So I'm under the assumption that Orange, Navel & Tangerine don't have verified ages? (We all know what assuming does but I digress) [Update: I was nicely infomed that they don't seem to which genuinely makes me feel leagues better about this post. So thanks! to jeekoneeko. Especially bcuz they share one of my thoughts on Tangerine and that also made me feel better about my other thoughts. ^^]

In this post, I shall discuss my thoughts on their ages all stemming from the initial thought I've had for a minute that Orange & Navel are probably really close in age. 

In Year 1 Citron is 22, & in Year 2 it was said that when Tangerine turns 20 he'll become King, so we know he's younger than 20 in year 2. In the Eggciting Travelogue, it's stated that Sakuya is kind of close in age with Tangerine.

But in HQ there was that younger brother bit with him and Masumi (Honestly I think I'm misinterpreting this part but I have no alt translations or anyone to talk to about it so...)

So I'm gonna believe he's closer in age to Masumi than Sakuya. (Which isn't far but still.) So Masumi is 16 in year 1 so let's say Tangerine is too. That would make Tangerine and Citron about 6 years apart.

While that means there's about 6 years to place Orange and Navel, I believe they're closer in age to each other than any of them are. Idk how old they were intended to be but my gut initially said Orange is probably 2 or 3 years younger than Citron and I feel Navel is at most 1 year younger than Orange. And like I have no concrete proof of this it's just the vibe I get. But these vibes are probably partially because of them being close and somewhat because they tend to be grouped together. Like it's been stated that people would prefer Orange or Navel, but why is Navel even being somewhat considered when Orange is next after Citron? Maybe because he's so close in age with Orange anyway?(Tho lowkey he feels tagged on but that's a whole other incomplete thought I have) And then I realized that that means I feel Navel is 3 or 2 years older than Tangerine so I decided I like this split and I think it checks because it evens out.

But I'm gonna bump Tangerine down a year somewhat because it makes the numbers even more even when specifying ages but aslo I originally would've pegged his age closer to Muku, and while I suppose 16(year 1) isn't too far off, he does sorta feel younger than Masumi(to me at least) & 15 is close to both Muku & Masumi & not too far from Sakuya who was 17 in year 1.

So I think I'm gonna mainly go with the idea that in year 2 the ages were Citron 23, Orange 20, Navel 19, and Tangerine 16. And there's a reason I chose 20 for Orange, and though it's lost some of its grounding, it's what I'm sticking with for now. (I'll explain that in a different post)

there are so many words that I have only ever heard from my professor's mouth. if he hasn't told us and it's not in the two (2) pdf sources his institution has provided, i'm fucked

Me seeing this in-game: oh haha what a delightful out of context image

The rest of 2-03, emotionally breaking me in the most beautiful way possible (so much so I didn't even have the mind to take screenshots):

Me: aughuaghiaghuughhaugh???

If being weak is a "sin" in Crocodile's mind, then isn't a painful defeat and maybe even death rightful punishment for it? A punishment you deserve for your crime of "being weak"? That's an intriguing mindset from him because it makes me wonder how Crocodile might view his own past and the things he has gone through? I might not go as far as to say Crocodile "blames himself" for the things he's gone through, as he doesn't seem like the kind of guy who dwells on the past like that. But I do feel like Crocodile has accepted in his mind that things like losing his hand happened because he was weak, and it was his own fault. That he can not blame anyone else for what has happened to him. He fucked around and he found out.

It's just interesting because to some degree, One Piece thematically does agree with this sentiment, this is a world where the strong eat the weak. (One example at the top of my head; Luffy refusing Katakuri's apology when his sister intervened with their battle, saying he should've dodged the attack properly if he didn't want to get hit.) Chaka falling in this scene and being unable to stop Crocodile may lead to the deaths of so many more, including his loved ones, and if that comes to pass, it's is Chaka's own fault. For being too weak. But also Crocodile has twisted that idea; Crocodile is using his worldview here to justify himself and essentially saying he can do this (take over Alabasta and kill a million innocents doing so) and get away with it because he's powerful. When in reality "weakness is a sin" isn't about the survival of the fittest, but how this is a world where the strong are meant to protect the weak. (See: Luffy) (Also how Pell told Baby Vivi in that flashback about how he trains so he can protect the Royal Family; again, he he craves power not to oppress the weak but to protect them)

But, just to get back to Crocodile again, I feel like this worldview might also give us more insight as to how he acts in certain situations post-Alabasta. Like when we see Crocodile towards the end of Miss Goldenweek's cover story, both when he declines to escape from jail and in his Impel Down mugshot, Crocodile has a smile on his face. That really is the face of a man who has accepted his fate, is it not?

"Welp, this is what I get for losing to a child in flipflops"

Or when we see him come collect his debt from Buggy; Crocodile seemed quite relaxed and fully admitted he had assumed Buggy would've ran away before he even got there to collect his money. Of course, considdering his trust issues Crocodile would've been mentally prepared for Buggy skedaddling anyways, but the fact that he loaned the clown money to begin with while assuming he'd probably never get that money back-- like Crocodile knew that was going to happen and he just accepted it. And just rolled with it.

Of course, when things take an Unpleasant, Unexpected Turn, he will blow a fuse. Multiple, even.

Him angy

IDK man this is all just interesting to me

and honestly, the fact of the matter is. that when a male character is killed for another male character's sake, it's almost guaranteed that the death will forever be a weight upon the narrative in the way a female character's death never will be. a male character will be mourned forever, the loss of a brother in arms considered a gaping wound that will never truly heal. meanwhile, the loss of a mother is a small footnote tragedy in the beginning of the story, but she is never truly remembered by her son. the loss of a daughter guarantees that a surrogate one will eventually arrive to replace her empty space. the loss of a wife will usher in a new woman to heal the man. but the loss of a brother or father is a constant cross the man will bear for the rest of his life.

IT IS I! FRESH!INK SANS! I'M HERE TO GIVE YOU BROSKIS A GIFT!

*insert gifts for all of them with a goofy ahh smile*

Killer: :D!! thank yoouu Dust: …you can never have too many pillows Horror: (holding an average frying pan) ah, another frying pan Horror: thank you Cross: oh, thank you, Fresh Nightmare: what the f- udge. Fresh Ink: if ya don' like it brah, i can just all up n take it ba- Nightmare: you try to take this from me and you'll be picking up your teeth with broken fingers

so sad that in the tmn reunion tonight(?) caduceus is going to be interuptted from watching hydraulic press and slime videos on youtube in bed to have to fight an evil moon. ableism .

crashes ur board meeting n drags u out by the collar but its fine bc youre the one always saying shit like "im looking for people i can use" ok lol. get used idiot

V: Gimme your hands. K: What, we holdin' hands now like some teens in the schoolyard? V: Hm-hm. K: Pff... yeah, okay, sure.

(he actually loves it, but he would never admit it)

ALSO.

;______________________;

I'm sorry for being such a tease but yeah... They're holding hands ;___; like some teens in love in the school yard ;___;

There's a few things iffy yet with one of the hand poses, details really but I'm a perfectionist always, in case you couldn't tell yet XD

Also, everything here is far from shareable yet, cause I'd like to do these as AMM addons eventually, currently they're just replacers. Also obviously I wanna make a whole pack with modular poses and whatnot because we need. hand. holding. poses!!! As many as possible for all the scenarios xD

hello and welcome to my notes/formal presentation on how angels are actually all just weird autistic birds. any questions.

i don't think this applies to any mutuals but i've been stewing vaguely over tp fans who think link only fell for midna when he saw her true form. like. we did Not play the same game apparently

So. Sirius and German (Austrian?) punkrock and antifascist music. I'm thinking about die Ärzte here. Do you see my vision? Thoughts?

YES OKAY I AM SO HERE FOR THIS!!!!

first of all is Sirius german/austrian in this scenario, does he speak german or does he just think it sounds cool and punkrock? Because I am obsessed with him not understanding a word and just going for the vibes, that's hilarious. But I also think he'd deeply love some of the lyrics if he understood them.

May I propose a playlist, and please add to it if you want:

Schrei nach Liebe is such a Sirius song! All the anger? All the feelings? Screaming "Arschloch" at the top of your lungs and moving into air guitar the next second? I rest my case!

Junge is just a song about Regulus Black, you can't change my mind on this (I've had this opinion for 0.5 seconds but I am CONVINCED now). Like at first you might think it's about Sirius because that's the obvious choice and it fits him even better than it fits Regulus, I know. But think about it being from Sirius POV about Regulus??! galaxy brain idea, i'm telling you!! anyways so Sirius loves the song and can relate, in either way.

IF Sirius understands German, he would 100% be the kind of person who drunkenly sings their heart out to Linksradikaler Schlager by Swiss & die Andern. You can hate Schlager all you want, but linksradikaler Schlager is it's own glorious genre. And if you don't know it yet, please do yourself a favor and listen to the entire EP. It might be the best album I own. I mean "Und wir tanzen bei G20 im Wasserwerferregen / wenn sie irgendetwas anpisst / kommt sie um das zu regeln / anti dies anti das / sie hat sich nie angepasst / und sie kämpft für eure Freiheit / aber keiner kämpft für sie / anti dies anti das / sie saß tausendmal im Knast / und sie opfert ihre Freiheit für die Welt die sie so liebt" (Antifa).

Okay so imagine Remus has a date. With someone ELSE who is NOT SIRIUS. And comes back home to find Sirius listening to Alles aus Liebe by Die Toten Hosen on full volume. Like obviously Sirius just needs an outlet for his emotions, he'd never actually act on anything like the lyrics suggest. But sometimes you just gotta be a melodramatic idiot listening to this song, feeling your feelings because he can't tell Remus he loves him out loud (yet) so he just sings along to the song in the privacy of his room and doesn't know Remus is listening in.

I also think Sirius would love Bonnie & Clyde by Die Toten Hosen. Just the general vibes of the song, I think they totally fit his vibe.

One day Remus and Sirius get stoned and Remus finally gets to decide on the music. And he puts on Hurra die Welt geht unter by KIZ&Henning May, and Sirius is obsessed. Not only is Sirius a little bit in love with Henning May(s voice) but he also loves the lyrics. Postapocalyptic vibes is everything these angsty teenagers need.

Okayokay ANOTHER GALAXY BRAIN IDEA!! Queere Tiere by Sookee is a song about the marauders, change my mind (you can't). It's a song about queer animals and homophobia?! OBVIOUSLY they love it and Sirius thinks it's the most hilarious thing ever that THEY ARE queer animals and that there's a song about it.

And Hüpfburg is obviously just another song Sirius can relate to so much. A song about your right-winged extremist family and you questioning their beliefs?! I rest my case.

Obviously Sirius loves everything about Kerosin95. Like, trans Sirius loves Trans Agenda Dynastie, obviously (not just for the JKR slander).

I think Sirius would also love the lyrics to Scheiß auf Ironie by Deine Cousine. (I mean: "Du denkst du bist ein Feminist / Ich glaub du weißt nicht was das ist / nur weil man Frauen gerne leckt / ist das noch lange kein Respekt ?!! ICONIC)

I also think Sirius would have loved Kein Gott, kein Staat, nur Du by Kraftklub feat. Mia Morgan!

I am also a firm believer that Sirius would have been obsessed with Nena and would have loved all of her songs. Like Irgendwie, irgendwo, irgendwann? Sirius knows all the lyrics and his and James' performance of the song in the gryffindor common room is always a treat for everyone involved. And Sirius listens to Nur geträumt on full volume when he's pining after Remus, that's just canon tbh.

Okay this list is already ridiculously long and I kind of swayed away from the original punkrock prompt so if you have any more songs/artists to add to this, please do, this was so much fun!!!

i didn't want to leave a wall of text on that muse post by @marxistgnome but i love it so much and this is going to be so rushed but i could go on and on and on about b'elanna and storytelling and narratives. this got really long and so under the cut it goes

it all really ties into that post i once saw about this consistency with b'elanna episodes where they reveal more about her as a person through her interior life- her thoughts and dreams and visions... what she does when she's alone. and muse really gives us this close up look at the way she sees things and what she cares about through kelis - the stories she tells him and the way she interacts with him- because he gives this good intimate portait of the world as b'elanna sees it- as she's described it to him (almost makes you wonder what she was considering there- whether she thought she should tell someone their stories because they're stuck in another quadrant and might not make it home, or if she thought she wasn't going to get off that planet and might not make it back to voyager)

and of course he's crafting a play so there's room for his own creativity but b'elanna tells him their story really well and she cares about it and you can tell. she cares a lot.

we get another really good look at this in barge of the dead like famously- and it's so consistent in that episode too because she's on the barge and she recognizes kortar from the stories her mom told her as a child and he directly acknowledges that. he says she believes in grethor and in him and she believes because her mother told her the story after she nearly drowned in the sea of gatan. remember prophecy? she's recounting the whole heroic battle with the borg to the klingon generation ship that think baby miral is their savior and the whole scene is framed like (at least it felt this way to me) that for all she says about not being familiar with klingon culture in any respect, the way she interacts with storytelling especially reveals the depth of her understanding of it- shes telling the story and she's telling it really well according to klingon custom and the first thing the visiting klingons do after she tells it is compliment that ability. and its sooo much.

when her and harry are going back and forth at the end of muse and she just goes harry have you ever inspired somebody? when he asks why she even cares so much about the ending of kelis' play. there's just like this klingon belief about living a life that's worthy of being shared with others- like when in day of honor the hologram is evaluating whether she's spent her year honorably and asks her what she's done with her life that's worth celebrating and she can't answer and he tells her that she's giving him excuses. and the direct parallel that could be drawn about how she feels about that with the janeway vision in barge of the dead where she's being condemned and the whole reason is that she's done nothing worthy of glory- 'nothing worthy of song and story.' my goodness

even when she convinces janeway to let her go back to the barge- janeway says it's not real, that she won't let her risk her life for something that she only thinks she experienced- but b'elanna tells her it doesn't even matter if she thinks it was real- that it was real to her and she cares about what her mother thinks of her and she doesn't want her to die thinking badly of her.

we see this with worf, of course the angle we're given is honor and truth and duty- but how you're remembered and talked about is important, even from generation to generation- disgrace in his family is disgrace for him. when they accuse his father of being a traitor at khitomer, it's important to him that his father be remembered as he was - truthfully, honorably, as someone to remember well (even the titles and names they give themselves being little retellings of their lives and the members of their family- on memory alpha worf isn't just worf, he's worf, son of mogh, of the human family rozhenko, mate to k'ehleyr, father to alexander, husband of jadzia, bane of the house of duras, slayer of gowron etc etc.)

((sidenote but b'elanna never in her life introduces herself as b'elanna daughter of miral always as b'elanna torres but on the barge of the dead kortar calls her miral's daughter immediately. and if she's partially from this culture where naming and titles are so important in that respect and b'elanna thinks her mother is. not what she wants to be known by not what she wants to be identified as it's soo relevant to what she calls herself. roxann dawson said that b'elanna wanted to be 'human and perfect' like her father and so she's not ' b'elanna daughter of miral' anymore because she doesn't want miral to be a part of her story, how she's remembered. so it's belanna torres.))

anyway this same- dedication to truth we get from worf and his father's memory we see even with b'elanna in 'remember' where she gets those telepathic dreams/visions from the alien woman about what really happened with that group of people they oppressed. the crew discover that the dreams are starting to affect her health- and so they offer to suppress them, take them away and b'elanna just refuses. because how else will she know what happens to them? who's going to tell their story? and she shares that story once she has it with anybody who will listen because its worth telling.

i'm going a little crazy but klingons and writing and literature and song and stories and living memory its all so. it's ridiculously important culturally. and how that translates back to b'elanna is so fascinating

Breaking news: Duke is canonically a cat person. And there are cats in the safe house.

HUGE NEWS!! local guy beset on all sides by beasts and creatures

watching the new monster high series and if they dont give me a canon reason cleo and deuce broke up im simply going to have to assume its because she came out

An overly detailed analysis of the scp foundations adopted son, the backrooms

Due to the fact that I have no control over my interests, ive decided that im gonna post cringe and start writing a minimum 100 word (50 for subrooms) review of every single backrooms level (or at least as many as I can get through before the hyperfixation burns out). And before we can actually get to the meat and potatoes, we gonna discuss the universal quality cap contained within the very premise of the modern backrooms (more under the cut)

The history of backrooms is like, pretty simple, and actually kind of similar to how scp started. Some guy posted an imagine with the caption:

"If your not careful and noclip out if reality in wrong areas, you'll end up in the backrooms, where it's nothing but the stink of moist carpet, the madness of mono-yellow, and endless backround noise of fluorescent lights at maximum hum-buzz, and approximately six hindered million square miles of randomly segmented empty rooms to be trapped in.

God save you if you hear something wandering around nearby, because it sure as hell has heard you"

The concept very quickly caught on, because even retrospectively, the concept is really good, and then people started to write about. And at this point, it varies very, very heavily from scp. Because scp-173s whole premise doesnt crumble like a sandcastle upon any elaboration.

Ill blaze through this part simply because its by far the most common criticism of the backrooms and im not getting ad revenue from puffing up a video about it. You cant add entities or other humans because the vagueness of the final line and also ruins the isolation inherent to the original passage. You cant add more levels because that gives the person somewhere to go and makes the person less trapped, you cant make your levels death traps because thats just not scary, and you sure as hell cant make them safe because that removes the looming threat of death (this last point also applies to lucky o' milk and almond water). But personally, I dont think that talking about this helps the writers, or even gives us a better feel for what these writers are doing wrong, so instead im gonna focus on the main problem with the backrooms

The writing style is contradictory with the material presented

Since the backrooms popularity boom happened congruently with the one for liminal spaces (which ill just use interchangably with "eerily empty nostalgic space, even though the original definition just describes one thats transitional) even the most recent levels try to invoke this sort of setting. This within itself, is great. Theres a lot of room for very personal, intimate horror, especially when combined with isolation. Guess what they tried to do with it?

They jacked scps writing style, which for those not in the know, is intentionally written from a dry, neutral voice. To describe a setting meant to invoke one of the most personal emotions one can have.

Beyond this, articles, as evidenced by their often dubious writing quality, are written by teens who are far too young to have experienced that kind of nostalgia, so a lot of the articles end up not being able to fully capture the feeling, even if they werent written like a courtroom report.

To summarize, the premise is just kind of limiting within itself, even detached from any disloyalty to the original premise of the backrooms.

anyhow Im releasing the first review tomorrow