#asp text

[asp1diske]

look at my no journal run

look at it

they don't let you progress in the game if you don't fill in the first letters in the first floor. i'm guessing that's bc it's the tutorial.

the anchorite language auto-fills when you finish one of the yellow translation terminals, BUT if you haven't filled it out in other languages it'll still have the mesh pattern on it. it's still marked as 'finished' in the save slot though.

the anchorite language also fills when you finish the letter making puzzles.

so in total (not counting the untranslated anchorite letters), the minimum amount of letters you need to get the ending in chants of sennaar is 14/186.

[doverstar]

I'd love to defend Gilmore Girls: A Year In The Life for a minute (I don't usually make long posts and may delete this later for that reason) because I feel like writing something inconsequential.

Other people get lots of comfort watching the original show (especially in the fall). I feel cozier watching AYITL. The characters are much older; the dizzy, flighty, still-growing-up feelings for Lorelai and Rory have faded, and it's full of moments that make it clear that certain things in their lives are definitely always going to be there. Constants. Luke, Stars Hollow, family, Kirk, Taylor, the changing of the seasons. Now - for my defense. (I'm rambling.)

Okay, many, many people don't like the revival. I understand. It's different in a lot of ways from the original show, and lots of expectations were not met. When I first saw it, it threw me too. But I didn't dislike it. In fact, the more I rewatched it, the more I thought it was almost better than the first show. The leading ladies are not flashy young stars anymore - Rory is Lorelai's age when the OG show first began, and Lorelai is gracefully and fabulously careening toward grandma times with all her wit and charm, all her most comfy habits, and it makes me want to hang out with her more than Season 1 of the show ever did. And I think the fact that ASP came back to write for these characters again and end it on her terms, at last, was an absolute win, and I love how she did it because it fixed so many things I thought were wrong in the show.

Lorelai is self-centered, terrified of commitment, and has no idea how to put others before herself and not run away during the hard times - unless something involves Rory.

Rory is self-centered, thinks she is special, and has no idea how to deal with not getting what she wants. The consequences of her actions almost never directly affect her, and when they do, said consequences are quickly stamped on and snuffed out by her mother/friends/family.

Emily is self-centered, desperate to be in control, and finds her worth in what other people think, in how things look, and that includes what Richard thinks.

In the show, Lorelai has moments where she learns to stay and learns to put other people who are not Rory before herself. Those moments don't last. She definitely has good intentions, but they're all conditional. She only has good intentions up to a point - and that point is usually when someone or something threatens her happiness and feeling of safety, or Rory's happiness and feelings of safety (understandable; that's her child).

In the show, Rory is told she is the sweetest kid in the whole world. Rory is told she'd never do anything to hurt anybody. Rory is told she's special, she's smarter than her peers, she's not like other girls. Rory 100% believes that. She also probably has a bit of a problem with living up to that image - she wants to be all of those things, and thinks she is, and can't handle it when it seems like people think she's not. (That may or may not have something to do with Christopher, who always had somewhere more important to be, or with Lorelai, who was so cool and strong and sure of Rory.)

And the show has moments, too, where Lorelai has to face the music and see that she's screwed up or is hurting someone with her behavior (Max, Chris, Luke, Jason, Emily, Richard, Sookie), but very very often, Lorelai breezes her way through that music and keeps moving, and flits to the next thing or person that will make her happy, because she does not know how to stay and stand and fix what she's broken. Because it only matters if she is happy and if Rory is happy. (The same thing goes for Rory in the show - consequences come, but Rory rarely has to properly deal with them herself. She is coddled and propped up the whole way.)

Now, to my point!

I watched AYITL and noticed something was different right away. Lorelai is with Luke (she should be), who is the opposite of her - constant, loyal, selfless, determined to stay no matter how hard things get. But they're not married. Lorelai is scared to really commit, and marriage is one of the hardest things you can commit to - ever. And Lorelai is not happy. Rory, for her part, is not perfectly settled as a reporter or a journalist or any of the things she was always told she could be. And she's not happy. And Emily, bless her, has lost her husband and her false sense of control is spinning away, and of course, she is not happy.

And A Year In The Life takes the show's clumsy half-arc of these three Gilmore women and perfectly completes it.

Lorelai's fear of commitment and habit of bolting when things get hard drives her to push every new chef out of the Dragonfly, refuse to expand the inn to better accommodate Michel's needs, shun Rory's tell-all of her past mistakes, shame Richard at his funeral and break Emily's heart, and worst of all, nearly wreck the closest thing to a proper relationship she's ever had: the one she has with Luke. She can't face that she misses her father, loved her father, and that maybe her mother is right about her relationship status. She can't face that people might read Rory's writing and see all her flaws and all her mistakes growing up in printed ink, and she can't run from that. And when Rory insists, Lorelai cuts ties. Lorelai has spent years avoiding marriage with Luke. She has spent years hurting her mother in an effort to defend herself at all costs. And she has spent years ensuring the Dragonfly Inn is exactly what she wants it to be; because changing it would be uncomfortable, and as a result, she won't commit to a new chef, she won't expand, and she's about to lose Michel the way she lost Sookie.

Rory's bubble of self-centeredness and assurance that she's special is popped with the needle of reality at last: she is not special. She's a young woman who has to actually work hard to find a job and make some money, like everyone her age. She is talented and she is smart, but she's not God's gift to journalism, and people keep saying no, and people keep asking her to prove her skills and her merit, and she doesn't know how to deal with that because everyone has always told her she can do anything she wants and she's the best. She wants a distinguished career and can't find anyone who will take her on; she tries to write for a raging batty feminist (hello Alex Kingston I love your work) and that goes sideways; she wants Logan Huntzberger but she turned down his proposal and now he's engaged and it has to be a secret; she wants somewhere to live - just not Stars Hollow because she's better than the thirty-somethings stuck back home. She wants Lorelai to approve of her book and insists her mother give her this, as if Lorelai hasn't always given her whatever she could. And when Lorelai says no, Rory does what she wants anyway and almost fractures their relationship over it.

Emily's control is completely gone - she can't control her emotions, she can't control her tongue, she can't control her maid or her maid's handy family, she can't even control a stupid painting of her late husband. She's on a downward spiral and her anchor is dead. She tries to regain a sense of worth, because surely that will bring happiness back. She tries to gain it from how many possessions she has, that doesn't work. She tries to gain it from Jack, who is not well-suited to her but he makes a matching accessory to the life other people will see. That doesn’t work. She tries to gain it from therapy with Lorelai, control her daughter at last, that doesn't work. She tries to control Richard's headstone, that doesn't work. She even tries to find solace with her beloved D.A.R, and she finds that emptiest of all.

A Year In The Life has these women finally face their flaws head-on and grow. The way characters should.

Rory: Rory is confronted with the fact that she is not special and has to move home like everyone else her age and get a job she does not want, because that's life, and that's what everyone else has to do in the real world. And when she's at her lowest, pouting, she gets advice from someone who has faced his own flaws long ago and has grown and who knows her at her best, and encourages her to get up and work hard (Jess Mariano, ladies and gentlemen). And she does. Rory hits bottom and takes Jess's advice and works at understanding her mother, who is not perfect, and even goes to interview her father, who is also not perfect. She fights with Lorelai over the book and insists on her own way, and when Lorelai refuses, Rory can only blame herself. She has a rabble-rousing night with her LaDB boys and winds up sleeping with Logan in one more bubble of fantasy, one more umbrella-jump of escapism, like the old days, because Logan is her weakness. And when she wakes up the next morning, Rory turns and walks away from Logan and the affair and her insistence on having what she wants regardless of who she hurts (hello, Dean Forrester and her affinity for taking spoken-for men) for the final time. And the consequences of her desires? She’s pregnant. (Come on, we all know the baby is Logan’s; Rory’s life rhymes with Lorelai’s.) She goes to Christopher to interview him for the book and is subtly asking her father why he wasn’t in her life, because she needs to know what to do with her baby and her lover. She didn’t go to Lorelai to figure that out. She went to her dad, because the truth is, Rory didn’t have her father, and part of dealing with the consequences of her actions is to work out how to take care of this baby and whether or not that means involving the father. She’s owning up. She goes to Lorelai and offers to give up this book; she doesn’t make excuses or whine, she wrote the book anyway because she believes in it, but when she’s gotten three chapters in, she respectfully goes to her mother and asks her to read it and then, for the sake of Lorelai, not herself, Rory promises to quit and throw the book out if Lorelai does not approve. Because Lorelai is more important to her than herself. Rory has worked hard and made mistakes and gotten pregnant and she has stared the world in the eyes and seen she’s not special. And she has to deal with that. And she does, finally, deal with it. And she’s happy.

Emily: Emily is confronted with the fact that nothing is inside her control—except what she does. Worth does not come from what she owns or who she’s with or what she’s wearing, and it didn’t come from her marriage, either. That wasn’t why she married Richard anyway. She is miserable and alone, and part of that is her fault. She married Richard because she loved him, and she keeps coming back to Lorelai because she loves her, and she opens up her house to Rory when Rory needs a place to write because she loves her. Emily looks around at what she has and recognizes what has worth and what doesn’t, maybe for the first time, with clear vision. She recognizes that she can’t control everything. At first, that fact keeps her down. She forgets what day it is, the curtains are closed, and she doesn’t get up in the morning. No Richard, no Lorelai, no reason to move. And then Lorelai calls her, and tells her about who Richard was and what Richard did and how it mattered, and that inspires Emily. She can get up. She buys a place on Cape Cod, totally opposite of the sort of life everyone admires and expects to have worth, and she does what she’s really always been best at—she loves. She takes care. She took care of Richard, she took care of Lorelai and Rory when they needed it, and she takes care of Berta and her wonderful family, instead of having a maid take care of her needs. She packs up and moves out, she sends Jack away, she reveals the D.A.R. for what it is and quits them forever, and she takes a job at a whaling museum because she just likes it. It’s nothing fancy, and neither is her oceanic house or the music she plays in it or the clothing she wears, because none of that is worth anything anyway. Her family is. Her friends are. She gets the painting of Richard done right and brings it with her, and she gives up attempting control of everything and only takes control of how she behaves. She gives Lorelai what Lorelai needs for the Dragonfly, and her only stipulation is that she gets to spend more time with her daughter and Luke. She loves, she takes care of others, she helps. And she’s happy. And now, the best for last. The star.

Lorelai: Lorelai sits in that stupid Stars Hollow Musical and hears a song that perfectly describes her problem—it’s never or now. Make a commitment. Do something hard. Make your life about something other than your momentary present happiness and comfort, the way you do with just Rory, sometimes, but make it a permanent change. Make change permanent! Don’t run away! …And then she runs away. She’s been miserable, she’s hit bottom, like her mother before her and her daughter after her. She’s losing friends, she’s losing Luke, she’s losing Emily, she’s losing Rory over the manuscript, and it’s all her fault. Lorelai tries to breeze past it. She does Wild. She does what she’s never done before, she does something hard and uncomfortable, but she does it for herself, and therefore it doesn’t quite work. She tries to hike, Dipper Pines won’t let her hike, she meets other women her age who think this hike is gonna fix things, it doesn’t, and she gives up and goes to get coffee because that’s her go-to. (Coffee is speedy, bad for you, and only a temporary rush—kind of everything Lorelai clings to, actually.) But the coffee shop is closed, and when Lorelai is denied that allegorical Band Aid, she goes around back and sees a great view and finally finds clarity. She didn’t need the hike—she needed to think. She needed a moment of silence and introspection to gain the insane courage to finally stop moving, stick around, and face her fears. To put her eyes on herself and then take her eyes off herself and onto other people—namely the people she loves. Lorelai calls Emily and cries, because it’s hard to do this, it hurts, but with one story, she proves she loved her father, and she knows her father loved her, and the fact that she’s calling shows that she knows Emily loves her too, and she loves Emily, and has loved them both all along. It gives Emily the strength she needs to get out of bed. That was hard, but Lorelai did it. And now she’s going to do more hard things—she’s going to commit. It’s never or now, and Lorelai chooses now. She goes home and the first thing she does is propose to Luke and become Lorelai Danes overnight. Hard. Scary. Just right. She patches things up with her daughter, and chooses Rory over herself—for the hundredth time, yes, but when it’s at its hardest for her to do. “I’ll read it when it’s done.” Lorelai expands the Dragonfly. She goes to Emily for help, which is also super hard, but this time it’s not for Rory – it’s for her, and it’s for Michel, and it’s for the Dragonfly. And she accepts Emily’s affectionate terms. Lorelai chooses Rory, Luke, Emily, and Michel over herself, and commits, and she doesn’t run away. And she’s happy.

And all of it is earned. Finally earned.

I could talk more about the incredible writing, about ASP at her best, about the perfect themes and scenery and the very intentional end to Paris, Lane, Kirk, Taylor, Dean, Jess, Logan, Chris, and the general cast’s stories, but I’ve already rambled for too long.

Suffice it to say: A Year in the Life is my Gilmore Girls. It’s best version of the story. I think it was expertly done. Not perfect, but an ending that was earned.

[sebv81]

wdym you don't love michael schumacher. he's literally dad??

[overlordkisser]

Uhhhhh, so in my au the great devourer (lovingly nicknamed Ouro) instead of dying becomes a larger than average serpentine, who is so confused, like, all the time,,,,

[qwesty-030]

Gene does not do school work because he wants to. He does school work because he feels like HAS TO. He feels OBLIGATED to do so. Gene even states it himself: albeit he’s an academically successful student, it doesn’t mean he’s interested in learning. The end result (getting good grades) is what matters to most to Gene. To me, it’s very clear that he uses grades as external validation. He uses grades to define his self-worth and identity.

This is especially true when Gene flunked his first test bc of Finny. This flunk was a very personal attack for Gene (unbeknownst to Finny). that was the final straw for Gene. THAT was the moment he saw Finny as an enemy. THATTT was the moment Gene’s “war” truly began. and the rest is just history..,,

also not to mention he literally WEAPONIZES his academic achievement to “outbest ” Finny

[urbodymytemple]

crying over my music box rivht now (context in tags

[jtownraindancer]

History has shown that it is not whether a disaster will strike a town, but when. If it is not a mine fire, it is living in the shadow of Three Mile Island. Or in a community with a tainted water supply. Or the ghastly horror of Bhopal.

Slow Burn: A Photodocument of Centralia, Pennsylvania by Renée Jacobs, 1986.

[seniorloser]

you guys actually have no idea how much you mean to me

[bolt-x0]

HAVE I TALKED ABOUT FINNY GENE AND THE GYATT ROOM ON HERE…

[asp1diske]

Does your lurien have any weapons/inclination to fight? Or is he all words and the occasional tantrum punch? <3

In general, I headcanon Lurien to prefer using politics rather than physical force. Partly because he has a better chance of winning, and partly because he considers himself above such brawling. It's why he lets Herrah manhandle him in the last comic. He's trying proving a point; that he, an 'enlightened' member of Hallownest, is better than a mere beast.

I've drawn Lurien with a weapon here, here, and here. The last one is closest to my current image of Lurien, it's the most recent. I don't necessarily think he'd keep a Kingsmould claw blade after he became the Watcher, but I do think he'd have a weapon around.

As for Lurien's combat skills. In the Watcher Knights' dream nail dialogue, they refer to Lurien as the 'seal' rather than the 'Watcher'. So I headcanon that the Watcher Knights were appointed only after Lurien became a Dreamer. Which means that a) Lurien could be expected to hold his own in a fight should the need occur and/or b) 'Lurien' was replacable.

I do think that Lurien would be no match against Herrah though. Another reason he's not struggling in that last comic. He doesn't pick fights he cannot win.

[dailymtgflavortext]

It's not the two heads you should fear. It's the four fangs.

-Nessian Asp

[corpiote]

if ur wondering abt my uptick in posts/reblogs - I'm avoiding my coursework 🤗

[ano-natsu-ni-sake]

gene is so interesting. he holds no positive opinion of himself but he doesnt say that. but you can feel it. he never really describes himself and especially not his appearance unless he's putting up some kind of front or costume. he never says outright that he doesnt like himself, but he is so dedicated to blending in, finding his identity in whatever group he's apart of, hiding every genuine thought and feeling he has. doesnt seem like he does like himself much.

[qwesty-030]

BRINKER HADLEY DESIGN

agagagagag

okay time to introduce my Brinker Hadley design now 😃

I drew this probably 6 months ago if I remember correctly. The sketches are messy and the picture quality is so bad but yk if it gets the idea then it’s good enough lol

read more below to see my thought process >:)

My thought process :p

pre-plan:

Before i design characters, I like to write down whatever features they have. And i also like to consider how his personality traits and other activities affect the way he dresses which im sure everyone does when they design a character lol.

The main points i wanted to get a across is that he tries to act very mature and has a professional manner. He’s charismatic, very upfront, and he always got a plan.

He’s well dressed, a leader, very buisness or man type vibes, probably looks up to notable politicians, very involved in school, could honestly be in student council. And he’s the embodiment of law and order 🗣️🗣️

he could honestly be the embodiment of winter, cold and invasive.

dresswear:

compared to Gene and Finny, Brinker is a lot more well dressed.

He makes sure not a single dust is on his suit. (he probably has a dust roller somewhere). Everything is always in place and organized

I made his hair very slicked back cuz he wanna looks professional. And like Gene and Finny, his hair is inspired by actual hairstyles from the 1940s :)

And ofc I also gave him Devon’s signature uniform.

Physique:

to line up with Gene’s description, i made his eyes brows like straight lines. and also THICK

very pointy nose cuz he’s so dang nosy 🙄

it’s not visible but I tried to give him a strong jawline and defined cheekbones. i guess just reiterate his masculine features

i do not have a full body drawn so u can’t see his dumpy 😔

also i noticed how bored Gene sounds whenever he describes others. Is not in the same admirable way where he describes her intricate detail of Finny’s physique. He describes Finny like “oh my gosh his body shines so spectacularly in the light that you can see the outline of every muscle and facial features smile. his short brown hair shines with gold and his eyes are burn like green fire.” and there’s Brinker and Gene is just like “his face consists of straight lines 😐”

Rough Drafts:

Below are a few rough drafts I made playing with different color schemes and all that.

I was gonna give him glasses but it just wasn’t working out so I ditched them completely

I was ALSO gonna give him jet black hair but no one really has natural jet black hair. it didn’t fit well with the navy blue Devon uniform 🤷‍♀️ so I ditched the black hair too

i tried my darnest to make sure he does not look like Gene or Finny. I lowkey suffer from same-face syndrome and yeah 💀 I am quite proud of my Brinker design B) and I should try drawing him more

Honestly I think I’ve only drew Brinker like 3 or 4 times and that’s about it 💀

that’s all

have a nice day everyone

[plutonian-moon]

☆° persona charts observations ! ☆°

take what resonates leave what doesn't ! ☆° yes i come back after a long time of not posting anything <3 i was just having a very hard time with my mental health and physical health but i am kinda doing better so yeah ! :D

mercury in venus persona chart can show u how u r expressing ur love by using words etc its can also indicate if u have issues w/ expressing love verbally, some examples ☆° :

mercury Rx / mercury-saturn (hard aspects) : can indicate that u have some issues showing love verbally ☆°

scorpio mercury / 8H mercury : u can like having deep conversations with ur loved ones and u can expressing ur love very deeply & sometimes obssesive tbh ☆°

pisces mercury / 12H mercury / gemini mercury / 3H mercury : u can expressing ur love by writing love letters etc just words of affirmations can be important love language here

asc + 1H planets in venus persona chart can show u what type of beauty u have for example ☆° :

scorpio rising / 1H pluto : magnetic, dark beauty maybe u look good with red & black color vampire vibes fr ☆

virgo rising / 1H mercury : earthy, youngtful beauty, u can look pretty with brown & forest green colors ! ☆

leo rising / 1H sun : first of all u can getting many compliments bc of ur hair they can be very good looking, u can have this very glowing and shining aura, u can look so fine with gold, yellow, orange colors ☆

moon in venus persona chart is what u need emotionally in relationships ☆° :

virgo moon / 6H moon : acts of service can be important for u, u can like when someone does small things for u ! ☆

pisces moon / 12H moon : DEEP CONNECTION!!, u want someone who is emphatic, helpful and who will listen to u when u need it ☆

gemini moon / 3H moon : def words of affirmations can be somethig u want, u need someone who is good at communicating bc dry texters can makes u feel unwanted etc, u need someone who likes to joke and is matching ur vibe ☆°

mercury in mars persona chart can show u how u expressing ur angry verbally/by using words, some examples :

pisces mercury / 12H mercury / cancer mercury / 4H mercury : yall tend to be more on the passive agressive side tbh, probably will also stay silent with 12H mercury its can indicate that u will most likely hide ur thoughts durning argument hm

aries mercury / 1H mercury / leo mercury / 5H mercury / gemini mercury / 3H mercury : will be the ones who are more argumentive and confident durning arguments tbh.. can say alot of things that will hurt peoples even without realizing that lol

nemesis (123) is asteroid that talks about enemies looking at nemesis persona chart is very interesting esp take a look at the 12th house (hidden enemies), 7th house (open enemies) and ascendent\1st house planets + ofc ur nemesis zodiac sign, house, aspects and degree all of this can tell u about ur types of enemies that u have , example in ur nemesis persona chart :

7H cancer \ 7H moon \ 7H neptune \ 7H pisces \ 1H moon \ 1H neptune \ pisces rising \ cancer rising : open enemies that can be very passive agressive, can have victim complex and use gashliting alot, when u have 7H neptune \ pisces rising probably their actions that they do are confusing for u for example someone can one day be ur enemie and acts that they hate u annd the text day love bombing u (since neptune is planet of confusion)

webb (3041) persona chart will tell u how others see u on internet esp take a look at ascendent \ 1st house planets \ ruler of 1st house

chance of 12H moon \ 7H ruler in 12H person in venus persona chart of telling u that they have a feelings\crushing on u are very small😭 they are good at hiding feelings for someone, can be very scared of rejection thats why they will not tell u abt it

saturn 1H \ 7H saturn \ venus-saturn (hard aspects) in venus persona chart indicate a hard lesson in love in this life time, probably many karmic relationships, in love can be very awkward, saturn 1H and venus-saturn (hard aspects) even asc-saturn (hard aspects) indicate that u dont know how to take compliments, possible low self esteem, in general very beautiful but insecure peoples

[loverboybrightsideghost]

this is free. let’s go crazy, nerds.