This Makes So Much Sense - Tumblr Posts
Oh my gosh. Please, HS overlords, let this be canon.
I noticed something interesting?
I’ll be honest. I got into Friendsim because I saw Lanque discourse and I needed to understand it. And then I just kept reading.
But one of the first things I noticed was discourse that Lanque didn’t “look” trans. He didn’t wear a binder or have scars. I want to first point out that not all top surgery results in scars (this is important later I think). Small breasts can be reduced with keyhole surgery, leaving minimal to no scarring.
I also noticed he had nipples. I remembered something that Arquiussprite said. Female trolls have nipples. Or something to that extent. At this point I wasn’t in friendsim and I was talking to a friend. Her response was “well Marvus had a nip-slip in one route” and at first I was like “oh then males have them too, aight.”
But then I saw Mallek. Mallek doesn’t have nipples.
This got me thinking about everything, and I also noticed Marvus had some interesting scars on his chest. Both pectorals, same scar.
I’m not saying Marvus is definitely trans or anything, just that I noticed all of this. The scars are in a strange location, but technically troll top surgery could be different from human surgery in some way? Idk I just think it’s neat.
Oh. My. God. Oh my god. OH MY GOD-
the big fucking bucket post aka the big bucket fucking post
the stanley parable emotional support bucket is
a series of sitcom gags
a pre-empting of complaints about the sequel tainting the original content by doing it, like, super hard, but on purpose
a level of stale overfamiliarity with the office that leads you to recklessly squeeze every last bit of amusement from it
the secret theater from metal gear solid 3
it's also one of the narrator's most openly neurotic creations, which means that it was created to cope with something! it was created to cope with the original stanley parable, not only as a game, but as an experience he's gone through.
let's go through the whole thing. it all operates on two levels, the commentary level and the character level. the bucket offers various commentaries on sequels, but those only come into being through the narrator projecting his various anxieties and longings on it.
we know that the skip button incident (the wait for the sequel) gave the narrator the chance to completely reevaluate his priorities and his past. the subsequent reset didn't entirely erase these revelations, but i think it did bury them at the unspoken, unrealised level that would require a bucket as an intermediary for expressing them.
yes, my take is that everyone's the bucket and the bucket's everyone and i'm officially an accomplice to the joke.
receiving the bucket
commentary:
[EXPO] A common complaint of The Stanley Parable was that it was confusing and paradoxical. That it engendered a chaotic sense of reckless despair in those who played it. Well, I'm happy to say that, after much consideration, I've engineered a clever solution to this fundamental problem with the game. And to be honest it's a much more convenient solution for me than actually re-designing the game to be less uncomfortable. Can you imagine what a pain in the ass that would be?
making your work more palatable to a broader audience at the expense of its uniqueness and so on.
character:
well, the narrator still hasn't gotten over his craving for universal validation. of all the things he could've taken away from the memory zone, it was being UNNNNNNFUNNY.
when i first played through the expo, i had absolutely no idea that these gimmicks were more than one-offs. i was positively blown away by the new title screen, watched it for two hours and passed out.
when the bucket returned, i thought that it would make the endings "make sense" by conventional game logic, that it would rob the stanley parable of its spirit, and there'd be an arc about how that rings hollow, and then that'd get the narrator to lay off the people-pleasing for a bit. that is, in itself, conventional story logic.
the very first ending i thought of was the countdown ending, and i imagined that the bucket would be the secret key to defeating the narrator in an honest-to-god boss battle, and it would be lame.
and i think that would've been interesting enough, the narrator giving you the key to "defeat" him when both of you have long since moved past taking the fight seriously, going through the motions for someone else's benefit - god knows who.
but it's not even that. it's not even that!
he completely refuses to harm you at all! none of the bucket endings make more sense or are in any way less unsettling than the originals (and it's cute to think that he tried, but simply has no idea what is and isn't unsettling to humans), the fundamental difference is something entirely unrelated.
the narrator now seems ready to take the game on as a team. he goes along with whatever you want to do. he doesn't write any more scathing takedowns of you as a person. even when you're making your way through the office, he no longer scolds you for taking the wrong turns, he simply justifies it on the fly - the bucket told you to go there, or maybe not, nevermind, whatever.
[SKIP] I have had time to think about you, and about us, and about everything we've been through. I've had so much time.
the disobedience doesn't upset him anymore. it doesn't thrill him to reassert his authority, either. he can't even pretend that he's still the same person, he can't even perform the role for the new content.
[SKIP] To begin with, there is only regret. There is only the turning wheel of missed opportunities. I felt nothing at all but regret for the longest time, Stanley. Days, months, I lost it all in a blur of the deepest longing to undo the past.
the bucket is very literally an opportunity to return to the past, to redo the endings. he created it for this purpose. what is he actually concerned with, then? the story? the critics? is there anything else?
[SKIP] Not the outcomes, not the story, none of that matters anymore. I'll give it all up, I'll give up every branching path, I'll burn my story to the ground! One single thing I need - and god I can see now that I need it more than anything - is to know that someone else is taking it in.
the narrator plays what barely even qualifies as a trick here, which is that he acts as if the bucket endings are naturally-occurring around the bucket. he narrates it as if the bucket's presence is by itself enough to change everything.
what's actually happening here is that the time for you to make choices is over, and now it's time for the narrator to redo his own choices, the choices that were never treated as such, the choices that have been so naturalised and obscured and set in stone all this time. and he's choosing to be someone you can be with.
[SKIP] And surely you'll put your own desire to see what's next ahead of my need for company, for companionship. Surely you'll not be so moved by my howls of fitful anxiety that you sit with me and just stay here.
he's going back and, over and over, he's choosing companionship over power. these are the scenarios he keeps writing you into, or trying to write you into, with just enough deviations to not make it entirely repetitive.
the bucket only gives him an excuse to break out of the established script - which, of course, raises the question of whether he always could've done that, whether he was actually the one living in choice paralysis.
signs point to yes.
the countdown ending
commentary:
a very basic self-parody. it specifically stokes anticipation for and then denies you a revisit of the boss battle, but it honestly just feels like a secret theater-type gag.
character:
the ending is this: the narrator puts his entire heart and soul into narrating what it would be like to be cradled in stanley's arms and then they sit down and watch silly bird videos together, forever.
i'm genuinely embarrassed for him.
[NEW CONTENT] If you're still with me, why don't we just reset the game and we'll try to get back to what the Stanley Parable is really about. Just you and me having a great time together like always. What do you say, friend?
the narrator actually starts the game out by referring to himself and stanley as friends, on the same side, and so on, letting murders be bymurders. as soon as the bucket comes into play, however, he directly transitions to narrating the bucket in the position he previously narrated himself in.
[BUCKET COUNTDOWN] He squeezed the bucket tighter, his one friend in the entire world. At this point, he could trust no one except for the bucket. Two best friends, Stanley and the bucket, up against the world.
this later causes him to become jealous of an inanimate (???) object. it also causes stanley (not the player! stanley!) to become fiercely attached to it. stanley and the narrator are simultaneously using the same bucket to sublimate their desire for companionship. soon this situation will unravel like a rich tapestry of psychosexual horror.
the mariella ending
the apartment ending
commentary:
stanley fucked that bucket.
character:
the narrator wanted to fuck it, too.
the phone ending
this ending puts one fact into stark relief: the game does not inherently disintegrate because you unplug the phone. not when the narrator is able to go along with it, taking the blame for not being funny enough instead of accusing stanley of not laughing hard enough.
you know how the memory zone deteriorates along with the narrator's state of mind? you know how he becomes trapped inside that room simply because he's unable to stop fixating on his own perceived failings, how it seems to have physical consequences?
or how about when the narrator gets confused and it seems to directly result in the office building no longer making sense, how he starts using circular logic while you're pacing in a little circular room?
in this case, the only thing that happens to the office is that it rearranges exactly one room specifically to fuck up his comedic timing after he'd become fixated on improving his comedic timing. are we seeing a pattern here?
throughout this retread of the endings, there is a consistent shift of responsibility away from the idea of "the game" and towards the narrator himself. it wasn't that stanley ruined everything by deviating from the script. it was that the narrator was breaking down when faced with an unfamiliar situation, and since the office is so inextricably tied to his subconscious, he took it down with him.
[PHONE] It seems that this place is not well equipped to deal with reality.
he also ended up trapping himself all alone, forever. (a theme.)
every single speech about stanley's shortcomings was more accurately about himself. all the time he spent viciously blaming stanley for ruining everything, for being unable to make the right choices, for being stuck on a mindlessly repeating loop, for being overly anxious and reliant on others. increasingly, it becomes obvious that it was always just about himself.
meanwhile, stanley has the psychological fortitude to drag himself up four flights of stairs without a single unbroken bone in his body.
the confusion ending
commentary:
of course the most popular ending gets the revamp about whether sequels should simply repeat the most audience-pleasing points and trade on nostalgia. i also feel like they call every inanimate object and room in the game a character because they bore witness to the period of time where that's what every fan was doing, which is cute.
character:
the narrator tries to get stanley to destroy the bucket in a fit of what is now violent jealousy, under the guise of wanting to appeal to fans. the really funny part is that you literally cannot make stanley do this. this is it. this is the first time stanley's ever disobeyed the player. i am slowly being forced to consider him a character instead of a vessel.
he can be both at once, of course. it's never a good idea to try to pin anything in this game down, i'll be the first to admit to that.
[SKIP] I felt unburdened to manifest any particular outcome into being. I saw that I could allow myself to exist along all timelines and that each of them was simply a strand in the web of my being.
this piece of hard-earned wisdom also applies to the bucket's sentience status: when it's funny, yes. when it's funnier for them to be weaving themselves into a complex psychological web over a piece of metal, also yes. and anyway, making it up is all they have, they might as well be manifesting these things by thinking them.
what is a bucket?
the fact that stanley is not a bucket confirms that he has no circulatory systems of any kind. this is the only lore that matters.
the elevator ending
commentary:
it's about being utterly obsessed with something that is endlessly exciting to you and then finding that nobody else understands what the hell you're talking about and your behaviour is highly off-putting. writing 10k words about buckets, for example, and getting 10 notes.
putting it in relation to the bucketless elevator ending, it's also about a lack of repeat success, losing your audience, come on it's all pretty explicitly out there.
character:
so we've seen two scenarios: one, the narrator is the bucket. two, the narrator wishes he were the bucket. i really do think these ideas are worth keeping in mind to come to the complex conclusion of "the narrator is really quite incredibly needy".
well, here's number three, the bucket is stanley. stanley is the narrator. like, the narrator is casting stanley as the anxious creative, so he's really talking about himself when he's talking about stanley, and the bucket is stanley's perpetually silent friend who he can't quite seem to reach, so he's really talking about stanley when he's talking about the bucket. look, it's more simple than it sounds:
[BUCKET ELEVATOR] And the whole time, he looked to his bucket for a reaction of some kind, anything to let him know that the bucket appreciated what he was doing. The bucket conveyed absolutely nothing at all. Only silence.
i think this also ties back into the original phone ending, these fears of inadequacy, i really think they're a large part of why he freaked out so irreparably when he didn't know what story he could write with an unplugged phone, how he could deal with a real person.
[BUCKET ELEVATOR] He was unloved, uninteresting, he was a failure. And in that moment, Stanley knew that the bucket would never again take him seriously. There would be no connection, no deeper understanding. And Stanley, having for once in his life discovered the warmth and comfort of true companionship, was cast back into the unremarkable normalcy of loneliness.
my man is very very very very very very very scared of abandonment. especially now that he no longer has antagonism to use as a shield! he wanted stanley's approval in the original, as well, but it was a lot more reserved, a lot more easily discarded. even then, he got hurt.
the freedom ending
now we're coming full fucking circle. i am absolutely convinced that this is another "the bucket is the narrator" ending, and it just kind of unfolds into everything else from there.
this is another ending in which stanley and the bucket attempt to live happily ever after, of course. the game itself once again denies them their freedom, and they spend the rest of their lives trapped in the darkness together. that's the story the narrator tells.
come on. come on. that's just them. that's just narratorcore. it's not even the most narratorcore thing, the thing that really knocked me down this terrible path was him fantasising about what their life would look like:
Both of them wanted to begin watching a movie, any movie, then stop it halfway through and begin watching it in reverse from the end. True, it was a simple life they envisioned. But it was one they'd live together. With one another to lean on, to trust, to support, and to-
the avoidance of endings. the playful structural experimentation. the literal fact of the matter that the narrator spends the final sequence rewinding the game, that this is something he's preoccupied with.
that's literally exactly what he would do. that's just unfiltered yearning. that's visions of domesticity dancing in his head.
please think of how he'd denigrated the idea of domesticity in the original apartment ending, and think of how he craves anything so long as it's with someone else now. think of how he mocked stanley when we know he was just projecting. who'd wanna commit their life to you? beyond everything else, i think he was bitter.
nearly all of the bucket endings reflect on the narrator's role in the original endings, the narrator's relationship with stanley, and the narrator's ability to make his own choices, in a way that perfectly ties into the more explicit themes of the segments before and after the bucket endings.
it is a kind of character development, but the missing piece, i think, is that his endings ended up with him alone, before, with stanley dead or gone one way or the other, and now, they tend to end up with him and stanley together, but invariably, endlessly trapped. he's given up on freedom. he's given up on letting go. that's what's left to do, realise that this is also one of his choices.
another sequel is exactly what he doesn't need.
to conclude the whole wretched affair:
these tags
further reading:
the bottom of the mind control room ending
i only even discovered this one after finishing the post and it is the perfect example of what i've been talking about. what in the holy hell. once again, they are trapped together and immediately descend into domesticity. the bucket is very obviously the narrator, doubting the importance of playing the game at all while STANLEY is the one who starts caring about Going Back, Doing It Over, Getting The Right Ending.
in other words, it's actually a conversation about the narrator's entire new modus operandi, though whether he's just expressing an internal conflict through stanley and the bucket or whether he's accurately representing stanley is up for debate - considering the epilogue, the latter is possible. note the use of "we" over "they" lmfao
"This isn't an ending, this is just a hole in the ground!"
The bucket sighed. True, it wasn't an ending, but it's where we happened to be. And maybe, possibly, if we accept the reality of things, maybe this will become an ending eventually.
It's what the bucket was counting on.
The two of them waited for a very long time.
bts’ hiding spots on corden were 100% typical of them, it’s ridiculous.
- jungkook, golden closet film director: hides behind the camera.
- kim ‘i’m the one i should love’ seokjin: in the photo booth making pics of himself.
- pd yoongi: of course, mingles with the people who press the important buttons and tweak the sounds.
- jimin, who loves to get close to the host: crouches under corden’s table. got pouty when he realized ashton found him, not james who he knew would have had a huge reaction.
- tae, our dear artist who seeks creative minds: blends in with the script people and befriends them so much, corden has to drag him away three times.
- obscure hermit namjoon who is too tall for most other spots: hides behind a curtain in absolute plain sight — smart strategy, he had to be betrayed to be found.
- hoseok, born entertainer: found behind the beams of the stage itself.
So in DS9, the very first day Sisko arrives at the station, before meeting Kira, he is told "have you ever met a Bajoran woman?" and then kind of explained that they have a very strong character in what humans perceive as aggressive way.
We do not meet many Bajoran women as deeply as Kira, but some we meet sometimes fit her "no fucks found" attitude. Even Leeta, while more cheerful and naive looking, has a strong character and doesn't put up with bullshit. She may look more "girly" to humans (boyish to Bajoran?), but she still runs low on fucks.
Now, Kira's boyfriends that we meet tend to be calm, compassionate and caring in a way some human men are, but may not be perceived as very masculine.
So, culturally, we could say that "feminine Bajoran women" are more masculine to humans and "masculine Bajoran men" are more feminine to humans.
And then Ferengi, who are like an exaggerated old school version of how humans are.
In all this, we have Rom. Ferengi think he is a lesser man (=less masculine) because he doesn't know how to make profit (a trait that has been insisted to be "male"). He is insecure and shy. He doesn't even walk with the same allure as the other ferengi men, including his son. And he starts a revolution by forming a union as maybe the only masculine trait of showing character and trying to be in control of a group of people. Something clearly against Ferengi's rules and customs.
And Leeta, who is maybe a bit queer to Bajoran eyes is attracted to this maybe a bit queer Ferengi. This maybe a bit masculine Bajoran girl is attracted to this maybe a bit feminine Ferengi boy. And then he does the very masculine Bajoran/feminine Ferengi thing of caring for others with the strike.
They really were meant for each other.
Huh,
Maybe Mary named Rosie after herself to spite Sherlock wanting to name her after him.
@gosherlocked @jenna221b @221bmeta @tjlc @loudest-subtext-in-tv @heimishtheidealhusband @quietlyprim
Huh,
Maybe Mary named Rosie after herself to spite Sherlock wanting to name her after him.
@gosherlocked @jenna221b @221bmeta @tjlc @loudest-subtext-in-tv @heimishtheidealhusband @quietlyprim
I was wondering if we, as humans, can ever escape our humanness and write something completely detached from our experiences. I concluded not.
But that led me to a realisation of why The Silmarillion and The Lord of the Rings have such different auras. One of the reasons is that they were written by two different species: elf and hobbit.
Of course, that is disregarding the fact that they're both fictional races and the books are ultimately still written by a human with very human experiences. But the effort is quite visible to me, to distinguish the two works into 'elf-written' and 'hobbit-written', with their respective species-specific views of the world.
Silm is all about the humbling of the mighty. "We thought we were meant to change the world, only to realise it isn't for the better afterwards."
Lotr is about finding the hidden strength inside. "We thought we're too small to change the world for the better, but together, we were proven wrong."
relistening to mag 03 and i do say this every few months or so but i cannot stop thinking about how blatantly insanely obvious it is that amy patel was touched by the eye
Hello hello 😄
I've been wondering, what are your thoughts on the Vees' public perception and how do they compare to other overlords? We see people swarming Vox at Vee tower in episode 2, addressing him as Mr. Vox and seemingly without fear. The Vees also seem to market a lot of products themselves, like the love potion and I'm sure there's gotta be merch. I mean, they have popsickles with their faces on 😂 I wonder about their public personas. So far, the only one we've seen interact with the outside is Vox, but I'm curious to know what Val and Velvette are like and how the public views them. Any thoughts?
I think that the Vees in hell are celebrities. Vivzie once compared Angel Dust to Paris Hilton since porn is a completely normal medium in Hell so I think porn directing and pimping is also a well-respected profession sksksks Who knows, Valentino probably has a collection of Porn Oscars. Velvette is an influencer and Vox is like Elon Musk. Yes, he's a billionaire but he's also cool and relevant and probably has thousands of fuckboys ready to ride his dick into oblivion, proving to everyone how brilliant Mr. Vox is.
Carmilla disregards them as wannabes because they are different than the rest of the Overlords. They do not operate in shadows, they are not terrifying like Zestiel or Alastor or focused on taking care of their own like Rosie. Instead, they choose to weaponize people's sympathy. Our brand is perfection. Trust us. Vox puts so much effort into keeping their image clean because when you are simply liked you can get away with so much more. Maybe people move out of your way when you are feared but will they support you when you need it?
So I think publics love them and have no idea how terrible they are. Even Val - these two girls at the club seemed really comfortable with him so the extent of his abuse is not public knowledge. All nasty stuff happens within the Vees' Tower and is available only for the inner circle. On the outside, the Vees deliver citizens of Hell only good things - entertainment, escapism, prestige, fashion, everything a common person would want to make their life a little bit less shitty. They are the pop Overlords of the masses and I think that it will be their great asset as villains in season 2.
Idk why I keep seeing folks on ao3 talking about the boys and going “idk what possessed me to write this”- bitch they did.
Charles and Edwin are out here setting off every alarm in the afterlife so that you can write about their gayass unlife.
fengqing being the way they are because they know each other so well but are too in their own way to get through their big misunderstanding is great and all but consider how hilarious it would be if they had the added hurdle of being at each other's throats causing them to be their most powerful selves due to their followers propping up the legends of their fierce rivalry. blowing their strength when clashing out of proportion, causing their strongest state of being to be when they are at odds with each other, hence why they argue even when they are getting along and working in perfect sync.
it’s like I DO want to be feminine in the way a man is feminine. if I’m performing feminity I don’t want it to be read as an inherent reflection of my gender and who I am. I don’t want someone to call me ma’am or be called a girl. like. it’s drag. only it can’t be drag for me, because it’s not actually subverting anything, is it? so I’m in this spot where I either cannot allow myself any femininity or I do and accept the consequences of perception. my wearing eyeliner isn’t a subversion, a quiet rebellion, it’s perceived as fulfilling an expectation. somehow I can never be masc enough to be percieved as I want to be, so any introduction of femininity feels like a defeat. and yet sometimes I want to wear the pretty things that are still in my closet! or play around with makeup. but it isn’t a young boy getting into his mother’s vanity and heels, it’s growing up into the fulfillment of the wants of the mother and the rest of society as a blank whole.
i will not elaborate
Y'all I think I figured out the tmagp categories
and it's literally the easiest Occam's Razor type shit ever.
Shoutout to @void--crow for being very normal about this with me and talking it through. They came up with like half of the theory.
Ok so we were chatting in DMs about how this episode was another CAT1RB and how the case brought up rejection letters from an institute. So I was wondering if all the CAT1RBs were institute rejects. And we looked through and that made some sense for some but not for others.
So Fitz brought up the idea of "well what if it's (CAT1, we disregarded rank for now) a person with powers?" And we went through and yeah. All the CAT1s are centered around people.
And then we were talking about the constant theme of supernatural objects. There seem to be a lot here. More than there were in TMA. And we noticed that those all seem to be category 3.
Well then we were like "what's category 2? Like afflictions? Things happening to people?"
No. It's way simpler than that.
Y'all it's nouns. Person. Place. Thing.
It genuinely shakes me that it took us this long to figure it out. It's been staring us in the face the whole time.
The Importance of Mary Sue
When I was in Ninth Grade, I won a thing.
That thing, in particular, was a thirty dollar Barnes & Noble gift certificate. I was still too young for a part-time job, so I didn’t have this kind of spending cash on me, ever. I felt like a god.
Drunk with power, I fancy-stepped my way to my local B&N. I was ready to choose new books based solely on the most important of qualities…BADASS COVER ART. I walked away with a handful of paperbacks, most of which were horrible (I’m looking at you, Man-Kzin Wars III) or simply forgettable.
One book did not disappoint. I fell down the rabbit hole into a series that proved to be as badass as the cover art promised (Again, Man-Kzin Wars III, way to drop the ball on that one). With more than a dozen books in the series, I devoured them. I bought cassette tapes of ballads sung by bards in the stories. And the characters. Oh, the characters. I loved them. Gryphons, mages, but most importantly, lots of women. Different kinds of women. So many amazing women. I looked up to them, wrote bad fiction that lifted entire portions of dialogue and character descriptions, dreamed of writing something that the author would include in an anthology.
This year I decided in a fit of nostalgia to revisit the books I loved so damn much. I wanted to reconnect with my old friends…
…and I found myself facing Mary Sues. Lots of them. Perfect, perfect, perfect. A fantasy world full of Anakin Skywalkers and Nancy Drews and Wesley Crushers. I felt crushed. I had remembered such complex, deep characters and didn’t see those women in front of me at all anymore. Where were those strong women who kept me safe through the worst four years of my life?
Which led me to an important realization as I soldiered on through book after book. That’s why I needed them. Because they were Mary Sues. These books were not written to draw my attention to all the ugly bumps and whiskers of the real world. They were somewhere to hide. I was painfully aware that I was being judged by my peers and adults and found lacking. I was a fuckup. And sometimes a fuckup needs to feel like a Mary Sue. As an adult, these characters felt a little thin because they lacked the real world knowledge I, as an adult, had learned and earned. But that’s the thing…these books weren’t FOR this current version of myself. Who I am now doesn’t need a flawless hero because I’m comfortable with the idea that valuable people are also flawed.
There is a reason that most fanfiction authors, specifically girls, start with a Mary Sue. It’s because girls are taught that they are never enough. You can’t be too loud, too quiet, too smart, too stupid. You can’t ask too many questions or know too many answers. No one is flocking to you for advice. Then something wonderful happens. The girl who was told she’s stupid finds out that she can be a better wizard than Albus Dumbledore. And that is something very important. Terrible at sports? You’re a warrior who does backflips and Legolas thinks you’re THE BEST. No friends? You get a standing ovation from Han Solo and the entire Rebel Alliance when you crash-land safely on Hoth after blowing up the Super Double Death Star. It’s all about you. Everyone in your favorite universe is TOTALLY ALL ABOUT YOU.
I started writing fanfiction the way most girls did, by re-inventing themselves.
Mary Sues exist because children who are told they’re nothing want to be everything.
As a girl, being “selfish” was the worst thing you could be. Now you live in Narnia and Prince Caspian just proposed marriage to you. Why? Your SELF is what saved everyone from that sea serpent. Plus your hair looks totally great braided like that.
In time, hopefully, these hardworking fanfiction authors realize that it’s okay to be somewhere in the middle and their characters adjust to respond to that. As people grow and learn, characters grow and learn. Turns out your Elven Mage is more interesting if he isn’t also the best swordsman in the kingdom. Not everyone needs to be hopelessly in love with your Queen for her to be a great ruler. There are all kinds of ways for people to start owning who they are, and embracing the things that make them so beautifully weird and complicated.
Personally, though, I think it’s a lot more fun learning how to trust yourself and others if you all happen to be riding dragons.
I have been in this fandom for like nine years now and just a few minutes ago I came across one of the most logical theories ever?!
“Snape didn’t kill Dumbledore with the curse because he didn’t want to kill him (we know that it takes will to make forbidden curses work). The blast of the curse caused Dumbledore to fall down the astronomy tower. That’s why Harry didn’t get rid of the Full Body-Bind Curse until Dumbledore’s impact.”
Say what you want but this is a good one.
one of those things that has been bouncing around in my brain for the past few days is that as far as we see dark's plan with the virabots had nothing to do with actually killing stick figures. like the apparent plan was just to release them onto the greater internet, but specifically the internet that humans occupy.
like if dark wanted to destroy stick figures there's a perfectly destroyable city past the bay. there must've been some reason that she picked to attack the internet that humans interact with over anything else.
even in the flashback she's attacking the "good guys" but she's ALSO attacking things that humans made and interact with. like yahoo sites section, or the catapult in angry birds. stickpage and newgrounds were places for... y'know. human-made animation.
the only personal grudge i can think of that dark would be holding for alan is that he made her at all. but she picked alan's pc first. IDK! i just think that like. to me it's for chosen.