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#he means no actual harm
withered-tears · 2 months
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Mandrake (Epic 2013) nominated best animated movie villain dad.
Like holy shit a villain dad who legitimately likes and compliments and loved his son?? With literally ZERO passive aggressive bullshit comments???
Kid was excited to show off his new coat cuz it looked like his dad's and he literally just compliments him?? Says it looks good on him??
More villain dads like him plz
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ruegarding · 5 months
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the entire point of the blue food was that it was the only way sally could consistently rebel against gabe without getting her or percy punished. sally is not and never was submissive in the books. percy himself says sally has "a rebellious streak, like me." however, sally and percy were under threat of serious abuse from gabe and therefore had to pick their battles. blue food was sally's way of telling percy "i am here and fighting with you" and "there is hope in the world still."
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turtleblogatlast · 2 months
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Here’s a thought-
When Splinter says Leo’s the leader at the end of Season 2…pretty sure he was joking.
After so many high stakes and high emotions, he (a bit cluelessly) makes a joke to add some levity, just to make things a bit easier for he and his sons to digest everything that happened. It was a lot that happened, so it makes sense that Splinter wants to make things that much softer for everyone.
But- making a joke like that, after everything they all just went through…I can definitely see how the events of the movie pave out in response.
For example, by joking about Leo in particular having the responsibility of a leader, that puts him directly in the sight of Raph’s building anxieties. Because after everything, it’s clear that Raph really started taking the hero name seriously to the point that he started undermining his own fun and childhood in the process. So in the eyes of a Raph who is so worried about what could happen if they’re not prepared again, Leo in particular kind of stands almost as a point of danger in that aspect.
And with the joke of Leo “leading” in any capacity ringing out over them, it’s easy to blame Leo and Leo alone whenever he goes and goofs off with Mikey and Donnie. I think as well that the concept of a leader being spoken after the Shredder just pushes more weight on Raph’s shoulders and makes him realize how much goofing off they did before when they should have been better heroes (despite them all just being kids...)
Raph knows his brothers are good, he knows and has pride in them and himself in turn, but it terrifies him to know that they won’t be ready for the next big threat, and Leo directly going against this caution even more than usual just pushes Raph to want to try more.
As for Leo- keep in mind what happened all throughout “Many Unhappy Returns.” Keep in mind what happened all throughout the series in general. In the former, Splinter more than once points out how he would rather have his other sons with him than Leo, especially because they “would take this seriously”…even though Leo was taking it seriously. (Not that Splinter should be expected to read what Leo was doing when Leo wasn’t making his plans clear, but that wording sticks with kids.) Even after Leo’s plan pulled through, Raph’s the one who spoke in trust of Leo, not Splinter.
As for what happens in the series in general…well, we see Leo mess up a lot, apologize a lot, get his brothers out of messes a lot, and even when he does well or is responsible it’s either glossed over or still seen as goofing off (no I will never be over that moment where Leo almost got Gus’s tags and got screwed over out of pure bad luck.)
So imagine hearing a joke like that as Leo, who for a good chunk of especially the start of the series has been a lowkey voice of reason. The idea that Leo being responsible for the team is nothing but a joke…? It’s understandable that it could feel like a blow, that it could push him to want to try less.
Especially after everything they just went through.
They’re heroes. | They’re kids.
Why shouldn’t they care? | Why should they care?
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labratboygirl · 3 months
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kinito art dump from the past few days
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cosmicwhoreo · 1 year
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Hurhur angy cap'n me beloved~
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Oh dear somebody spilt ketchup on 'im-
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storybookstr4nge · 1 year
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something something Nico's comical lack of self preservation skills stems from the fact that he is basically guaranteed immortality because no matter what happens to him (especially in tartarus) hades would keep him safe/bring him back. and so because of this seemingly positive thing, Nico doesn't value his life whatsoever. and then having will solace show up and is the first person to be like: no, your silly quirky 'if I die I die' attitude is NOT funny and is actually quite CONCERNING and I want to keep you SAFE despite your imperviousness to death. and how this is such a poignant pillar of their dynamic that I don't even think rick realized he inadvertently created. in this essay I will....
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mechanicalinfection · 7 months
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But the truth is hard to swallow.
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yb-cringe · 8 months
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no see cellbit Wont kill the late night chaos crew over this because they are unfortunately some of his favorite people which means they do this shit so often and get off scott free
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greensaplinggrace · 9 months
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the darkling says “fine, make me your villain” because he is. what’s not clicking
#shadow and bone#grishaverse#sab#aleksander morozova#the darkling#pro darkling#sab meta#‘he acts like he isn’t the villain’ like yeah I guess if you want to examine it without any deeper analysis#when the statement itself is actually fascinating to put into a narrative context and analyze the means by which certain steadfast roles#are enacted throughout the books#and the larger implications of character want/desire and leading goal vs world state and perceived morality#largely due to prejudice and war time sentiments#as well as the individual harm caused and the way it’s significance becomes questionable when placed in stark contrast#to the broader political and socioeconomic climate#which doesn’t even take into consideration individual character roles and the doylist analysis of their relative functions as ideas#instead of entire personalities with depth#when you give an idealistic character a goal larger than life with a tactical relevance over a moral one#within a story that also centers around a broader goal of ‘saving the world’ as well as personal trauma#and attempt to liken both to the same moral equivalence and significance#then try to pit them against each other#especially when your narratively condemned villain desires more than anything to protect the masses and be loved for it#showing a fascinating level of genre unawareness. yet displaying a relative awareness to the role he has been unwillingly cast as#because he is both at odds with the genre but not with the general moral tone of the story and it's discordant messages#that rely on the pov of a character that fundamentally cannot understand him#because of his place in the story#and cannot understand the world state#because of her place in the story#you are going to get statements like this#sure yes. he ‘says it like he isn’t the villain’#but come on. we can do better
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moeblob · 2 months
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She can transform into a dragon and then falls in love with a man on a mission to slay all the dragons he finds. Who then begins to travel with her brother and his friend and keeps hearing about how "my sister could kick your ass" and he tries to keep his sister away from the dragon slayer because that's a risk he won't take.
Then the sister ends up marrying the dragon slayer.
The end.
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navree · 2 months
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i'm sorry but this is sending me into the goddamn stratosphere, if you send people to physically attack my mom, torture my sister, cut my six year old son's head off, threaten to murder my toddler, and then also threaten to rape my six year old daughter, i would be very happy and jovial in declaring war on your psycho ass for pulling that shit on people who literally didn't do a thing to you.
consequently, if i sent people to physically attack someone who never did me any harm, torture my sister who never did me any harm, cut my six year old nephew who never did me any harm's head off, threaten to murder my toddler nephew who never did me any harm, and also threaten to rape my six year old niece who never did me any harm, i would be very full of regret and sorrow for what i've done, because those are bad things that i did.
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lovelycureaestetic · 2 months
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The Crow and The Robin
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"And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon’s that is dreaming."
“I’m man’s inedible
Permanent bird.
I dine in his garden,
My spoon is his spade.”
I find extremely interesting the association of Sebastian with crows/ravens and Ciel with robins, amongst the various meanings and interpretations we have of course death for crows and fire for robins. But what really captivates me is how both birds have a myth regarding how each got to be the colour they are today.
Ravens, once white, were scorched by Apollo, while Robins got their signature red chest by removing one thorn from Jesus's crown and stabbing themselves.
Divine Punishment and Self Inflicted Wounds.
Truly interesting...
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emblazons · 1 year
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Thinking about how people who only (or primarily) understand Mike’s arc through a “hes queer and coming to accept it / struggling with heteronormativity/will get his happy ending when he gets with Will” lens are missing at least half of what defines his arc in the wider context / themes of the show.
Forewarning: long post (& also maybe an unpopular opinion)
Even as a queer person myself, I know that his arc isn’t solely about embracing his queerness (though it’s inherently interlinked). In Mike, you have a character who is being radically challenged by both external circumstances and his own decisions through a journey away from all kinds of forced conformity (social, familial, romantic & heteronormative) and into someone self actualized enough to live how they want…while also being strong enough to accept that they made mistakes along the way. Someone who is learning to be brave enough to say “this is who I am, what I enjoy, and what/who I love…and while it took me a lot of time to figure it out, now I can exist in the world embracing that even though it will take consistently resisting the tendency to accommodate people who think it’s unacceptable.”
Like. Even from a time before puberty (see: S3) Mike wants a life that stands apart from what’s expected of him in every area, not just in choosing a romantic relationship with another guy. He wants to continue to be a nerd and “child at heart” even though something else is repeatedly demanded of him by everyone from his parents to El in his romantic relationship. He wants to be a writer and someone who takes those nerdy interests into his adult life (cue aggressive gesturing toward the duffers themselves) and grates against all that’s been constructed for him even when he’s not (yet) brave enough to challenge it directly. Mike liking boys/loving Will is just “the final nail in the coffin” of his social and societal nonconformity—not the first (or the last) aspect of what makes him different from Hawkins or the life he was made to believe would suit him best.
Even the fact that Mike has a desire to be “normal” comes from an insecurity and fear that choosing what he truly wants will lead to him being outcasted and losing the people he cares for entirely—which is partially motivated by his queerness yes, but that also has a basis in his general interests and personality…which becomes especially obvious when you realize we are repeatedly shown that he is punished/has his wishes ignored in all areas he doesn’t conform, even long before we get into a plot where it’s clearer he likes boys.
We see it in how his parents have already started to demand he put boundaries on the time he spends playing his “childhood games” the very first scene of season one, how they demand social acceptable emotions from him when Will is missing, and how Karen & Ted want him to give up toys in S2 when he’s showing signs of depression (because they think the issue is him growing up, not that he’s struggling with loss or guilt for what happened to El).
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We see it in how his own father comments about taking his CA trip away from him after calling Hellfire being a group for “dropouts” in S4 (implying that he is failing on an academic and social level that matters to wheelers—and that Nancy is good at).
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We even see it in the way everyone from his bullies to his own girlfriend threaten and take things away from him when he doesn’t conform to social expectations...from Troy telling him to jump off the cliff to save Dustin in S1 (as punishment for the one time Mike stands up for himself in the gymnasium) to El jumping straight into breaking up with him and spying on him when he doesn’t do exactly what she wants him to in Season 3.
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All of these moments are critical to understanding Mike as a person because they show us that, even without addressing his queerness, Mike’s desire to conform to socialized expectations involves but is not solely about him moving out of heteronormativity—it’s about him moving against everything that WASP, patriarchal, heteronormative and capitalistic and performative “wholesome American” values…and how he is learning to move past the fear of what will happen if he steps outside the lines in general, even though he already knows he hates those standards.
Mike’s “coming of age” arc is about finding the strength to choose the “path less traveled” in all areas of his life—even when it means (potentially) losing the support of the people he cares about. It’s about starting from a place of privilege and becoming okay with being outcasted from it in a way your insecurities never let you be before (which is inherently different than Will, who has always been shown to have some kind of support not just for his queerness but his artistic endeavors as well). Mike’s lack of support is why he starts from a place of deep insecurity, yes—but it’s also why him learning power of choosing to be himself, even if it means “losing” people when he’s honest about who (& what) he is will be universally powerful.
You don’t need to be queer to understand the power of what it means to know you will be okay even if people leave you. You don’t need to be queer to understand the power of stepping outside social expectations or your family’s way of raising you. You don’t even need to be queer to understand the weight of breaking up with someone you were only with to satisfy what you thought you should do, rather than be with who you want to.
The power of being strong enough to overcome your insecurities in order to “step out of line” and live and love as you want to is universal, and a stunningly brave choice no matter what or why you chose to do so. The fact that Will will be there waiting to love him in that honesty with himself is beautiful, yes—but it’s not the only lesson to be learned for Mike’s character.
Mike starting out with everything the world (or, at least America) tells would make you happy, realizing he is not happy with those things and rejecting them knowing it might have consequences is what makes his arc powerful, because he is learning (exactly like his sister Nancy) to be brave enough to accept those consequences (which for him are getting dumped, and feeling like he’s being left behind by some of his friends) to follow his own heart.
Even though The Duffers aren’t writing this into a tragic ending (aka: he’s not going to die or be left alone, because the duffers writing is inherently designed ro champion the outcast), these are the things that have (and will) make him relatable even to an audience that doesn’t know queerness. Erasing the fact that his lesson is the bravery it takes to follow your heart solely to talk about him liking guys (even Will) is to undermine his humanity, and the lessons to be learned from him by even the most general an audience.
TL:DR - the heteronormative aspect of Mike’s character is not the sole or even inherent issue within Mike, though heteronormativity is inherently built into his struggle.
There are deep dives on how his arc is also about a war against toxic patriarchy, toxic masculinity, emphasis on capitalistic and academic accomplishments over artistic ones, and even conformist relationships (whether they’re queer or not) that should be explored for his character—and I for one like him too much not to move out of just “this boy is queer because xyz” and into “let’s talk about Mike in terms of the wider scope of his cultural context and upbringing.” 🤷🏽‍♀️😂
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s-citrus · 1 year
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For a guy called No Significant Harassment. He sure does Harasss a Significant amount
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raayllum · 7 months
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also cause I'm not there yet in my 5x08 liveblog but because even just a whiff of "Callum gave Finnegrin the spell" made the fandom troll come running into my inbox to say otherwise, just wanna clear up a few things for peace of mind before we get there
The first is that I know it was the fandom troll because of the timing & presentation, not necessarily because the now deleted/blocked ask had the "Callum purposefully gave Finnegrin the wrong spell" take. While that was an indication to me that this was probably the fandom troll since they seem to take issue with my characterization of Callum in particular, perfectly smart reasonable people have also proposed that possibility of the spell ingredients being not entirely accurate as purposeful; it's not exclusive to crappy people by any measure.
With all that in mind, I want to discuss how I view the scene (and indeed how I think it's meant to be interpreted per a casual viewer reading) as well as why I think Callum giving Finnegrin a not word-for-word accurate actually kind of makes his choice more morally questionable, not less
So let's begin
1) I don't think the scene's intended takeaway is that Callum gave Finnegrin the wrong spell
I think Callum panicked, and he folded, and he would've told Finnegrin anything the pirate had asked for in that moment to try and spare Rayla's life. While TDP is an immensely detailed show in many ways (hell I have a tag dedicated to just those details), every scene still has to ultimately work for a casual viewer. I don't think this scene is any exception. One of the first things in the series that we learn is that humans took down the King of the Dragons with dark magic and it's a repeated fact throughout most of the first season, and into the third when we see the events that transpired exactly.
So when Finnegrin mentions it, we're probably going to remember that was a thing that happened and it involved Harrow and Viren, but we're probably not going to remember the specific ingredients. Therefore, like Finnegrin, most audience members are going to take Callum at his word, especially since throughout most of his conversation with Finnegrin, Callum is arguably far more honest than he needs to be (fessing up that he did dark magic at all, mentioning that he studies all the primals, that he did the spell to save a friend at all - which is exactly why Finnegrin sets him the hand cutting test to try and break him, etc). The scene - again, for the audience's benefit - even as Callum clarify for those that wouldn't remember why he was spouting things about dying breaths and unicorn horns, because again, I do think this is the Intended Takeaway:
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Part of the reason I think Callum panicked (other than Jack de Sena's wonderful voice acting and uneven breaths) is because, if Callum was thinking clearly enough to withhold information purposefully, he could've considered 1) that Finnegrin is bluffing about threatening Rayla (Callum cannot see her or any of the others, so that could be the case) and 2) Finnegrin would have limited means to know that Callum was lying if Callum said exclusively the wrong ingredients and sent him on a wild goose chase. To give as much as he did accurately was dangerous (but we'll talk more about that in a second).
We also know from instances in the previous seasons and just the prior episode that Callum doesn't have all sky spells (ones that he can do whenever he wants basically) memorized either, and that it's not out of the realm of possibility that Viren would've fudged a little to Harrow about some components of the spell (such as emphasizing love and hatred) because he was actively trying to convince - somewhat guilt-trip and manipulate - Harrow into doing something didn't really want to do, but ultimately couldn't say no to.
However, one of the things that's the most fun meta is reading into things deeply, looking at various character interpretations, and seeing what we can find below the surface level / casual viewership read. Just because something may not be the 'intended takeaway' (which can already be hard to define) doesn't mean it's not a real possibility, especially if enough dots connect, and doesn't mean it's not worthwhile and or without merit.
So let's look at the scene from the assumption that Callum is giving Finnegrin a not totally accurate spell On Purpose - what does he omit, what does that tell us, and where does that leave us from a character standpoint?
2) Haha, jk, unless...?
First things first, let's look at what Callum says vs what Viren says
No, no, wait! A dying breath. Blood filled with hatred. And a unicorn horn. That's the dark magic you want.
In her final moments, I captured something that I hoped we could use later. It contains her dying breath. [...] Claudia captured a unicorn and brought me its horn. The dying breath. The unicorn's pure horn. There's one last component I need. The undying hatred of one who loved the victim. Your blood.
Now, even Viren's stance and the circumstances of the spell isn't entirely clear. We don't know if any dying breath would do, or if it had to be Sarai's (and had to go her killer, as opposed to someone else). We don't know if the spell requires the unicorn's horn to be 'pure' (I'm assuming not already corrupted somehow with dark magic) or if it would work regardless. And we don't know whether the hatred or love is more important, or just one, or if they're equally important. It's quite a list, after all.
Which is why I think in some ways Callum's lack of specificity actually makes what Callum told Finnegrin more dangerous, whether you read the minor omissions as intentional or not.
Cause think of it this way, you're a pirate lord and you want to kill your enemy. You heard from this mage kid that any dying breath would do. What's your next move going to be? You're probably going to murder a random member of your crew and collect the breath because you were never told it had to be your loved one's final breath (which would make the spell impossible).
So that's one murder down, bare minimum. Then you're going to either send people out or word that you're looking for a unicorn horn at a port where people already canonically smuggle dark magic supplies (Chasing Shadows, TDP reflection). This will either lead to you hiring people to eliminate one of the - it appears to be - few remaining unicorns that still exist to bring you the horn, or if you've put out a reward, multiple dark mages / mercenaries may try their hand at killing one and bringing the horn to you. That's probably 1-5 unicorn murders as a result, if the mages are working not in communication with each other and all vying for the reward. This is also assuming that none of the mercenaries or mages come back empty handed and get harmed or killed because of Finnegrin's anger at their failures.
You also might torment and torture someone else to get them to hate you before you drain them of blood / take their blood for the spell, again not realizing that 'love' has to be a facet of it. At best, that would maybe be what you do to the crew member before you kill them for their final breath.
Then, once he has all the ingredients (and he'd need some sort of incantation, because dark magic is a lot of steps and processes) there's two main avenues.
Either these all work and he successfully has his weapon of vengeance needed to kill Domina Profundis, because what was given was enough. This would mean Callum's actions led to about 2-3 successful murders of mostly innocent people and possibly more political upheaval at the death of another archdragon (the ocean would certainly be out of whack, but it's not clear how much, if any, political power Domina still holds).
It doesn't work and Finnegrin, stubborn as he is about control and loathe to admit he can't commandeer something (magic and wills included), figures that something went wrong and tries again, having to collect the ingredients all over again. Depending on how many times he'd try (I feel like maybe 2-3 max), this could put those murders up to maybe nine innocent individuals, assuming Finnegrin's worsening temper over his failures doesn't increase the tally.
Rattling off the accurate spell ingredients could've actually minimized the damage, because any of the specifics might've stopped Finnegrin in his tracks. If Finnegrin just needed hatred of one who loved the victim, he could've fulfilled that on his own with some of his own blood ("I loved that crab" and her definitely hates Domina Profundis). The one that could've entirely halted his plan is if the dying breath had to come from the victim, in which case the chance to avenge his beloved crab is long gone. Finnegrin could've heard the list of very specific ingredients, deduced that he would not be capable of carrying out the spell, and been on his merry way to use Rayla as revenge fish bait.
But by giving Finnegrin an 'imperfect' list, Callum made the pirate captain more likely to engage in the violence required to get there, without an actual textual guarantee to the audience that what was given wouldn't have worked, either (aka we have two ingredients list and without a third to tip the scales, it'll always be a technical 50-50, maybe 60-40 read in favour of Viren).
So where does that leave us?
With these two readings in mind, you have two options:
Callum is willing to sacrifice Domina Profundis', and a few unnamed innocent lives/creatures, to save Rayla and thereby gave Finnegrin a dangerous in its own way, if not more dangerous because of potential increased collateral damage, list of spell ingredients, because he acted entirely out of emotionally fuelled panic where he wasn't totally thinking clearly
OR
Callum is willing to sacrifice unnamed innocent lives and creatures, but not Domina Profundis', in order save Rayla, because he decided on purpose to give Finnegrin a more achievable sounding list of ingredients that would increase collateral damage, but not let him kill the dragon, because he made a calculated decision on purpose that those lives were worth less than Rayla's and Domina's to him (for some reason, as she's a stranger to him)
To be clear, I would love the second option as an interpretation because I do think Callum can be calculating and I do think that's the far more Viren-like option - choosing what to sacrifice for other people in the mindset of harm mitigation ("A thousand men and women are prepared to fall protecting you tonight, but you won't let one sacrifice their lives for you?" / "If you must choose, choose the egg").
But again, given the framing of the scene I think the first reading is 1) more sympathetic and speaks to Callum's more compassionate emotional nature and 2) is the intended takeaway, but if people want to read it as Callum strategically deciding that certain lives - other than Rayla's - were worth sacrificing that so she and Domina Profundis wouldn't be killed, that is absolutely a valid prerogative.
It's just not mine
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sluckythewizard · 2 months
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adventures from a rly fun magma i got to relaxe in today
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