#i hate change. and this is a big change

[lazylittledragon]

they've been at it for 40 minutes

[havenshereagain]

DPxDC Idea

Danny working at Wayne Enterprises as some sort of engineer, uses the in-house app for all his blueprints and stuff

He starts getting notes from a coworker in-app, and assumes its this annoying older guy in his department who constantly undermines him because of his age, despite his education and past achievements (i feel like in this AU the Fentons react well to the reveal and they work together on a number of non-lethal ecto inventions that have Danny's name attached to them)

Except one day his coworker mentions never using the app, and Danny suddenly realizes there's only one other TD he could've been arguing with in the notes of the app

[kazekis]

oh i hate the new tumblr layout

[beejwatch]

MASH s04e01 - Welcome to Korea

[lucabyte]

hi im back

[elodieunderglass]

Mortifying ordeal of having a job

[corvidaerook]

I'm sure people have done this poll before, but something I love asking people about is whether or not their Rooks keep using Rook as a nickname post-game or if they swap back to their regular name, so I'm kind of curious. If you see this;

(I.e., how do they introduce themselves, do they like being referred to as Rook, etc.)

[icantbotherwithusernames]

Ooo, where was Mabel when Ford came to kill Bill/got sucked back through the portal? What does she think when several Henchmaniacs died to him? (Well, at least *one* according to J3 lol)

okay, so imma try to explain this with a proper verbal explanation, but also with, you guessed it, crappy doodles! hopefully the amount of them will make up for the crappyness, lmao

so, as normal, Ford shows up to destroy Bill. Mabel is there just like the rest of the henchmaniacs.

Just like in canon, Bill sends them all to fight Ford for him.

But Bill stops Mabel and doesn't let her go fight.

He doesn't try to keep Mabel safe because he cares about her (or at least he doesn't want that to be the reason) but because he knows that will only provoke Ford more.

Mabel decides to help Bill instead of standing at the side. She can't let one of the only people she relies on to die!

Ford is fighting 2 v 1, and especially considering he's fighting against a demon god, he gets caught up in the fight and almost gets hit by Mabel again.

He doesn't mean to, but he points his weapon at her. He never wanted to hurt her in any way, just to get her out of there, but his instincts betrayed him.

Bill teleports Mabel away, and gets back to fighting Ford.

Just like in canon when Ford decides to leave instead of killing Bill, he also leaves the nightmare realm without trying to rescue Mabel first. He feels sorry for her, but he doesn't even know who she is.

woala. amazing, 10/10 storytelling, hopefully it made you cry

[dragonnon]

why does it feel like sometimes Kazuma's themes could just be from the perpective of Ryunosuke? which is interesting considering the line Kazuma says, "i'm not the one who's changed Ryunosuke, you have."

Kazuma's first theme sounds like a downright heroic folk hero, someone you look up too and can depend on. the meter is focused and stays on point, every individual instrument waits for their perfect intervals. the bass instrument keeping them all steady. then an arpeggio comes and the original melody instrument stands aside and only plays as an accompaniment before coming back as lead with fanfare playing as it leads back to the main melody. there are a lot of japanese instruments in the song which go away in later themes. there is a kagura-suzu which is japanese bell! i really like it's sound!!!

in Nocturne, instruments are overlapping more but are quieter for the main melody which i think is the koto. it's no longer so steady, the bass is gone and i interpret the bass with his life/passion. no longer feels like a force always by your side more like a tun playing in your mind. the determined and steadfast arpeggio is gone and never comes back. and there are these contemplative plucking violin(?) strings in the middle section. they give me of the feeling of reminiscing. i feel like the last part before it repeats is Ryunosuke remembering all of the good times they've had, and then once it repeats that's him remembering he's gone. in this theme, all the other instruments take a real backseat to the main one. it's Ryunosuke remembering the best part of him, his main melody so to speak. the Kagura-suzu is still here.

In His Glorious Return, it starts out like a very triumphant and yearned for version of samurai on a mission (if that makes sense) until the brass section rests and it becomes almost exactly like Nocturne, something i find extremely interesting because of that part where susato was talking to kazuma in the departed soul scene, ryunosuke was looking towards the ground lost in thought around the same time this part plays i believe? it's almost as if he's remembering all the times he's grieved him.... thus the nocturne version playing.

the Kagura-suzu is now gone :( it is now "replaced" with snapping.

A prosecutor reborn, oh my god a prosecutor reborn, if it didn't have the same melody i almost wouldn't be able to tell it's the same character. most of his original japanese instruments are gone, and have been replaced with ones that are more associated with britain's characters. almost as if he seems more alien to Ryunouske. he borrows several instrument's from barok van ziek's theme, like the violin, and harpsichord. and yeah, the harpsichord absolutely haunts this song. it's EVERYWHERE. someone told me once the harpsichord represents the professor, so that's FUN. it's not like the professor absolutely haunts this guys life (,:'D)

i think the only thing he keeps is his bass which is used way more sparingly than it is in SOAM. and interestingly, the kagura-suzu is back, but it is only used like twice i think. (☹️), its still kinda replaced with the snapping

The opening almost sounds like an unveiling, as if seeing the man for first time and he's utterly terrifying. and then it jumps straight into this unfamiliar melody not heard anywhere in any of his other themes. it's reminiscent of barok van ziek's theme. ...because Ryunosuke barely recognizes him. he's nothing like who he's known... right? and it just keeps getting grander and grander! it then comes back to this more familiar part kazuma's iconic motif, but the notes are now in legato, and the melody's been changed by one note, and though it's only one it is NOTICEABLE. it distracts from how everything else about that section was so familiar. (when i first heard it i was actually taken aback)

now for the part that i'm crazy about

THE MIDDLE SECTION HAS THE GATEWAY TO THE TRUTH

THEME WHICH IS THE SAMD MOTIF THAT PLAYS IN THE PROFESSOR THEME! IF YOU LISTEN TO THEM BACK TO BACK YOU'LL HEAR THEM! Kazuma could've BEEN the professor if he didn't turn his heel and left! if he had killed gregson in pursuit of his mission, he could've become that! and the fact that motif is in this song is so important in showing that. just WOW. this song is Ryunouske finally seeing a different side to kazuma. him in his grief and rage, him at his 'worst' it's quite unlike how ryunosuke sees him in nocturne where it seems he is remembering only the absolute best parts about him like it's so easy to do when in grief.

listening to his themes with all that in mind has been a tear-filled hell for me, but it's always how i've thought of it basically.

[dawns-beauty]

it took days, but we sail upon the ship of theseus

[the-shifting-long]

one fascinating thing about the Princesses is how often they echo the mindset that motivates the Shifting Mound.

Shifty/Felina is someone who is convinced that she is what she is, that the totality of her being is something that cannot be changed or denied. There is no compromise, in part because there is nothing to compromise-she simply is, you simply are, and this is how things are.

Communicating with her using words pre and post awakening is difficult-words are difficult for her. They never quite weave into what she wishes to say. She often resorts to flowery metaphors, unable to use imprecise and unnuanced language to say the things she wants to say. When frustrated by the player or by this issue of communication, she often falls back on how there is no constant, there is no center, everything exists in relation to everything it isn't and vice versa, "nothing" is a concept that exists because there's "something", and how can we even begin to talk about the inherently contradictory, multifaceted aspects of our existence when language cannot account for it?

Precisely because she dislikes words, and feels she has to fall back on metaphor for them to have any meaning, she values action more than anything-more specifically, she values conflicts. She values the ins and outs, the victories and defeats, things ending and breaking only to be reborn. This also ties into the Shifting Mound as a force of entropy, change, and death-she is what she is, viewing death and fear and pain and change as necessary parts of the world, and what's needed to improve yourself.

She loves it so much, loves the player so much, finds it so romantic, that she often refers to it as a dance. Conflict as music. Something beautiful and timeless to be adored and made over and over and over again in a billion different styles across a billion different times and places.

This is all basic Shifting Mound analysis, and it's important for establishing a baseline of Who She Is (without getting into what her Heart versions say, and why there's incongruence there-that's a different post! we can definitely go deeper) Because...every single one of her vessels reflects one or more of these aspects of Felina.

The Damsel line is all about TSM's connection and adoration of the player, how she loves the player even at their very worst and comes up with the most loving poems for the most horrifying things. Even when killed, she decides to return the favor with a smile and with your hand in hers. Damsel's deconstruction refers to the end of the world as "unleashing unceasing entropy upon all creation", Happily Ever After wants nothing more than to leave and dance, and even wears TSM's crown and takes similar poses to the dance Felina has with the player in the Leave ending.

Prisoner is once again about the failure of words, being able to communicate without them, or find hidden meanings. So much of Cage involves both Princess and Voices having literal understandings of the situation, and twisting it for their own ends, along with the natural fall into conflict-and that conflict being beautiful. Drowned Grey is beyond words, instead letting her own corpse's appearance and blank stare speak for her. She's also got this idea of destruction as something necessary-she's perfectly fine, even happy, being nothing but a head and losing her body completely. When that doesn't work, the cabin breaks down on its own, and its destruction is unambiguously a good thing.

Razor's a blatantly more meta route where you manifest a knife for your enemy to kill you with. Razor in both forms is about going through an endless stream of trials until you are about to embrace godhood, either being pushed into another very romantic conflict-the ebb and flow-or rising about it to break her against yourself. It's a beautiful parallel to Shifty herself, this unstoppable force that will never change, and where the relationship only changes because you're able to rise against it.

The Nightmare is about how she simply is what she is, and she can't change that. Fear and death and horror are necessary things to keep the world running. Noteably, Nightmare doesn't want to end the world so much as "hold it in her hands and squeeze." Nightmare doesn't see bringing death and destruction and most importantly, fear as an ending, but a new beginning, and an inevitable part of her nature, just like her fully-awakened self.

Spectre is one of the routes that plays a lot with perception-you think she's dead, so she is, and in Princess and the Dragon, she is both dead and alive until the metaphorical box is opened by an outside observer, schrodinger's cat style. Like the Shifting Mound, she personally chooses to see the best in the player until proven otherwise, and even then, is inclined to embrace violence as a natural part of their relationship if pushed down Wraith or the Stenciled version of Princess and the Dragon. Shifty, Damsel, and Spectre want nothing more than to be with you.

And Tower wants nothing more than to be with you, too...as a goddess while you sit by her side as a pet, or at best, a priest. The Tower princesses are arguably the ones that get closest to godhood, to being what the Shifting Mound and therefore all of the Princesses are. They're held back by their inability to treat the player as an equal, and there's definitely an argument to made for Felina's own arrogance and assumption that she can never be wrong, so you must concede to her. Tower and Apotheosis in particular are delighted by the player's acts of resistance, much in the same way the Shifting Mound gets excited when you're able to successfully resist her. In terms of personality, I'd argue this line shares TSM's general attitude and behavior the most.*

*Tower-Fury is different from the rest of her line in a lot of ways, such as actively disliking the player's resistance, but keeps the divine arrogance even when she believes it's been denied to her, and is genuinely upset it has been much in the same way a certain pre-awakened someone doesn't take kindly to the Oblivion paths.

The Adversary line, similarly to Tower and Razor, once more involves that core belief of conflict between the two of you specifically leading to greater and greater heights. If the Tower reflects TSM's overall attitude, Advy is a reflection of what TSM tries to get at with metaphor-Adversary in all of her forms finds no use in words, only purpose in action, but will still literally cry from joy if this action is compared to a song written in blood. Both Eye of the Needle and Advy-Fury share this trait, with Advy-Fury deriding words as things that "aren't music. They aren't dance. They aren't feeling." TSM shuts down arguments that nitpick her language much in the same way the Adversaries are uninterested in language period, while also using the same language Of song and dance and music. And, while ambiguous, you could say the Leave ending, the endless joy of being with TSM as the world dies and is reborn over and over, presents a similar dynamic to the end of Adversary, where the two of you fight each other over and over with such fervent passion death itself no longer sits on your shoulders...

Stranger's so meta and so obviously a mini-Shifty, it almost feels like a waste to talk about how she's Shifty. A billion realities colliding into one, parts of them dead, parts that don't fit...even pre-awakened TSM says she's in the shape of her, but is unable to hold everything she is.

Witch brings our favorite dance metaphor back right alongside stories about love, change, and growth. While the Witch herself is a wretched little thing, in her own words, she contains so much potential to become something beyond that. Witch, Nightmare, and Razor are all some of the more playful sides of TSM. I feel like things get really interesting in Witch's chapter 3s, ESPECIALLY the Wild.

That's one where you and the princess are literally merged together, right where she believes you belong, and are so, so close to getting everything she wants before the nature of the construct and TSM kick in and the walls close. I can't do a playthrough where I intend to leave with TSM without getting the Networked Wild as a vessel-it just feels that important to Felina as a character, to see what her pre-awakened self describes as a literal shadow of herself, a much more vulnerable version, and for her to be right there...while Tower/Apo feels closest in terms of godhood and attitude, and Stranger feels closet in terms of what she physically is and experiences, Wild feels as though she's the most similar to TSM's inner heart and feelings, right down to the buried parts of herself that still want to get violent.

And then there's Beast/Den. You've probably heard this one from Nightmare and Razor before, get ready to here it from the lion's mouth this time: I am what I am, fledgling. There is no reasoning with that. Adversary says she's beyond words while still happy to use them-that's more than fine, TSM loves poetry despite (or perhaps because?) of her frustrations with language. Den literally gets to the point where she's beyond words. This is a princess who doesn't care for the pretenses that she's a normal, human, mortal being anymore, a princess who embraces everything she is and wants, and who will always be happy to show you exactly what she means...through biting you biting you biting you biting you biting you saving you from a collapsing tunnel biting you <3 Once more we see that repeating motif of merging with the princess, being one with her. Once more we see how badly the Shifting Mound wants to be with us, by any means possible, through the lens of her vessels.

Anyways I think it's really neat how these Princesses are all full-fledged and deep, nuanced characters in and of itself while still contributing to the gestalt of another woman who is made of all of them, and helping to inform her characterization as much as their own. It's like Slay the Princess is insanely well-written and good or something.

[smokbeast]

”Bento”

#inktobertale2024 Day 8

[dykedvonte]

I like to think that Curly and Jimmy had parallel lives on earth.

That Curly was an only child and his parents died shortly after he became a captain. They got to see his biggest accomplishment but he had no one to really celebrate it with after. Jimmy has siblings and his parents and they didn’t care when he got the co-pilot job cause he’s just the back up. Sure they’re happy for him but no reason to celebrate.

They could both barely afford rent. That’s how it is that late in capitalism and the world the live. The difference is Curly could down size, Jimmy would end up down on the curb. Jimmy had flings and Curly had partners. Both fleeting but Curly pulled away and they left Jimmy.

I like to think they lived parallel to each other in a way they both noticed. Curly felt a kinship and Jimmy felt resentful. Curly worked to make a good deal with what he had and Jimmy scorned his dealt cards and wanted the hand he thought Curly had made.

[jerreeeeeee]

there are always like fandom specific “subgenres” of fic where there are a few really specific questions or big events in canon that a large percentage of fics want to explore. there are a few of these for taz balance fic but one of if not the biggest is “lucretia forgiveness”—which is usually about the question of how taako specifically feels about lucretia’s decisions post canon, and especially whether he forgives her. and while that’s definitely an interesting question, it tends to dominate, and it’s unfortunate because i find barry’s, davenport’s, and especially lup’s responses to lucretia’s decisions far more interesting

[jerswayman]

freddy apologising to the fan who got his jersey instead of sway's, ft. the fan sweetly reassuring him that he's v.happy! alternatively titled: me about to throw so much love and affection at him that he will never doubt it ever again

[horsegirlsodapop]

steve randle and love. if this makes any sense.

im going crazy. what a virtue to love, to grieve, to watch, to exist in tandem and miss others. to feel your chest stutter and shake. im going crazy. featuring dandelion wine and silly pictures i found on pinterest. oh and also james dean and sal mineo. gonna tag y'all too. @broareweabouttoviberightnow @bleucheeeeeese @damthosefandoms @grease-got-a-hold