#hmhmhmm

[benjaboyisatwink]

guys...guys are u with me on this guys??

[spawnbuddy-kee]

It's okay we're both gay even if you're dating a man... I'll drive my invisible boatmobile to your house and we can get food together I'm hungry

~ Not Your Sister (Definitely)

mhmm...

"its okay if were both gay even if your dating a man"

[pasdetrois]

I’ve always thought that Prospero was a little less potent than he’d like us to believe. In truth, his magical power is at no point in the play demonstrated to us. Ariel produces the storm that causes the Italian ship to be wrecked on the island; Ariel produces the banquet and masque that form the spectacular centre pieces of the play; Prospero threatens magical violence (to both Caliban and Ariel) but never – at least in front of us – does he do so. I wouldn’t go so far as to say that Prospero is in fact a fraud – the text doesn’t permit such a reading – because it is clear that Ariel and Caliban have experienced liberation and enslavement (respectively) at the hands, or rather the staff, of the Milanese sometime Duke. What we can say is that Prospero can’t do the big stuff: like Sycorax before him, he needs the “help of [his] more potent ministers” (275) to exorcise his control over his not-quite-so-minions. What Prospero does have, however, is language. He can threaten violence, and the rhetorical picture he paints of it with words is – for the moment at least – enough to ensure that Caliban and Ariel do his bidding: “I must | Once in a month recount what thou [Ariel] hast been, | Which thou forget’st.” (1.2.262-63) His authority is bound up in his ability to (re)narrate the past – though a past that is heavily skewed to his advantage. Indeed, at the beginning of the act, when Miranda appears to remember the events that Prospero is attempting to describe about the circumstances surrounding his usurpation and escape to the island, he gets excited (or anxious?) at the prospect of her knowing the details first hand: “If thou rememb’rest aught ere thou cam’st here, | How thou cam’st here thou mayst” (51-52). After this he keeps checking that she’s paying attention to his narrative, as though he’s frightened her memory might be triggered by his speech, but offer up a memory that contradicts his view of events – “I pray you mark me” (88) is both an imperative to listen and a plea to believe his story. The play is constantly antagonizing the process of memory and historical reconstruction. Memory (real and edited) is always mediated – at least, expressed – through language, people are bias, and thus historical fact is always at two removes from knowledge.

Adoxography and Me, "The Tempest and Language as Power"

[hiding-in-the-vault]

Did you. Did you say c!Quackity. Did you say Roulette. Did you

Oh hi Elm, local c!Q enjoyer

He’s so insane and super fun to write, I was lowkey bummed he didn’t get all that much screen time in the fic. (Especially after getting some compliments for how I wrote him ;’p)

I don’t have any solid ideas rn, especially for any other AU, but he just brightens up the room in Roulette, wouldn’t you say :)

Am I actually going to get to any of this? who can say!! Certainly not me, but I hope so

[behbuh]

[slitherbop]

WA

[zu-is-here]

I legit can just see in seafoodtale that in the au their like mermaid/mermonsters and the Fallen Human being a sailor's child who got into a storm one night after running off from like a heated argument with their parents.

Sounds cool! ☆ But since they're all seafood, maybe the fallen human child as well?

[teio]

hmm im thinking of continuing the manga im not up2date with