in the context of the relationship being borderline if not explicitly romantic, just bc i think that has the potential to be all sorts of poetic in a very tragic way. downwright shakespearean, even.

HOWEVER - i am also drawn to the alternative idea that ronald dorelaine is currently possessing home, creating a New and Avant-Garde form of the classic haunted house, and that's (partially) why shit has been getting Weird in town since welcome home was taken off the air. bonus points if this is also paired with the whole idea of wally having been based off of dorelaine when he was first created, bc then it's like

wally: -alright so that's my plan for getting everything back on track! there have been some Side Effects so far but you know. i think it'll all work out in the end. thanks for listening, home @:)

dorelaine, desperately trying to remember what morse code he knows and realizing that in his efforts to create a Better Self according to a molotov cocktail of internalized -isms, he has instead saddled his protagonist with a quite literally world-shattering level of psychological hang-ups and has made it so that said protag feels like he can only exist under a very specific set of circumstances:

hi aromantics of tumblr, im a small crochet business and im making aro pride merch for february!! my question is would you rather order a pre-made set that you can see on a model (myself) or have more customisation options through comissions?

you cruise you lose

[ALT ID: A digital illustration of Malia and Callebero, two teenagers, in what appears to be a throne room of sorts. Malia is sitting in the throne, smirking up at the Callebero, who leans on the back of the throne and looks down at her with a somewhat unamused expression. Malia has dark skin and long locs and wears a coral, gold, and teal crop top and a gold pleated skirt. In her loose hand, she holds a small package wrapped in paper. Callebero wears dark robes and a cape and leans on a saber. Behind both of them is a tapestry showing a knight falling off horseback as a lance pierces their chest while a second knight reaches for them.]