#the idea was to create something with no focal point

[ciceklitilki]

[dark-lord-of-awesomeness]

sigh.

I need this out of my brain, I'm trying to focus on the fics I'm already writing, so I'm flinging this into the void

Au where Stan's born Stan Filbrick Pines, only child to Filbrick and Caryn Pines. He's not a super smart genius, but without Ford to compare to his life...

Still sucks.

He's not bullied for being the dumb twin, but he's still a jerk, still barely socializes positively with his peers, is desperate for connection but doesn't know how to change himself to be more likable to everyone around him. He's still bullied as a kid for being shrimpy and weak until he picks up boxing, still finds the Stan O' War, but it becomes a hang out spot for him to be by himself and draw instead of a focal point for his dreams of escapism.

But now that he's not getting pressured to be more like Ford he can focus on his own hobbies without too much shame.

Specifically drawing.

Starts writing his lil'Stan comic, grows a little older and dang :/ kinda embarrassing to have the character be just him, he'll give him a different name!

Like Stanley. No one will ever guess its an OC thats just him like this!

Grows a little older and his loneliness manifests as him giving his comic character (who's not him!) a friend, named..... Stanford. Stanford's everything Stanley isn't, smart (doesn't struggle in school like Stan), cool (people think his actions are amazing and not something to laugh at or dismiss), a hero everyone likes but is too focused on being a nerd to realize (Stan's the town's trouble child, and is very aware no one likes him). Its not Stan's ideal! Its not Stan twice! See, Stanford different, because, uh, he's got six fingers!

So Stan's got his Lil'Stans comic, starring the twins Stanley and Stanford, one who's just him and one who's everything Stan's not (and sort of wishes he was) and are the best of friends. Life goes on, Stan hits high school, draws and doesn't get the comparison that kills his creativeness but also still isn't a super genius like his cool OC Sixer. Hits seventeen and gets scouted for some prestigious art school.

Turns out Stan's got talent! He's pretty good! Just one thing!

They don't really like his comic style, they like his more realistic, detailed style more. Stan can get in, but he has to 'grow up' and leave his comics behind (or at least, that's what it feels like everyone else is telling him).

And Stan does it. He wants to go somewhere no one knows him, where he can hopefully find someone who doesn't scowl and grimace at all of his ideas, actually make friends. Writes a final farewell comic to his characters, where Stanley and Stanford have a (typical Teen) angsty falling out and Stanley rides off into the sunset to start his own adventure, and maybe find somewhere he belongs.

This does not happen, and while Stan graduates he's just as lonely as he was when he started, parents distant, brother someone he barely knows. Through a series of events Stan's more 'mature' work gets popular and he moves out to Gravity Falls for either inspiration or just to get away from it all. Doesn't matter.

What matters is he's been living his life, drawing stories based on all the weird things around him, when a man who looks eerily similar to him bursts into his living room, claims to be his twin, and is here to take Stan on an adventure to Save Everyone.

aka

Stan's childhood comics come to life, except specifically the twin brother he dreamed up, the evil villain he based off a chip when he was out of ideas, and a few minor characters (Fiddleford, various others, idk). The world of Lil'Stans' , now fully real, is seeping into the real world and Ford's come rescue his 'long lost' brother who ditched him ten years ago and who he's still angry with over it (Stan's a little peeved about it. He was seventeen! How was he supposed to know all his day dreams were real? or something? Actually whats happening?)

(Aka, I've seen a few fics about Ford being an only child and creating Stan in one way or another, what if it was the other way around? This idea slammed into my brain the other night out of nowhere. I've got nothing but the premise and i need it Out of my Mind)

[caflecthegoblin]

Host talking here, just wanted to say this because, somehow, people are still pushing the Tulpamancy=Tibetan practice myth, and it needs addressing.

Myth/oversimplification: Tulpamancy is, or is based on a Tibetan Buddhist closed practice, therefore tulpamancy is bad because something something cultural appropriation.

Fact: Tulpamancy, or at least the word tulpa, is very loosely inspired by a single chapter in a 1929 book on mysticism in Tibet written by a French Theosophist named Alexandra David Neel, who visited in the 1920s and wrote about a time she supposedly learned about tulpas and even took a crack at creating one (and spending 6 months destroying it after it supposedly became too powerful and turned malicious, hence the tulpa stereotype of the 'imaginary friend turned evil!').

However, there are no contemporary sources, nor sources written by any actual Tibetans or Buddhists (and it's not just a matter of their practices not being written down, you CAN find many texts on esoteric practices of Tibetan Buddhism if you bother to look) to suggest it was an actual practice in those days. David-Neel is generally well-regarded among Buddhists of today for her early look into Tibetan culture, but in the end she is still an outsider looking in.

Most agree that the term as David Neel used it, was most likely a misunderstanding of the term SprulPa, which refers to the earthly bodies that Buddhas manifest as to teach those who have not achieved Nirvana. There might also be a bit of the word Tulku, which refers to individuals who are recognised as the reincarnation of a past teacher, Bodhisattva or other enlightened being (like the Dalai Lama). And yes, there are some Indian Buddhist sources that talk about 'mind-made bodies', but this is less referred to as an ability one can attain with training and practice, and more a power that Buddhas have.

It also holds some vague similarity to the Yidam, a sort of meditational focal point in the form of a Buddha, Bodhisattva or other Tibetan deity or spirit, that the practitioner visualises in vivid detail and then identifies themselves with, in an attempt to internalise their qualities and attributes (wisdom from Manjushri, good health from the Medicine Buddha, compassion from Green Tara, etc). This is considered a higher esoteric practices amongst Buddhists, though not a closed one: if you've done the necessary preliminary practices and been empowered and taught by a Lama or Guru to do the practice, it doesn't matter if you're Tibetan or not. Many practitioners will choose particular Yidams they focus on for whatever reason, and may refer to them as 'my Yidam', but it's important to note that such deities are agreed upon to already 'exist' with the only creation on the practitioners part being the mental image of them, rather than being created wholecloth by the practitioner.

There are older Western practices similar to tulpamancy, such as the Theosophical concept of the Thoughtform, which is described as simple ethereal objects that emanate from one's aura, generated by thoughts and feelings. Or the Fylgja, a sort of spirit of Germanic folklore that is a projection of one's own soul, often taking an animal form or a form of the opposite gender of their respective human. However in neither case is the entity, be it a thoughtform or a Fylgja, considered to be a separate, sentient being in the way a modern tulpa is.

So as far as I am able to glean, the modern practice of tulpamancy is just that: a modern idea. And as loathe as I am to say it, it seems like it mostly just originated from the /x/ board on 4Chan. Some well-read channer probably heard about David Neel and her supposed tulpa experience and decided the word would work great for this concept as they devised it.

Hope this clears things up for people, and helps us get one step closer to finally doing away with this whole myth about Tulpamancy being some ancient Tibetan mystical practice, and that the term is a bad word because of that.

[blueshrimptank]

"I knew you'd be back. You all come back eventually. Just like this town, you're only moving in circles."

My first post! For my final assignment last year I had to recreate a movie poster, but then I had a better idea...why not create my own for something that will most likely never have a movie ever!

I played Echo with my friend earlier in 2024 because they had recommended it to me for having an insane story and boy was I not disappointed! All of the characters are so well rounded and realistic, and the situations they're put in are so horrifyingly creative, it enthralled me until the very end! I gotta say that I enjoyed Flynn's route the most as I sort of related to him the most, despite him (and by extension, all of the characters) being less than good people, but god his route was so impactful, and his epilogue even more so. I highly recommend this game to anyone who likes psychological horror written with that good extra 'haunted southwest' flavor!

Design wise, I wanted to copy the demo menu screen because I think the focal point being Chase in terms of movie production would be clever foreshadowing, while also keeping that half-face influence. I took the backgrounds from the game files itself so I don't have any ownership of them, but Chase I rendered completely on my own.

Here's some extra versions I submitted, along with a blu-ray cover that was also required for my final.

[yanderenightmare]

do u have advive on making ur writing flow beautifully? Or how to put the vision into worde? Whenever I read ur work I just go "wow it's so beautiful, how can i write like that?"

Also, do u plan ur work beforehand or do u just go with the flow?

On Writing Vision & Voice

Thank you! And splendid question!

♡ How I Get Started

Usually, I’ve had an idea beforehand. It doesn’t have to be anything big, just a teensy little daydream, or something I’ve seen or read that’s inspired me. 

For example, for PIECE OF CAKE, I simply had the thought of a yandere forcing the reader to eat cake. It wasn’t much on its own, but then I got started on creating a narrative around that, filling in the gaps of why he would do that and how they would come to that. And voila, I suddenly had both a fleshed-out character and a plot going on.

Other times, I suddenly get this entire dialogue sequence out of nowhere. This usually happens when I’m lying awake in bed, or sitting in my thoughts on the train for longer periods, or anywhere where the only thing I have to occupy myself is daydreaming. Here, I usually just jot down the dialogue and whatever tiny cues I picture in my head, and leave it for later. Then later,  I fill in all the actions, thought processes, and scene descriptions whenever I’m better situated to write it all out.

You can really tell when one of my works has been based on dialogue first or simply an idea, as those texts based on dialogue are very dialogue-heavy, whereas those based on lone ideas rarely have any at all. 

Take, for example, GAMER-RAGE, which was based on an idea I got from watching a YouTube streamer called Asmongold. It has little to no dialogue, even though it’s one of my longer texts. Then take this fic called LOOSE SCREWS. You’ll notice it’s almost purely dialogue from start to finish, and that’s because it essentially started off as a script.

Other times, when I’m all out of ideas or dialogue, I’ll kickstart myself with a prompt, typically just a word or concept, like VIRGIN BOY or BRUISER BOYFRIEND, where I’ll just sit and see what comes to mind. 

Here’s a General Prompt List you can check out, and here’s another NSFW-oriented one. There are dozens of others out there for you to use when you’re feeling a little sapped for inspo.

In this edition of the Helpdesk, I write a bit more on getting inspired: On Ideas & Inspo.

♡ My Writing Style

How to make things flow? 

Well, it’s a complicated question since it boils down to quite a few things. Wording is one, sentence structure is another, then there’s point of view, and my authorial choices of what to include as well as when, where, and how I include it.

I explain a bit about wording in this previous Helpdesk edition called Vocabulary Tips & Tricks. I also explain a few things about point of view and authorial choices in this edition, On Focal Points & The Power of Persuasion, and this one, On Scene Descriptions. More on point of view is also discussed in this edition, On Reader Inserts.

All these things factor into how the entire text flows. But I suppose I can give a few tips on flow overall.

The first and easiest tip is to write straightforwardly from your head—don’t get hung up on spelling or grammar in the first run, just write what you instinctively see of the scene in question. This way, you’ll only be including what stands out and is important. It’s not important that the text is understandable or even readable to others; all you have to focus on are the core elements of the scene. Not to be confused with the core plot points, core elements can be anything you want to focus on, from a certain emotion, a certain action, a certain dialogue sentence, a certain angle, or whatever the idea rests on.

In the next round, you read and implement other things you think should be included. Here, you should assume the position of an unbiased reader. So, anything anyone wouldn’t understand, you explain by including more descriptions, such as actions, thoughts, and surroundings.

In the third round, you reread and start to change things up. Here, it can be helpful to mark things in red. This would be anything you feel disrupts the flow. Is there anywhere in the text where the vibe is off, or anything that reads as boring, anything that stunts the action where it shouldn’t? Anything at all where something sticks out or does something to the reading experience that it shouldn’t, mark it as red. This also includes anything you just don’t like, obviously.

And then, in the fourth round, you work on fixing those things. See if they can be deleted, or if you can move them someplace else, phrase it differently or more concisely, leave it to be read between the lines instead. 

This can be hard. Sometimes I’ll write descriptions that I really like, but end up needing to scrap them because they don’t do anything for the text. Rather, the opposite, they disrupt the flow.

This type of self-editing was referred to by William Faulkner as Kill your darlings. And it basically means that you have to erase parts of your writing or certain ideas that stand in the way of the big picture, even though you hold love for them.

What I like to do though, to make the process easier for myself and so that I don’t feel like I’m actively throwing parts of myself into the furnace, is to save all those things I cut from the text and store them in their own document so that I might make use of them differently some other time.

But anyway, back to the process.

At this point, you should just repeat rounds three and four until you feel you’ve achieved a nice flow.

After doing things for some time, it integrates itself into your writing method, and you start doing it instinctively without thinking. As I work now, I simply write and reread a few times, making changes as I go. But if I were to break it up, then this four-step routine is essentially what I do.

Hope it helps!

♡ NIGHTMARE'S HELPDESK

[regnumveritatis]

(Trigger warning for discussion of child murder and ableism)

I

I

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Hey guys. I went down the rabbit hole of ancient roman history in my quest to create the historical equivalent of Nerio Fides for Arsinoe in Roman times whilst still trying to spread real facts when I'm writing. Some of her assigned roles like protection of towns went to Hercules and they had Aediculus – The Roman god of architecture who presided over the construction and preservation of buildings. In Roman mythology, there isn't a single, dedicated god of nets. The closest equivalent is associated with the Greek goddess Britomartis, also known as Dictynna, who was a Cretan goddess of hunting and fishing nets. (I'm thinking of having her be adopted by Annabeth since the Minoics paint her as a child). In Roman mythology, she is sometimes associated with Artemis (Diana) and is known as Dictynna. I did make one of Arsinoe's sacred plants nettles for its textile use and the fact it had no deity tied to it, which means the Romans usurped it since they consecrated the plant to Mars (agriculture itself was split between Mars, Ceres and Jupiter). And when my search went into town laws I found something that would realllllly piss Annabeth off in terms of her personal beliefs that's not explicitly town related: the Twelve Tablets of Rome saying disabled children should be put to death, usually by stoning. This parted from the belief anyone with a ‘visible deformity’ was better off stoned to death before their life impacted the livelihood of other citizens. 

Some disabled children were publicly persecuted, while others were reportedly thrown in the Tiber river which I think would be extra painful for those who remembered Arsinoe as I've been writing the riverbed as the central building point for most of her temples per the focal point of civilizations being founded near the river. (Also basing this off the idea of temples in ancient greece tried to be near the gods/goddess's domain as seen with how the temples of Artemis were situated as near to the wild as possible and Demeter's were near the crops).

Those with visible disabilities that were allowed to live were mutilated to increase their value as beggars. (Which actually adds a lot of weight to Hermes taking in *everyone* in his cabin since he'd also be hosting all these people butchered by the state, even without this lore his crashout is a lot more valid than assumed considering how they turned throwing a stone from a tribute to him into the start of state approved murder). Whilst the practice was similar to the custom of leaving children born unsuitable to combat to die in Sparta and thus easily accepted, it caused a fury in Delphi as the blind population was sacred to Apollo believing that they were better suited for clairvoyance. Athens and Lemnos also disputed the rule since children with difficulties walking were usually used as blacksmiths being similar to the god Hephaestus thus losing them a valuable workforce (not very ethical from a modern standpoint as most of the people discussed were slaves but better than outright killing people).

The eugenics policy of ancient Rome was further empathized in the reign of Commodus who organized the 'crippled' and put them all in fights to the death in the Coliseum. These were actually seen as the least controversial of his gladiator fights, the citizens being more outraged at the Emperor fighting than his massacre of the 'dead weight' of the population.

So with this I suggest for the defilement of Arsinoe that those mutilated be branded with her roman mark since her new iteration is cold hearted and sees them as enemies of the state. Athena and Hephaestus and Hermes and Apollo would still have ptsd flashbacks if they see anything resembling that mark. And/or dressed as her greek devotees before being led to their deaths in the arena in a mockery of her suppresed cult. It's still a way to kill people in Camp Jupiter albeit with traitors who get called 'cripples' because of their uselessness because no one with any sort of physical impediment wants to be around them. Any suggestions for her Roman name and how the Roman camp would 'honor' her? Or is there already one and I'm just unaware?

[kenomacreature]

YES, IT REALLY IS JUST KRIS

No, Deltarune is not a whodunnit mystery

(The beautiful art for this banner was made by CursedMemes420 on Discord)

Okay, I didn't think I'd have to do this, but it turns out the new chapters of Deltarune are apparently an entire two months away still so we all have some time to kill. I'm going to use it to try to convince the last remaining fence-sitters that Kris is, in fact, the Knight, and hopefully maybe even convert some doubters.

The idea that Kris is the Knight has figured prominently in my other writing on Deltarune, such as my essay titled The Magic Circle, and my corollary speculation post about the metaphysics of Deltarune. To be frank, I think reading those two would be a much better use of your time, because I cover a lot of the evidence there too and utilize it to actually present an in-depth analysis of what the game's narrative is about. This post here will be purely lazer-focused on making the case for Kris being the Knight, presenting all the evidence I can think of and debunking the major counterarguments.

Let's begin.

THE POSITIVE CASE FOR KRIS BEING THE KNIGHT

Kris creates a Fountain on-screen

This is the requirement for a character being the Knight and Kris is the only one who explicitly clears it – we don’t even have a reason beyond order of elimination to suspect anyone else at the moment.

Kris does it on the Weird Route too, and in spite of Ralsei having explained the ramifications

This tells us that Kris is extremely committed to making fountains and must have some strong reason to be doing what they're doing, something which takes precedence in their mind over potentially risking the lives of other people, including close friends and relatives. On the Weird Route, the risk they're taking is obvious, but I also want to remind people that on the Normal Route - if Kris isn't the Knight - they're creating a Fountain despite another active Fountain creator still being out there, which is arguably even more dangerous and morally objectionable; Kris would be risking omnicide here.

Kris planned the Fountain ahead of time

Between Chapter 1 and 2, Kris plugs in the TV which they later make the focal point of the Fountain they create. This existing as a plot point at all very strongly points to Kris knowing how the mechanics of Dark World creation work prior to Queen’s explanation. On top of this, them eating the pie just so happens to later give them the crucial distraction needed to be able to slash the tires and have Susie stay over. Then, at the beginning of Chapter 2, the narration (which is often aligned with Kris's thoughts) says that "it is not yet time to wash your hands" when you try to do so, further implying that the chapter's ending is already planned.

Kris generally seems to know a lot of stuff that they shouldn’t

For example, they know exactly what’s going on with our control over them, enough to be able to remove or block our control when they need to, and they're confident enough in their abilities that they taunt us about it, smiling at the camera and such. This meta-awareness could potentially be explained by their numerous connections to Gaster (for example, Monster Teen anxiously mentioning that something happened with Kris in relation to the Bunker). Kris also seems to know exactly how Dark Worlds are influenced by Light World objects, as seen in the following point:

Kris’s Fountain creation method is deliberately paralleled with the Knight’s in Chapter 2

Kris plugs in the TV and leaves it on to ensure that they become the Darkner villain - as it turns out, this is exactly what the Knight does with the laptop in the computer lab. Setting aside the fact that Kris is using the Knight's exact methods, how does Kris even know to do this? Kris does it regardless of whether you inspect the laptop and find out what the Knight was doing. How are they so confident about their ability to properly set up this Dark World, if they've never done it before?

Kris uses the Knight's weapon and tool of choice

Queen says that the Knight used a blade to create their fountain, and shows an image of an identical looking knife to Kris’s. Later, we see Kris use that same knife to create the Chapter 3 Fountain. Kris is also named after a type of knife, and is heavily associated with them in general. Toby laying it on this thick would frankly just be kind of dishonest if it didn't have any meaning.

Kris does not have an alibi for the creation of Chapter 2’s fountain

Kris was established to have done something mysterious and physically taxing with a knife over the previous night. Lo and behold, the next day, someone has used a knife to create a Dark Fountain. Just a tad suspicious, maybe? This is why a number of players figure out that Kris is the Knight well ahead of the actual reveal - because the game never gives a satisfying answer to a question it established (what was Kris doing last night?), while providing clear hints (the knife, the TV flavor text) which point towards the correct solution so its reveal doesn't feel contrived or like it's coming out of nowhere. Some Deltarune fans call Kris Knight "obvious" - but they're evaluating it on blatantly unfair pretenses. Kris Knight was surprising, you just can't expect to cash out an already-revealed twist for a second surprise.

Kris’s soulless scenes seem tied to Fountain creation specifically

Chapter 2’s ending seems very much intended to be continuous with Chapter 1’s, answering mysteries which the previous ending left us with. In both instances they use their knife to do stuff, flash their red eyes, and taunt the player.

Kris actually is a knight

Kris wears knight attire in the Dark World and Toby has referred to Kris as a “sword-wielding fantasy knight”. This is not a trivial point; many of Toby’s biggest inspirations, such as Illusion of Gaia and LIVE A LIVE, figure knights and knight-like imagery very prominently, so the symbology of knights in fantasy seems like something he's specifically interested in, including the fact that they are frequently heroic protagonists. And yet most other Knight candidates have no clear or satisfying explanation for why they would be dubbed a “knight”, and why Toby would be choosing that narrative archetype for them. Certainly none of them have the advantage of being a knight protagonist, which leads us to:

Toby is clearly interested in subversions of the protagonist and antagonist roles

Discussing the SNES game LIVE A LIVE, Toby said this (and I must warn the reader of some implied spoilers):

As far as individual chapters go, I really loved the “Middle Ages” chapter. After all the scenarios with atypical game protagonists, finally revealing a standard fantasy setting with a knight hero as one of the “final chapters” was such an excellent twist for a JRPG, and a perfect lead up to the actual last chapter itself. To think that our heroic knight of justice would end up like that… It’s the kind of wonderful betrayal of expectations that influenced me when I created UNDERTALE as well. You know, the thought process of, “to think the protagonist could actually...” Anyway, I don’t think I’m supposed to say any more about that. To be honest, if anything this LIVE A LIVE influence is even stronger in my current work, DELTARUNE. Not only is the story separated into different chapters, but the player’s character is also a sword-wielding fantasy knight, who may play another role than just a simple “hero”.

To be clear, (and again, spoilers!) Toby here is referring to a knight character who goes from being a heroic protagonist to the main villain of the game (whose title is "the Lord of Dark").

OFF, another big inspiration for Toby, features a playable character who is established as firmly separate from the player. As the game progresses you are invited to question their actions and whether you should truly be siding with them.

In moon: Remix RPG Adventure, the traditional JRPG hero turns out to be the game’s antagonist.

Metal Gear Solid 2 complicates the player’s sense of morality and desires with what the “game” pressures them into doing.

And in Toby’s own Earthbound Halloween Hack, the game constantly questions whether what you’re doing is truly “heroic” or right.

It's strongly implied the Knight did not enter the Dark Worlds they created

This is clearest in Chapter 2, where Queen says she doesn't know the Knight's plans and is just guessing based on their actions (which she also recorded via the laptop's camera). Instead, the Knight is implied (in the laptop flavor text, for instance) to have simply manipulated the room and that this is mostly how they exert their will on the worlds they create. This of course sheds new light on how we are to understand Dark Worlds and alters what we thought we knew about Chapter 1 and Fountains generally. And it's all perfectly consistent with Kris’s methods at the end of Chapter 2.

The Darkner bosses are corrupted by the Fountains themselves, not an encounter with the Knight

Even though the Darkner bosses so far purport to serve the Knight, something which has been repeatedly emphasized is that this is not because the Knight sought them out and convinced them to be their servant, but because the Fountains themselves had a corrupting influence. In other words, the Darkner bosses are generated by the Fountain as villainous servants of the Knight.

This is supported both by in-game evidence:

Queen wasn't always so… harsh.

No, she WAS! She just got WORSE somehow!

It wasn't 'til that DARK FOUNTAIN showed up,

That she started going into overdrive.

"Knight" this, "Knight" that, "Fountain" that…

Like, what does that Knight have going for it that I don't!? C'mon!!

And external evidence:

Timestamped Undertale 6th Anniversary stream, where Toby says the Fountain changed King

Kris being the Knight fits well with the storytelling subtext

Deltarune is loaded with subtext about the Dark Worlds being like fictional stories or dreams, and Kris being the Knight is a great fit for this because it implies that they are creating Fountains specifically to be sealed. Their connections with Ralsei (which I'll explain later) also imply that they are guiding/directing the adventures themself. This also opens up plausible speculation about their motivations, such as wanting to get stronger by leveling up or populating Castle Town.

Kris’s CD Bagel noise is the same glissando jingle that plays at the end of the scrapped animated intro

If you don't know about the scrapped intro, here's a timestamped link to the part in the 6th anniversary stream where Toby discusses it. Basically, a jingle which played during a part where the Knight looked down at the Fun Gang from atop a staircase was repurposed in Chapter 2 as a special jingle for Kris. Below is a comparison between the two (I'm not sure who made it, so sorry for not crediting!), and an illustration I threw together of how I imagine the scene looking like.

Kris is arguably the only one who makes sense for the scrapped intro

If the Knight was seen on-screen, even just as a silhouette and even heavily armored, it would reveal too much about their body shape and size to have it be a functional mystery, and it would ruin the “red herring” that it’s Kris in Chapter 2 (the sole exception being if the Knight was the Vessel). Not to mention that Tenna, who would be featured on the staircase, is not created by the Knight if Kris isn't the Knight, so their inclusion is very questionable. Meanwhile, the appearance of "dual" or "split" selves is a common trope in anime intros, so both LW and DW Kris being featured in the same scene would be understood as metaphorical by the viewer.

Ralsei has extremely suspicious ties to Kris

For starters, Ralsei is the same height as them, looks like a typical Dreemurr, and his name is an anagram of Asriel. It seems very likely because of his horns that Ralsei is Kris’s red horn headband, which represents Kris’s desire to be closer to their family and community. From this, it's a pretty intuitive jump to assume that Kris created him, and thus the Grand Fountain as well.

Ralsei initiates cutscenes in both Chapter 1 and 2 where the player looks away from Kris and Ralsei, and upon returning back to their viewpoints finds that Ralsei has been secretly speaking with Kris alone. Ralsei also seemingly lies in Chapter 2 about having “sensed a dark presence” when explaining why he arrived in the Cyber World - what this line implies about when the fountain was created does not make logical sense with the timeline (we'll get more into this later). All in all it seems rather likely that Ralsei is working for Kris, and has been tasked with keeping the player "on track" (but still invested).

Kris is heavily tied to Chara, Undertale’s morally ambiguous player character

Chara – like Kris if they’re the Knight – had an incredibly ambitious and morally questionable plan which they were working towards, and they also have a knack for taunting or rejecting the player with scary smiles and red eyes. Kris being the Knight seems like it’s continuous with the moral ambiguity which Toby clearly seems interested in exploring with his human protagonists.

Some features of the Fountain seem to point to them springing from Kris’s “will”

For example, the consistent emergence of secret bosses located underground with a shared origin story about being contacted by Gaster, where they learn about their lack of control over fate and their subordinate position to some higher entities, has a lot of parallels with Kris’s predicament, and their ties to Gaster. Is there some subconscious reconstruction happening here? I talk about this in my Magic Circle essay.

The question of the Knight is not presented as a whodunnit mystery.

So far, there’s been exactly one major candidate, and they’ve hoarded basically all of the evidence. The remaining characters are left fighting for scraps – the most popular non-Kris candidate is a minor NPC who happens to say some thematically relevant and evocative stuff and has minor ties to the Fountain locations. But there’s no reason in the first place to suspect that there’s anyone who knows about how Dark Fountains work other than the currently established characters, and even less to suspect they’d have the motivation to create them. We barely even understood who the Knight was and what they were doing until approximately two seconds before it was revealed to be Kris (and no, that’s not a red herring just because you say so).

COMMON ARGUMENTS AGAINST KRIS BEING THE KNIGHT

“Any Lightner can create fountains!”

This is true, no doubt. The problem with this line of argumentation is that it does not suffice to dismiss the overwhelming evidence for Kris being the Knight. Kris is not suspected because they’re a Lightner, or even just because they create a Fountain. They are suspected because there are quite literally no other Lightners with any concrete positive evidence for them being the Knight except Kris. When push comes to shove, there’s just not a compelling reason to believe a more complicated alternative explanation for Kris’s actions other than the simple one that is them being the Knight. Occam’s razor says: give preferential treatment to those hypotheses of equal explanatory power which require less assumptions.

“Kris being the Knight is a red herring!”

You can feel that way, but this isn’t an argument. The idea that the Knight’s true reveal is coming sometime later is just baselessly assumed and used to cash out the red herring objection. Again, there’s nothing wrong with thinking that it’s true – it’s okay to have hunches and intuitions – but you can’t use it as an argument, because it isn’t one. 

“Kris isn’t evil!” / “I just don’t want Kris to be an antagonist.”

Again, it’s hard to argue with feelings. It bears mentioning that we really don’t know anything about the motivations of Kris if they’re the Knight. We don’t know whether they’re an “evil” bad guy. Personally, I find it very unlikely, because Toby is typically in the business of writing sympathetic characters even when they do bad stuff, and Kris is already in a fucked up situation just by virtue of us controlling them. If Toby can make Asgore (of child murdering fame) sympathetic, I’m sure he can manage with Kris, and we’ll all be happier for it because conflict and ambivalence creates interesting stories.

“The Knight wants to cause the Roaring, and Kris clearly doesn’t want that!”

We actually know neither of these supposed facts. Our information about the Knight comes from King and Queen, who both quickly prove themselves to be out of their depth and not very knowledgeable about what they’re doing. Queen herself strongly implies she has never even met the Knight. All we know for certain is what the Knight has done – create Dark Fountains. As for Kris, whether they’ve done or said things which would indicate they don’t want the Roaring to happen, the fact is that with this much evidence against them, all their other actions are called into question. That said, who’s to even say Kris as the Knight wants the Roaring in the first place? Because their name is the Roaring Knight? That could easily just be a moniker for their storytelling purposes.

“When Kris dies, the Roaring happens! How could that happen if Kris was the Knight?”

More accurately, when the SOUL shatters, “the world was covered in darkness” (an obvious double entendre for the game screen going black). But assuming that the Roaring does happen, this doesn’t seem to contradict anything. I mean, Kris’s SOUL is the only thing that can seal the Fountains, and every chapter boss so far explicitly intends to cause the Roaring. It makes sense that the Roaring would happen if they were left unopposed and their Fountains unsealed.

“How does Kris know where to make the Fountains ahead of time?”

This is one of the few objections to Kris Knight I can genuinely respect. I mean, it is quite strange that Kris and Susie always end up going to where the Fountains are through pure accident (Alphys and Noelle respectively send us to the locations where they are, and Kris can't have known Susie would stay over). To explain this, I would point to the fact that Kris almost certainly has had an encounter with Gaster, and one of the main effects of being “Gasterpilled” that we see is having precognitive powers and being able to read “FATE”. This also explains Kris’s extremely contrived action of eating the pie in anticipation of Susie coming over (which is something, to be clear, we need to be able to explain regardless of whether or not Kris is the Knight).

“Kris just plugged in the TV to watch it while they ate pie!”

Disregarding the fact that this would be legitimately horrible storytelling, this is objectively false because Susie points out that the remote is dusty and hasn’t seen use in ages.

“Kris was just preparing a sleepover by plugging in the TV!”

So was eating the pie a part of it too somehow, or just a very lucky coincidence? How can this explain Kris making the Fountain on the Weird Route, and people’s often-cited idea that they are doing this in some bid to warn Undyne? Are we just fifteen-layer deep in coincidences here? This doesn’t seem likely, to put it mildly. There is no reason for Toby to make this a plot point other than to establish Kris knowing Fountain mechanics ahead of time.

“King and/or Queen didn’t recognize Kris!”

This is almost certainly because neither one have actually met the Knight. Queen strongly implies this in her dialogue, and it already seems likely from the fact that we don’t even know of any way to exit those two Fountains except by sealing them – Ralsei says as much. It seems much more likely that the two are, as Queen says, intuiting the will of the Knight from their actions, such as creating Dark Fountains in the first place, and from things like how they arrange the rooms and the Will they imbue the Fountains with.

“But the Japanese translation–”

Yes, King says “command” instead of “will” – except this is every bit as ambiguous as the English dialogue. The substance of the dialogue remains identical: King thinks he knows the will, or command, or goal of the Knight, and thinks he’s fulfilling it. Both lines retain the Biblical overtones, and there’s still nothing proving they’ve actually met. 

“How does the Queen know to call the Knight ‘the Roaring Knight’ if they haven’t met?”

Another objection I can respect. There isn't a particularly clear answer for it, but my personal argument would be that Darkners seem to be generated with certain “inherited” knowledge, derived from a Fountain’s will. If you want to hear the in-depth case for that, you can check out my other essays mentioned at the beginning.  

"Spamton's line about communion clearly hints at Alvin Knight! Spamton has met the Knight!"

Spamton's line about communion is not referring to the Christian ritual, it's referring to Gaster (who Spamton reveres as some sort of deity, clearly). Let's look at the full context:

I USED TO BE NOTHING BUT THE E_MAIL GUY, NOW I'M THE [[It Burns! Ow! Stop! Help Me! It Burns!]] GUY!

[[Amazed at thi5 amazing transformation? You too can]] HAVE A [[Communion]] WITH [[Unintelligble Laughter]]

SOON I'LL EVEN SURPASS THAT DAMNED [[Clown Around Town!]]

BUT UNLIKE HIM I'M GONNA [[Shoot For the Sky!]] AND GET ON THE PATH TO ...

[[The Big One]]

I'LL GET SO. I'LL GET SO. I'LL GET SO. I'LL GET SO. I'LL GET SO. I'LL GET SO.

[[Hyperlink blocked.]]

SPEAKING OF [[Communion]]

KRIS, DID YOU KNOW THAT THE KNIGHT...

No, I'm sorry! I'm sorry! I didn't mean to --

TOO MANY EXCESS VACATION DAYS?? TAKE A GOD DAMN VACATION STRAIGHT TO HELL

Spamton's "communion" is clearly alluding to his contact with the "someone" who also contacted Jevil. Likewise, "unintelligible laughter" calls to mind mus_smile, Gaster's signature audio track which is actually a highly corrupted version of Muffet's laugh.

As for what this is communicating about the Knight, it seems to be alluding to them being connected with Gaster - which is true under Kris Knight.

“Kris was scared of the Fountain at the beginning of Chapter 1!”

Since Kris is easily the prime suspect when it comes to being the Knight, it would be absurd to just take their actions at face value. To be frank, we don’t even really need to know what Kris was thinking here, because when a case is resting on as firm a foundation as Kris Knight is, odd behavior becomes something you work to try to explain or reconcile with all the other evidence you have; without the foundation destroyed, the hypothesis can’t be dismissed.

Anyway, the most reasonable explanation seems to me to be that Kris was goading Susie into entering the closet first, since she was clearly reluctant to. Kris can’t risk Susie not falling into the Dark World with Kris, so she needs to go first.

“Kris warns the Kings about the Roaring in Chapter 1!”

This one is subject to the same scrutiny as I described above, but this line has also been massively decontextualized and blown out of proportion; this is a very minor piece of dialogue where the Kings are vainly worrying about their jewels and diamonds and asking Kris about them, and Kris seems to dryly respond that their world is in danger – in other words, that there are bigger things to worry about than their jewels. It’s a cute little joke, and hardly debunks Kris being the Knight. Kris is just roleplaying the hero they’re supposed to be in the Dark World narrative (just as I think they ‘roleplay’ the Knight!)

“Kris warns Undyne about the Dark Worlds and the Knight! Why would they lie?”

Could it have something to do with the Chapter 2 ending where they stage a break-in and presumably lure concerned individuals into the Dark World? Concerned individuals like... the one Toriel called shortly before? I mean, it would be really convenient for Kris if they could guarantee a way for people not to suspect them of being the Knight if that’s who they actually were…

This is not to mention that we're the ones who make Kris say that to Undyne. We have to go out of our way to meet Undyne and pick that dialogue option. But either way, it evidently fits with Kris’s plans, so it makes sense that they wouldn’t strain to say it or something like that.

“Queen says that the Knight created the Fountain that same day!”

Past midnight is still on the same day. Remember that Queen is a computer.

Also, I just want to point out that if the Fountain wasn't created the previous night (regardless of whether it was Kris who did it), the Cyber World timeline seems extremely rushed and shaky. Did a whole rebellion against Queen really form in like, 30 minutes or whatever? And there are more issues with the timeline we'll get into in a second.

“How did Kris have access to the Library?”

The same way we have access to both the School and Library after hours (no one is working at either at the end of Chapter 2) – nobody seems to bother to lock the doors. As per Alphys, there’s no crime in Hometown, so maybe we shouldn't be too surprised.

“How did Kris walk all that way in zombie mode?”

We have no reason to be putting arbitrary limiters on what Kris can or can’t do when soulless, so this is just kinda making stuff up. Kris is doing anime leaps from windowsills; I think they’re fine walking a relatively short distance. In Chapter 1 they also do the strained zombie walk before they even rip the soul out, so this seems mostly to be a presentational thing.

“Why couldn’t Ralsei sense the Library Fountain if Kris created it the previous night?”

As I hinted earlier, Ralsei’s line is nonsensical. For what he’s implying to be the case, it would have to mean that the Knight created the Fountain in the time it takes for Kris and Susie to walk from the Supply Closet to the School’s exit (because we can hear the traffic jam outside, and we know the Annoying Dog went into the Dark World before us, still in the car) – a patently absurd proposition that doesn’t even seem logically possible, even assuming optimal timing. It would also mean Berdly and Noelle were in the room when the Fountain was created, which leads us to:

“Closet Knight!”

Black Chestnut’s video on Closet Knight is definitive as far as I’m concerned, he goes into great detail in explaining how and why it makes absolutely no sense at all and is riddled with holes.

IN CONCLUSION...

Kris being the Knight is a conclusion that is surprisingly marginalized in the Deltarune theorizing community for how intuitive, well-supported and repeatedly suggested by the game it is. In many circles, you tend to get shut down or labelled a "casual" who "doesn't understand the game" if you attempt to start a discussion about Kris Knight, or put forward ideas which are premised on it. If I'm allowed to pontificate a little, I can only imagine that this is because people are simply really attached to the idea that the Knight plotline is a whodunnit which will result in some surprise external villain for the Fun Gang. People have been daydreaming about boss battles against the Knight ever since the release of Chapter 1 nearly seven years ago; to speculative headcanons like that, Kris being the Knight is a rude splash of water to the face, so it perhaps is understandable that people would reject it as "not feeling right". At the very least, though, I hope that even if I haven't convinced you that Kris is the Knight, I have at least convinced you that they can't be so easily dismissed as a candidate.

Thanks for reading! This post is pretty long and I know this topic gets some people heated very quick, so I appreciate the show of faith in sticking to the end.

[natsgrave]

THE MANUSCRIPT | wanda maximoff

the only thing that's left is the manuscript. one last souvenir from my trip to your shores. now and then i reread the manuscript but the story isn't mine anymore. i do not give permission for my work to be copied or translated on other sites. plagiarism is a crime!! masterlist whispers of heartache m.list

It was a serene Saturday afternoon, and Y/N and Wanda were cozily ensconced in their favorite spot in the living room. The fireplace crackled softly, casting a warm glow over the room. They were wrapped in a shared blanket on the couch, Wanda's head resting on Y/N's shoulder, a feeling of contentment enveloping them.

"Y/N," Wanda began softly, breaking the comfortable silence. "Have you ever thought about what our wedding would be like?"

Y/N smiled, tilting her head to look at Wanda. "All the time. What about you? What do you imagine?"

Wanda's eyes sparkled with excitement as she shifted to face Y/N fully. "I've always dreamed of an outdoor wedding. Somewhere surrounded by nature, maybe a beautiful garden or a vineyard. Lots of flowers, twinkling fairy lights, and the sun setting in the background."

Y/N nodded, picturing the scene vividly. "That sounds perfect. I can see you walking down the aisle, looking stunning in a dress that flows with the breeze. I'd be waiting for you at the altar, feeling like the luckiest person in the world."

Wanda blushed slightly, her smile widening. "And what about the ceremony? How do you see it?"

"I think it should be intimate," Y/N said thoughtfully. "Just our closest friends and family. I want it to feel personal and meaningful. We could write our own vows, speaking from the heart about our journey and our love for each other."

Wanda's eyes misted over at the thought. "I love that idea. Our own vows, spoken with all the emotion and memories we've shared. It would make the moment even more special."

Y/N reached out, taking Wanda's hand in hers. "And after the ceremony, we could have a reception under the stars. A big tent with fairy lights, good music, and delicious food. Lots of dancing, laughter, and love filling the air."

Wanda squeezed Y/N's hand, her heart swelling with happiness. "Yes, and we could have a dance floor set up in the middle of the garden. Our first dance as a married couple would be to our favorite song, something that means a lot to both of us."

Y/N grinned. "Maybe 'Can't Help Falling in Love'? It's timeless and beautiful, just like you."

Wanda's cheeks flushed with warmth. "I love that song. It would be perfect for our first dance." ︶꒦꒷♡꒷꒦︶

Y/N stood in the middle of the sprawling garden, taking a deep breath as she surveyed the space. This was where their dream would come to life, where Wanda's vision of a perfect wedding would unfold. The garden was a beautiful, verdant expanse, with lush greenery and vibrant flowers blooming everywhere. It was a picturesque setting, and Y/N could already see the transformation beginning in her mind.

The first step was to ensure the area was properly prepared. She had spent weeks coordinating with a team of landscapers and gardeners, making sure every detail was perfect. The grass was meticulously trimmed, and the flowerbeds were overflowing with colorful blooms. There were roses, lilies, daisies, and tulips, each chosen for their vibrant colors and sweet fragrances. The garden's natural beauty would serve as the perfect backdrop for Wanda's special day.

Next, Y/N focused on the seating arrangements. She wanted to create an intimate yet elegant setting for their guests. She decided on wooden chairs with white cushions, arranged in neat rows facing a beautiful archway covered in flowers. She enlisted the help of a skilled florist who spent hours weaving flowers and greenery into the arch, making it a stunning focal point.

As she supervised the setup, Y/N couldn't help but smile, thinking about how Wanda's eyes would light up when she saw everything. She knew how much this day meant to her, and she was determined to make it perfect. The ceremony area was taking shape beautifully, but there was still so much more to do.

Moving on to the reception area, Y/N envisioned a large tent set up in the middle of the garden. The tent would be draped with white fabric, creating a soft, romantic atmosphere. She worked closely with the rental company to ensure the tent was spacious and elegant, with enough room for dining, dancing, and mingling.

Inside the tent, Y/N decided on round tables covered with crisp white linens. She chose centerpieces of wildflowers arranged in mason jars, adding a touch of rustic charm. Each table was set with fine china, polished silverware, and crystal glasses, creating a beautiful contrast with the natural setting. Small, flickering candles were placed around the centerpieces, adding a warm and inviting glow.

The dance floor was another important aspect of the reception. Y/N envisioned a wooden dance floor under the stars, surrounded by twinkling fairy lights. She spent hours stringing the lights across the garden, ensuring they were evenly spaced and would create a magical atmosphere once the sun set. The lights would not only illuminate the dance floor but also add a whimsical touch to the entire area.

Y/N also arranged for a small stage where the band would play. She and Wanda had chosen a local band known for their ability to set the perfect mood, from soft, romantic ballads to lively dance numbers. The stage was decorated with more flowers and lights, blending seamlessly with the overall theme.

The food and drink were carefully selected to match the garden setting. Y/N worked with a caterer to design a menu featuring fresh, seasonal ingredients. There would be a variety of appetizers, a sumptuous main course, and a selection of decadent desserts. A long wooden bar was set up at one end of the tent, stocked with fine wines, craft beers, and signature cocktails. Bartenders were instructed to create custom drinks that reflected Wanda's tastes, adding a personal touch to the celebration.

Finally, Y/N turned her attention to the smaller details that would make the day truly special. She designed a welcome sign made from reclaimed wood, with elegant calligraphy welcoming guests to their wedding. She also created personalized wedding favors-small potted succulents with tags that read, "Let love grow." These would be placed at each table setting, giving guests a beautiful and lasting memento of the day.

The final touches were in place. The garden was a vision of beauty, filled with vibrant flowers, twinkling lights, and elegantly set tables. Y/N stood at the entrance, her heart pounding with a mixture of excitement and nervousness. She hoped that Wanda would love what she had done, even though the day wasn't exactly what she had envisioned for them both.

As Y/N took a deep breath, she felt a presence beside her. It was Natasha, one of Wanda's closest friends and someone who had been a rock for both of them through the planning process.

"Hey, Y/N," Natasha said softly, her voice filled with warmth. "You did a really great job with everything. It's absolutely beautiful."

Y/N turned to her, a grateful smile spreading across her face. "Thanks, Nat. That means a lot coming from you. I just wanted everything to be perfect for her."

Natasha nodded, her expression thoughtful. "It is perfect. Wanda is going to love it. You've put so much heart into this, and it shows."

Y/N looked down, her hands trembling slightly. "I just want her to be happy."

As the music started to play softly, signaling that the ceremony was about to begin, Natasha gave Y/N one last encouraging smile. "Are you ready?"

Y/N took a deep breath, her heart aching but resolute. "Yeah, I'm ready."

Natasha gave her one final squeeze before walking towards the seating area, leaving Y/N standing at the entrance. She watched as the guests took their places, the garden filling with an air of anticipation and excitement.

And then she saw her— Wanda, looking breathtakingly beautiful in her wedding dress, her eyes sparkling with happiness taking in the beauty of the garden and the thoughtful details that Y/N had put into making her dream a reality. Wanda's gaze found Y/N's, and for a moment, time seemed to stand still. Wanda's eyes softened, and she mouthed, "Thank you," her expression filled with gratitude and love.

Y/N managed a bittersweet smile, nodding slightly as she mouthed back, "You're welcome."

As the wedding march began to play, Wanda turned and started her walk down the aisle towards her groom, Vision. Y/N's heart clenched as she watched Wanda move gracefully, every step taking her further away from the dreams they had once shared.

Y/N found a spot at the back, where she could quietly watch the ceremony without drawing attention. She saw the joy in Wanda's eyes, the love between her and Vision palpable. It was a beautiful ceremony, filled with heartfelt vows and tender moments.

As Wanda and Vision exchanged rings and sealed their union with a kiss, Y/N couldn't hold back the tears any longer. They flowed freely down her cheeks, a mix of sadness and acceptance. She was happy for Wanda, truly, but the ache in her heart was undeniable.

Natasha found her after the ceremony, pulling her into a comforting hug. "You did great, Y/N. It's okay to feel what you're feeling. Just remember, you're stronger than you think." Natasha placed a reassuring hand on Y/N's shoulder. "You're incredibly strong for doing this, Y/N. Letting Wanda go and still making sure her day is perfect— it takes a lot of courage and selflessness."

Y/N sighed, her eyes glistening with tears. "I just… I love her so much. I want her to have everything she's ever dreamed of, even if it means I'm not the one standing beside her."

Natasha gave her shoulder a gentle squeeze. "Wanda is lucky to have someone like you in her life. And remember, you're strong enough to get through this. You've shown that already."

Y/N nodded, wiping her tears away. "Thanks, Nat. I needed to hear that. I just… I need a moment."

Natasha gave her a reassuring pat on the back before heading back to join the other guests. Y/N took a deep breath, looking around the garden one last time. She had poured her heart into this place, for Wanda's happiness, and that was something she could be proud of.

As she walked away, leaving the newlyweds to their joy, Y/N felt a sense of closure. She had given her all, and now it was time to find her own path, her own happiness. The garden, with its beauty and memories, would always be a testament to the love she had for Wanda, a love that was selfless and true.

Ans now, the only thing that's left is the manuscript. Now and then Y/N reread the manuscript, but the story isn't hers anymore.

hi, everyone! i hope you like this one, i really don't know how to feel about this... i hope this is good enough and reblog is highly appreciated!

[hagofholywell]

messy and slightly ugly graphics tutorial xx

disclaimer : this is barely a tutorial, and i'm tired as hell as of writing this post. this is just how i do my graphics, and you can really do anything you want.

all you need for this is an editing app ( i use photopea, but you can use gimp or ibis paint or anything with layers. i do not care. ) and some pictures. having a colouring prepared is helpful, i get all mine off deviantart, but you can also just make it black and white and up the contrast. this requires very minimal editing knowledge, but having an idea of how to use your editing app is recommended.

step one : get your canvas. i like to use anything vaguely rectangular. exact dimensions do not matter, whatever fits your purpose, just don't make it too wide. this one is 1920 by 725 pixels.

step two : gather your background images and lay them out on the canvas. for this example, i'll just be using pictures from my " unpinned " board on pinterest. ideally, have three background images, and a centre image. i frequently use my faceclaim for the centre image, but you can use whatever you want the subject of the graphic to be. this is why we need the layers ! your canvas should be looking a bit like this :

step three : create your background. edit the images together however you want, or you can follow what i do and just collage them all together. then, i like to desaturate them and up the contrast, so i can see how they work together. you should, so far, have something that looks like this :

step four : time for the focal point of your graphic. again, i'm just using a picture of elle fanning, but you can use anything. remove the background ( i like to manually erase it to get a soft edge, but you can use this site if you don't really care ) and slap it in the middle of your image. it should now be looking something like this !

step five : okay, the fun part. overlay time. this is when it starts to actually look decent. i like to make another brightness / contrast layer as well, but you don't have to do that. i just find it makes it look less flat.

the overlays i'm using for this are below, but you can find them on pinterest by searching keywords like " grain " , " texture overlay " , " words overlay " , etc. etc. i put all my overlays on either a lighten, multiply, or overlay layer, and fiddle around with the opacity until it looks good.

once you've added your overlays, it should look something like this :

step six : time for the flavour ! get your colouring ready, i'm using the one i always use ( which i do gatekeep, sorry ) but you can use absolutely any colouring you like. i get mine from deviantart and edit the shit out of them. i slap that on top of everything else.

step seven : adjust, adjust, adjust ! fix the lighting if it looks crazy, move your main subject around, add more overlays, whatever you need to do. personally, i think this graphic is a bit bright, and i want to add some grain and stars. so, i'm going to do that. at this point, i'll sometimes also add something behind my main subject. i like more word overlays for this.

and there you go ! that's how i make my graphics.

[egophiliac]

I was wanting to try doing an art piece in the style of the signature spell poster art pieces you create. But I’m not really the best at coming up with a composition for such a thing.

Do you have a process for how you come up with the compositions for them?

oh, awesome! it is an INCREDIBLY enjoyable style to work in; I hope you have fun with it! :D

I'm not great at putting my thought/art process into words, so my apologies if this doesn't make a lot of sense, but I'll try! my first step is always to do a LOT of thumbnails to figure out both the idea and how I want to show it; not trying to do a real sketch or anything, just little doodles to figure out what exactly I'm trying to portray. (I also call these "garbage passes" because they're not meant to be any good, they're just there to throw things out. aha. ha. ...anyway.) I think it's important during that first stage to really focus on the idea and the layout and not to get too bogged down in the actual drawing yet!

I tend to save my final thumbnails, so I'll use 'em as examples (I posted the ones up through episode 5 here if you're interested!) (and, uhhh, spoilers through episode 5 also in this post, hopefully that won't be an issue!)

the main thing I try to think about in composition is balance -- not necessarily in terms of symmetry, but in where each element is placed and how much space it's taking up. remember, empty space is still space! it's also really important to think about the parts that don't have anything in them, as much as the parts that do!

personally, I like to divide things up roughly by both halves and by thirds -- there's a lot more in-depth info out there on why the "rule of thirds" in particular works well visually, but in short, our brains tend to focus on things that are placed closer to imaginary division lines, instead of in the exact center of an image. so even when I'm doing something that is very centered and symmetrical, I try to keep that in mind and generally aim around those for landmarks like faces/eyes (or...where they would be, anyway) and other focal points.

it's not a formula of "the character's face should be in this division of this grid" or anything, more like "our minds like to focus on these areas, let's think about how to use that", if that makes sense! and of course rules are made to be broken, art is lawless anarchy, and so on. but it can be a good starting place for deciding where you want to put things!

(blue - thirds, red - half)

and against the finished versions, because they do usually end up changing a lot (including the empty space of the border):

(...these actually lined up a lot better than I thought they would. :') it makes me look like I do things way more intentionally than I do.)

other stuff I just try to keep in mind is that our eyes like following arcs and paths, which can be a good way to guide the eye:

and frame and control the focus:

honestly, composition is one of those things I feel like I struggle with a lot, so I'm not sure how much of this is helpful or actually makes sense outside of my head. but hopefully it helps a little! it's all just stuff to think about while drawing and not anything hard-and-fast, so don't, like, stress out about making sure things are lining up exactly on the thirds or anything. again, it's more "our brains think these are the dopest parts of the rectangle" than anything else! take advantage of the cool parts of the rectangle!

NOW GO HAVE FUN DRAWING seriously though, it is always super cool that other people like this idea and style enough to want to do it themselves and for other/their own characters! thank you! ❤️❤️❤️

[whencyclopedia]

Roman Art

The Romans controlled such a vast empire for so long a period that a summary of the art produced in that time can only be a brief and selective one. Perhaps, though, the greatest points of distinction for Roman art are its very diversity, the embracing of art trends past and present from every corner of the empire and the promotion of art to such an extent that it became more widely produced and more easily available than ever before. In which other ancient civilization would it have been possible for a former slave to have commissioned his portrait bust? Roman artists copied, imitated, and innovated to produce art on a grand scale, sometimes compromising quality but on other occasions far exceeding the craftsmanship of their predecessors. Any material was fair game to be turned into objects of art. Recording historical events without the clutter of symbolism and mythological metaphor became an obsession. Immortalising an individual private patron in art was a common artist's commission. Painting aimed at faithfully capturing landscapes, townscapes, and the more trivial subjects of daily life. Realism became the ideal and the cultivation of a knowledge and appreciation of art itself became a worthy goal. These are the achievements of Roman art.

Art for All: Rome's Contribution

Roman art has suffered something of a crisis in reputation ever since the rediscovery and appreciation of ancient Greek art from the 17th century CE onwards. When art critics also realised that many of the finest Roman pieces were in fact copies or at least inspired by earlier and often lost Greek originals, the appreciation of Roman art, which had flourished along with all things Roman in the medieval and Renaissance periods, began to diminish. Another problem with Roman art is the very definition of what it actually is. Unlike Greek art, the vast geography of the Roman empire resulted in very diverse approaches to art depending on location. Although Rome long remained the focal point, there were several important art-producing centres in their own right who followed their own particular trends and tastes, notably at Alexandria, Antioch, and Athens. As a consequence, some critics even argued there was no such thing as 'Roman' art.

In more recent times a more balanced view of Roman art and a wider one provided by the successes of archaeology have ensured that the art of the Romans has been reassessed and its contribution to western art in general has been more greatly recognised. Even those holding the opinion that Classical Greek art was the zenith of artistic endeavour in the west or that the Romans merely fused the best of Greek and Etruscan art would have to admit that Roman art is nothing if not eclectic. Inheriting the Hellenistic world forged by Alexander the Great's conquests, with an empire covering a hugely diverse spectrum of cultures and peoples, their own appreciation of the past, and clear ideas on the best way to commemorate events and people, the Romans produced art in a vast array of forms. Seal-cutting, jewellery, glassware, mosaics, pottery, frescoes, statues, monumental architecture, and even epigraphy and coins were all used to beautify the Roman world as well as convey meaning from military prowess to fashions in aesthetics.

Artworks were looted from conquered cities and brought back for the appreciation of the public, foreign artists were employed in Roman cities, schools of art were created across the empire, technical developments were made, and workshops sprang up everywhere. Such was the demand for artworks, production lines of standardised and mass produced objects filled the empire with art. And here is another factor in Rome's favour, the sheer quantity of surviving artworks. Such sites as Pompeii, in particular, give a rare insight into how Roman artworks were used and combined to enrich the daily lives of citizens. Art itself became more personalised with a great increase in private patrons of the arts as opposed to state sponsors. This is seen in no clearer form than the creation of lifelike portraits of private individuals in paintings and sculpture. Like no other civilization before it, art became accessible not just to the wealthiest but also to the lower middle classes.

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[novaursa]

Of Gods and Men (the gift)

This is Dune/GOT/HOTD/FAB/ASOIAF crossover AU that you've voted for. If you always wanted to see House Targaryen in space, I got you. Please note how some of the lore of both universes is bent to blend in both worlds. This is my original idea that I've been cooking for at least two years. Be gentle with my work, and enjoy the ride.

- Summary: House Targaryen survives their ancient exile after being overthrown by House Corrino and the Bene Gesserit. Fleeing to the unknown planet Albiron, the Targaryens build a hidden civilization powered by drakaon crystals, reviving their dragons and creating advanced technology. Millennia later, whispers of their survival begin to surface as the Bene Gesserit confront a mysterious Red Woman on Arrakis, who warns of a coming Prince That Was Promised destined to challenge their control. The Targaryens secretly prepare to return, ready to reclaim their legacy.

- Pairing: reader!Daenys Targaryen/Leto Atredies

- Note: For more details about House Targaryen and their technology, please check out the masterlist.

- Rating: Mature 16+

- Previous part: daenys

- Next part: resurgence

- Tag(s): @sachaa-ff @alyssa-dayne @oxymakestheworldgoround

Two days had passed since the forces of House Atreides and House Targaryen had established their temporary base together on Arctis. The bitter cold still clung to the landscape, but the combined forces had made steady progress in securing the area from the Harkonnens. Targaryen banners now flew alongside the Atreides hawk, marking a temporary alliance born of necessity rather than trust.

Inside the main command tent, Aelor Targaryen, Duke Leto Atreides, and Duncan Idaho stood over a holographic map of the underground hatchery—the ancient structure that had become the focal point of the Harkonnen presence. Aelor’s expression was resolute as he traced the coordinates with his finger, his voice calm but insistent.

“We should commence an orbital strike on the underground hatchery,” Aelor proposed, his tone leaving little room for argument. “Once it’s destroyed, the Harkonnens will have no reason to stay on this planet.”

Duncan, standing to Leto’s right, crossed his arms, his brow furrowed. “It’s odd,” he said, his voice laced with suspicion. “The Harkonnens have already lost most of their ground here. Their operation is compromised, and they’re outnumbered. So why are they still here, insisting on these ground skirmishes?”

Leto nodded thoughtfully, his eyes fixed on the map. “There must be something else they’re after,” he agreed. “With the Harkonnens, there always is.”

Aelor’s violet eyes flickered as he looked between Duncan and Leto. “Regardless of their plans,” he said firmly, “the hatchery is the key to their presence here. If we destroy it, we leave them with nothing. They’ll be forced to withdraw.”

Leto considered Aelor’s words carefully, his mind turning over the possibilities. “An orbital strike is a risky move,” he said slowly. “But it might be our best option to force them off this world for good.”

As the council continued their discussion, you stood nearby, observing from the edges of the room. The tension between the two Houses was felt, but for now, their common enemy kept them aligned. Not far from where you stood, Gurney Halleck sat on a low bench, adjusting the strings on his baliset. His fingers moved deftly over the instrument as he listened to the council’s debate, though his eyes occasionally flicked toward you.

You caught his gaze after a moment, and he gave a small nod in your direction before speaking, his voice casual but curious. “So, lass,” Gurney said, not looking up from his baliset, “how does someone like you get caught up in a mess like this?”

You smiled faintly at the question, though there was no amusement in it. “I’ve been in far worse situations than this,” you replied, your tone steady. “This is just another battle.”

Gurney raised an eyebrow, his hands still moving over the strings. “Is that so? You’ve certainly got the fire in you, but I can’t help but wonder how a lone Targaryen ended up giving Harkonnens so much trouble.”

You tilted your head slightly, considering your response. “We don’t have instruments like this on Albiron,” you said, gesturing to the baliset. “But my father often asks me to sing during our celebratory events.”

Gurney’s gaze softened at your words, his thoughts clearly drifting elsewhere. His expression turned somber, and for a moment, he seemed lost in memory. “My sister used to sing,” he said quietly, his voice tinged with sorrow. “She had a voice that could silence a room.”

There was a brief silence between you, an unspoken understanding passing through the cold air. In that moment, you saw something of Gurney’s grief, his memories of loss that mirrored your own.

Just then, the council’s discussion came to an end, and Aelor approached you, his posture relaxed but purposeful. “We’re moving forward,” he said, his voice resolute. “Prepare yourself. We’ll commence the final strike against the Harkonnens soon. Once the hatchery is destroyed, we’ll leave this planet.”

You nodded, your hand resting instinctively on the hilt of your sword. The time for words had passed. Now, the battle would decide the future.

As you turned to leave, Gurney’s voice called after you, gentle but firm. “Keep your guard up, lass. And maybe after all this is done, you’ll give us a song.”

You smiled slightly, but your thoughts were already on the coming battle. 

As the command room slowly cleared, Leto Atreides stood quietly, watching as the Targaryen siblings, Aelor and you, left together, heading off to prepare for the final strike. The storm outside seemed to have found its echo within the Duke's mind. Aelor’s proposal had merit—destroying the underground hatchery could force the Harkonnens to abandon the planet—but it wasn’t just the military strategy that weighed on Leto now. It was the woman, Daenys Targaryen, you, who had caught his attention in more ways than one.

Leto’s gaze lingered on the spot where you had just been standing, the memory of your composed yet fiery demeanor still fresh in his mind. It wasn’t often that someone from another House—especially one with such a complex history—captivated him in such a way. There was something about your presence, something he couldn’t quite place, but it gnawed at him nonetheless.

Turning to face Gurney Halleck, who was still adjusting the strings of his baliset, Leto allowed a faint smile to tug at the corners of his mouth. “I heard from Duncan that Daenys gave you quite the chase.”

Gurney looked up from his instrument, a wry smile playing on his lips as he met the Duke’s gaze. “Aye, my Lord. The lass is more capable than she appears. Gave me the slip more than once before I caught up to her.”

Duncan Idaho, still seated at the console across the room, reviewing the latest reports on the Harkonnens’ movements, chimed in without looking up. “She’s not just capable. She’s fast, strategic—trained, no doubt. And there’s something about the way she moves… like someone who’s lived their entire life preparing for moments like these.”

Leto raised an eyebrow, his interest piqued further by Duncan’s assessment. It was one thing for Gurney to acknowledge your abilities—Gurney was seasoned, but also sentimental. Duncan, however, was practical, and his judgments carried weight.

“She’s more than just a survivor, then,” Leto said, his voice contemplative.

Duncan finally looked up from the reports, his eyes steady as they met the Duke’s. “Much more. She’s a Targaryen through and through. I’ve seen plenty of soldiers—both natural fighters and those trained from birth—and Daenys? She’s got the instincts of both.”

Gurney nodded in agreement, his expression turning more thoughtful. “Aye, my Lord. There’s more to her than what we’ve seen on the surface. I didn’t know what to make of her at first, but after that chase and seeing her in action, I’d wager she’s been through more than we can imagine.”

Leto paced slowly, his mind working through the layers of implications. House Targaryen’s sudden return, the alliance of necessity between them and the Atreides, the Harkonnen threat—all of it pointed to a shifting balance of power. But Daenys added an entirely new dimension to it. She wasn’t just a pawn in the game, but a player in her own right. And now, she and her brother had drawn the Atreides into something far larger than they could have anticipated.

As Leto’s thoughts continued to turn, he paused by the table where the holographic map still glowed faintly. “Regardless,” he said, his voice more resolute now, “we have a mission to complete here. The Harkonnens won’t let this planet go without a fight, but once the hatchery is destroyed, they’ll have no choice.”

Gurney’s eyes followed the Duke’s movements, his tone more cautious. “And after, my Lord?”

Leto looked up, his gaze steady as he met Gurney’s eyes. “After we return to Caladan, we’ll be facing more than just the fallout from this battle. The political implications of our encounter with the Targaryens will be enormous. It will shake the very foundations of House Atreides.”

Duncan nodded in agreement, his expression serious. “The Imperium, the Emperor, the Bene Gesserit—they’ll all take notice once they learn that the Targaryens are not only alive but allied with us, however temporary that alliance may be.”

Leto sighed softly, knowing the weight of what was to come. “And that’s what concerns me most. We’ve just become part of something far bigger than a fight for control of a frozen world. If the Emperor catches wind of this, if the Harkonnens spin the narrative in their favor… House Atreides will be caught in the storm.”

Gurney, ever loyal and steadfast, leaned forward slightly. “We’ll face whatever comes, my Lord. House Atreides has survived worse.”

Leto allowed a small smile, though the weight of his thoughts was still evident. “Yes, Gurney. We have. And we will again. But this time, it feels different.”

He cast one final glance toward the door where the Targaryens had left, his mind already turning toward the future. They had a mission to finish here, but the real storm—the political storm—was waiting for them back on Caladan.

And Leto knew, deep down, that nothing would ever be the same after this.

The cold air of Arctis was heavy with anticipation as Leto Atreides, Duncan Idaho, and Gurney Halleck stepped outside the command tent. All around them, the soldiers of both House Atreides and House Targaryen moved swiftly, making final preparations for the upcoming strike. The combined forces had reached a tenuous but effective alliance, and now the time had come to push forward and bring an end to the Harkonnen presence on this planet.

Leto’s sharp eyes scanned the flurry of activity, his mind already calculating the next steps. His soldiers, disciplined and ready, were preparing to launch their assault on the Harkonnen defenses above the underground hatchery. The Targaryens would lead the initial charge, breaking through the Harkonnen lines, and once the Atreides troops disabled the jamming equipment, they would evacuate, leaving the Targaryen starship to fire on the exposed target from orbit.

Hawat joined Leto at his side, his expression as always calm but observant. “Everything is proceeding as planned, my Lord,” Hawat said quietly, his eyes flicking over the battlefield preparations.

Leto nodded, his voice steady. “The Atreides troops will rush in to disable the Harkonnen jamming equipment above the hatchery once the Targaryens break through their defenses. As soon as that signal is disabled, we’re pulling out. The Targaryen starship will fire from orbit on a clear target.”

Duncan and Gurney, standing nearby, exchanged quick glances before turning to Leto.

“We’ll get it done, my Lord,” Duncan said firmly. “We’ll make sure the Harkonnens don’t get another chance.”

Gurney’s grizzled face was set in determination as he tightened the strap on his rifle. “We’ll push through, one way or another.”

Leto offered them both a nod of confidence. “Good. Get to your men. We don’t have much time.”

With that, Duncan and Gurney turned and rushed off to join their respective forces, leaving Leto and Hawat standing among the flurry of soldiers preparing for the battle ahead.

As the activity around them intensified, Leto’s eyes were drawn to a different scene just across the field. Daenys Targaryen, along with two of her people, was crouched in front of a Targaryen Ornithopter, working on a device that was unfamiliar to him. The Ornithopter itself stood ready for launch, its sleek, dragon-like form glistening in the pale light of the storm. Leto’s curiosity piqued as he watched the Targaryen woman, her focus sharp as she adjusted the device in front of her.

Without a word, Leto began walking toward her, his steps purposeful. Hawat, noticing the shift in the Duke’s attention, gave him a curious glance but said nothing, following him in silence.

As you worked on the device, making the final adjustments, you noticed movement from the corner of your eye. Looking up, you saw Duke Leto approaching, his expression one of curiosity. You stood, wiping the snow from your gloves, and offered him a respectful nod.

“Duke Leto,” you greeted him, your voice even despite the cold. “What brings you here?”

Leto’s gaze shifted from the device in front of you to your face, then back to the intricate piece of technology. “What are you working on?”

You gave him a small smile, gesturing to the device. “This is something that will help your men disable the jamming signal faster. Once we break through the Harkonnen defenses, I’ll leave it for your soldiers to use. It should save time.”

Leto’s gaze lingered on the device for a moment, impressed by your initiative. His eyes then flicked to the Ornithopter standing behind you, its design so different from the machines he was used to. It was sleek, elegant, and undeniably alien in its construction.

Sensing his interest, you tilted your head slightly, amusement flashing in your eyes. “Curious about our Ornithopters, Duke?”

Leto’s gaze returned to yours, surprised by your question. “I am,” he admitted. “I’ve never seen anything like them. I’d be interested to see how they fly.”

Your smile widened, a flicker of excitement in your eyes. “Would you like to join me, Duke Leto?”

He hesitated for a brief second, caught off guard by the offer. But the thought of experiencing one of your people’s advanced machines firsthand was too intriguing to pass up. “I would,” he said, a hint of surprise in his voice. “I’ve always been fascinated by technology. It would be a welcome distraction before the battle.”

You nodded, satisfied with his answer. “Then we shouldn’t waste any more time.”

Hawat, standing just a few paces behind, watched the exchange with a raised eyebrow. He was too perceptive not to notice the small, almost hidden smile on Leto’s face, a smile that revealed a spark of excitement—something that rarely showed itself in the typically composed Duke. Hawat allowed himself a brief moment of amusement at his lord’s expense.

“You seem eager, my Lord,” Hawat said quietly, his tone neutral but with an edge of teasing.

Leto shot him a quick glance, his expression composed again but not without a hint of warmth. “Perhaps I am, Thufir. It’s not every day one gets to fly in something so… unique.”

With a final glance at the soldiers preparing for battle, Leto stepped forward toward the waiting Ornithopter, his curiosity and anticipation momentarily eclipsing the weight of the coming conflict.

As you finished adjusting the device, you nodded to your fellow Targaryen soldiers, signaling them to secure the equipment for transport. Then, without another word, you climbed into the Ornithopter’s cockpit, turning back to see Leto and Hawat following closely behind.

As the Duke settled into the co-pilot’s seat beside you, you glanced at him, a glint of challenge in your eyes. “Hold on tight, Duke. Our Ornithopters aren’t quite like anything you’ve flown before.”

Leto chuckled softly, his hands hovering over the holographic controls that shifted to standard Galach symbols aromatically as he prepared for takeoff. “I wouldn’t expect anything less.”

The Targaryen Ornithopter lifted gracefully into the icy skies of Arctis, its sleek, dragon-like wings humming softly as they cut through the stormy air. Despite its size—large enough for both a co-pilot and a passenger—the craft moved with an effortless precision that left Duke Leto Atreides momentarily awestruck. He settled into the co-pilot’s seat beside you, a smile playing on his lips as he examined the holographic interface that floated before him.

“This flies… beautifully,” Leto murmured, his hands hovering over the controls, though he knew better than to interfere with your navigation. The neural feedback system was unlike anything he had ever experienced in Atreides technology. Every movement of the Ornithopter felt intuitive, as though it were responding to his thoughts as much as your commands. The interior, like the exterior, was silent, a stark contrast to the noisier, more mechanical machines he was used to.

He couldn’t help but admire the craftsmanship, his eyes tracing the sleek lines of the console and the way the control surfaces shimmered with a soft, amber glow. “There’s almost no sound at all.”

From your seat, you glanced at Leto and caught his expression, a faint smile tugging at the corner of your mouth. “Our Drakaopters, as we call them, are powered by drakaon crystals,” you explained, your tone steady as you focused on the controls. “Just like the rest of our technology. The crystals provide nearly silent propulsion and ensure our ships are undetectable by conventional sensors.”

Leto raised an eyebrow, clearly impressed. “Incredible. I’ve never seen anything like it.”

Behind you, Thufir Hawat sat in silence, his sharp eyes observing everything. His analytical mind was cataloging every detail, from the neural feedback system to the seamless way the other Targaryen Ornithopters—smaller, more nimble craft—flanked them as they ascended higher. The Targaryen technology was light years ahead of what the Imperium used, and that knowledge alone weighed heavily in Hawat’s calculations.

As the Ornithopter climbed into the sky, the flickering light of explosions in the distance caught your eye. You glanced at the holographic map in front of you and your expression hardened.

“Harkonnen troops are approaching,” you said, your voice suddenly sharper as you adjusted the controls. The Ornithopter’s plasma cannons began to warm up, their energy readings visible on the interface before you.

Leto’s gaze shifted to the horizon, where he saw the black dots of Harkonnen ornithopters growing larger, rapidly approaching from the east. At the same time, the ground forces below were beginning to clash—the Atreides and Targaryen troops advancing toward the Harkonnen base while their enemies tried to dig in and defend the hatchery.

You activated the plasma cannons, the hum of energy filling the cabin as the weapons powered up. The shields surrounding the Ornithopter shimmered momentarily, absorbing and dispersing the energy of the oncoming fire from the Harkonnen forces.

“Brace yourself,” you warned, your tone cool and focused as you maneuvered the Ornithopter into position. The smaller Targaryen craft flanking you began to engage the enemy, plasma bolts lighting up the stormy sky as they tore through the incoming Harkonnen ornithopters.

Leto watched in awe as the energy shields absorbed the blasts with ease, shimmering faintly as they dissipated the impact. He had never seen such seamless energy defense systems in action before, and it left him with a newfound respect for Targaryen engineering.

Just then, another squadron of Harkonnen ornithopters appeared on the horizon, larger and more heavily armed. Leto's eyes narrowed as he noted their formation. “Another squadron, coming in fast.”

You nodded, adjusting the controls to bring the Drakaopter into a more aggressive stance. The smaller Targaryen Ornithopters around you quickly peeled off to intercept the new threat, their plasma cannons firing in synchronized bursts that tore through the Harkonnen forces.

“We’ll punch through,” you said, your voice calm despite the chaos around you. With a quick motion, you locked onto the ground-based anti-air cannons positioned near the Harkonnen base and fired the crystal-tipped missiles. They streaked through the air, glowing a faint gold as they zeroed in on their targets.

The ground cannons exploded in a brilliant flash of light, the crystal-tipped warheads shattering the hardened emplacements with ease. Leto watched as the Harkonnen anti-air defenses crumbled, leaving the base exposed.

“Ion disruptors engaged,” you continued, your hands deftly working the controls as the Drakaopter’s disruptors activated. A wave of yellow energy rippled from the ship, crashing into the Harkonnen systems below. Leto watched as the disruptors caused their further defenses to sputter and fail, disabling their communications and rendering their systems vulnerable.

Leto was beyond impressed now. He had seen many battles, but never had he witnessed technology like this in action. “Your technology,” Leto said, his voice full of awe. “It’s beyond anything we’ve ever encountered.”

You didn’t look at him, your focus still on the task at hand. “We’ve had centuries to perfect it. And it’s the only reason we’ve survived this long in exile.”

Leto nodded thoughtfully, his admiration clear. But there was no time to dwell on the implications. The battle was far from over.

As you guided the Drakaopter toward the Harkonnen base, you glanced at the holographic display, noting the positions of the Atreides ground troops. “Once your men break through, I’ll land,” you told Leto. “We’ll take out the jamming signal and evacuate the planet.”

Leto gave a nod of agreement, his gaze locked on the battlefield below. “Let’s not waste any time, then.”

Behind you, Hawat observed quietly, a small smile tugging at the corner of his lips. He had seen the Duke’s enthusiasm for battle before, but there was something different about this. Perhaps it was the technology, or perhaps it was the presence of Daenys herself, but either way, Hawat could see that Leto was more engaged than usual. It amused the Mentat to see the Duke so captivated.

“Shall we?” you asked, glancing at Leto with a hint of challenge in your voice.

Leto returned your gaze, a faint smile crossing his lips. “Lead the way.”

With that, you accelerated toward the Harkonnen base, ready to finish what had been started. The final push had begun.

The Atreides forces surged forward, their precision and discipline cutting through the Harkonnen lines like a blade. The chaotic din of battle rumbled beneath the clouds of Arctis, plasma bolts lighting up the gray sky. The sound of explosions echoed through the air as Harkonnen defenses crumbled one by one, and now, with their anti-aircraft cannons destroyed and the Atreides troops pressing hard, victory seemed imminent.

In the distance, your Targaryen Drakaopter descended, landing gracefully in the midst of the controlled chaos. The wings folded in with a mechanical hum, the sleek craft setting down without a sound. As the hatch opened, Duke Leto Atreides, Thufir Hawat, and you exited, your eyes immediately scanning the battlefield.

Leto’s gaze hardened as he took in the scene. His men were doing well, but they didn’t have much time. The Harkonnens would regroup, and they needed to disable the jamming signal before reinforcements arrived. His mind was already calculating their next move, but before he could speak, Sergeant Kellor came rushing over, his face tense but determined.

“We’ve secured the perimeter,” Kellor said, his voice sharp as he motioned to the area ahead. “But we’ve only got a short window to disable the jamming signal before the Harkonnens can regroup. We need to move fast.”

You stepped forward, your expression calm but focused. “That’s enough time if you use this device properly.” You handed the small but intricate piece of technology to Kellor, who took it with a careful grip. His eyes flicked over the device, trying to understand its function as you quickly explained.

“It’s simple,” you said, your voice clear despite the chaos around you. “This will interface directly with the Harkonnen signal disruptors. Once you get to the jamming site, activate it by pressing here.” You pointed to a small, glowing node on the device. “It’ll overload their system and disable the signal in seconds. But you have to be precise—don’t give them time to recover.”

Kellor nodded, his expression determined. “Understood.”

More Atreides soldiers joined, forming a protective perimeter around the small group as Leto, Hawat, and you prepared for the final push. Leto turned to Kellor, his voice steady but laced with urgency. “We’ll give you as much time as you need, Sergeant. But the moment the signal is down, we retreat. The Targaryen ship is ready for the orbital strike.”

Kellor saluted before turning to his men, issuing orders with quick efficiency. The group of Atreides soldiers moved out, heading toward the jamming site with the Targaryen device in hand. They disappeared into the rocky terrain, their silhouettes blending into the storm.

You stood beside Leto, your gaze following Kellor’s team as they advanced. “I’ll help with the defense,” you said, your hand resting on the hilt of your sword. “Once the jamming is down, we start the retreat immediately.”

Leto glanced at you, his face a mixture of admiration and resolve. “Agreed. But we have to make sure Kellor’s team gets through. If the Harkonnens stop them, we lose our window.”

You nodded, drawing your sword with a swift, practiced motion. The familiar weight of the Valyrian steel in your hand felt steady, grounding you in the midst of the battle. Around you, the Atreides forces prepared for the next wave of Harkonnen resistance.

Hawat, ever vigilant, stepped forward. “We’ll need to hold the Harkonnen forces here until Kellor can disable the jamming. Once the signal is down, we retreat. The orbital strike will be swift, and we can’t risk being caught in it.”

Leto turned to his men, his voice carrying over the noise of battle. “Hold the line! We give Kellor and his team as much time as they need. Once the jamming signal is down, fall back to the transports.”

The Atreides soldiers responded immediately, their formations tightening as they prepared for the final push. Plasma fire rained down from the sky as the Harkonnens sent in reinforcements, desperate to hold their ground, but the combined forces of House Atreides and House Targaryen were relentless.

You took your place beside the Atreides soldiers, your sword at the ready. The Harkonnens advanced, but you met them with the ferocity of a dragon, cutting through their ranks with swift, precise strikes. The Atreides forces fought with discipline and determination, but your presence on the battlefield was something else—an unmistakable force that turned the tide.

Leto, armed and resolute, fought alongside his men, his every strike calculated and efficient. His eyes flicked to the horizon, watching for any sign of Kellor’s team. Time was running out.

Suddenly, a bright flash illuminated the sky, and the distant hum of energy signaled that Kellor’s team had succeeded. The Harkonnen jamming signal went dark, their defenses crumbling as the disruption ended. The time had come.

“The signal’s down!” Hawat shouted, his voice rising above the chaos. “We need to move—now!”

Leto turned, his voice commanding. “Fall back! To the transports!”

The Atreides forces began to retreat, moving quickly but with precision as they made their way to the transports. You turned to follow, your sword still in hand, as Leto gestured for you to keep close.

The battle was won, but the clock was ticking. Above, the Targaryen starship loomed, its weapons primed for the orbital strike. The Harkonnens would soon face the full fury of dragonfire from the stars.

You met Leto’s gaze briefly, a shared understanding passing between you. “We don’t have much time,” you said, your voice steady.

“No,” Leto replied, his expression resolute. “But we’ll make it.”

Together, you and the Duke of Atreides moved toward the transports, the sound of the orbital strike looming in the distance as the final chapter of the battle began.

As the transport hurtled across the icy landscape of Arctis, Aelor Targaryen's voice came through the comms, his tone calm but firm. "The orbital strike is in progress. All forces, stay clear of the target zone. We'll be hitting the Harkonnen base shortly."

The announcement was met with silence, save for the occasional murmurs of soldiers securing their weapons and gear. You sat near the front of the transport, your sword still in hand, resting against your knee. Leto sat beside you, his sharp gaze fixed on the horizon, while Thufir Hawat stood nearby, scanning tactical readouts.

Suddenly, a blinding amber light filled the transport, casting everything in a harsh, surreal glow. The grand rumble that followed shook the very ground beneath the transport, causing it to jolt violently. The entire cabin rocked as the orbital strike hit its target, the shockwaves from the impact reaching even this far.

In the chaos, soldiers braced themselves against the walls and seats, gripping whatever they could to avoid being thrown around by the tremors. You felt the transport lurch beneath your feet, and your balance wavered as the violent shake threw you forward.

Before you could fall, Leto acted quickly, reaching out to steady you. His strong hands gripped your arm, pulling you back against the seat and holding you upright as the transport continued to shake. Around you, the Atreides soldiers did the same, steadying themselves as the rumbling subsided.

"Thank you," you said, your voice calm despite the intensity of the moment. You met Leto’s gaze, a flicker of appreciation in your eyes as you settled back into your seat.

Leto gave a small nod, releasing his grip on your arm but keeping his attention on the aftermath of the strike. "We’re not through just yet," he said, his voice steady but carrying a note of caution. The amber light from the blast still lingered in the distance, fading slowly as the transport pushed forward.

You glanced out the viewport, watching as the fiery remnants of the orbital strike’s devastation glowed on the horizon. The Harkonnen base had been obliterated, reduced to nothing more than rubble and smoke. The dragons of House Targaryen had, once again, left their mark on the battlefield.

After a moment of silence, you turned back to Leto, your expression shifting as the reality of the situation sank in. "My ride awaits," you said, your voice tinged with a sense of finality. "At specific coordinates. Once we reach them, we part ways."

Leto studied you for a moment, his eyes searching your face as if weighing the gravity of your words. "And you’re sure this is the end of our path together, at least for now?" There was something in his tone, a subtle note of regret, though it was buried beneath his usual calm exterior.

You nodded, your gaze steady. "For now, yes. Our paths will diverge. The strike was successful, and we’ve achieved what we set out to do. But House Targaryen still has its own battles to fight, and we have a world to return to."

Leto considered this, his eyes flicking briefly to the horizon before returning to you. "Your House… it’s unlike anything I’ve ever encountered. And yet, there’s something familiar in the way we fight—something shared in our desire for survival."

You gave a small, thoughtful smile. "Perhaps there’s more in common between us than we realize, Duke Leto."

The two of you fell into a brief silence, the rumble of the transport continuing beneath your feet. Around you, the Atreides soldiers were focused on their tasks, but the weight of the moment hung between you and Leto. The alliance between your Houses had been forged in the fire of battle, but as you both knew, such alliances were rarely permanent.

"Where will you go from here?" Leto asked, his voice softer now, as though the question carried more meaning than just the practical.

You turned to meet his gaze again, your violet eyes calm but resolute. "Back to Albiron, for now. But the galaxy is a vast place, Duke. And I have a feeling our paths may cross again."

Leto smiled faintly, a knowing look in his eyes. "I’ll look forward to that day."

The transport began to slow as it neared the designated coordinates, the vibrations beneath your feet softening as it approached the drop point. You stood, sheathing your sword with a practiced motion, and glanced once more at Leto before heading toward the exit.

Hawat, ever observant, watched the exchange with quiet curiosity. As you prepared to leave, he stepped closer to Leto, his expression unreadable but perhaps tinged with amusement. "You seem particularly interested in the Targaryens, my Lord."

Leto didn’t respond immediately, his eyes still on you as you moved toward the door. After a beat, he glanced at Hawat, a small smile tugging at the corner of his mouth. "How could I not be, Thufir? They’re more than just an ally—they’re a mystery we’ve only just begun to unravel."

Hawat chuckled softly, his gaze flicking between you and Leto. "A mystery indeed."

As the transport came to a halt, you stepped outside, the cold air of Arctis biting at your skin once more. In the distance, your Targaryen transport awaited, sleek and silent like a shadow on the horizon.

You turned back one last time, meeting Leto’s gaze from the doorway of the Atreides transport. For a brief moment, there was an unspoken understanding between you—a shared respect, perhaps even a shared future, though what that future would hold remained uncertain.

And with that, you moved forward, heading toward your ship and the path that awaited you beyond the frozen world of Arctis.

The Atreides spaceship hummed quietly as it ascended from the frozen surface of Arctis, carrying Duke Leto, Thufir Hawat, Duncan Idaho, and Gurney Halleck safely back toward the stars. The planet below slowly disappeared from view, the battle now a distant memory as the crew settled into the familiar routine of post-mission debriefing.

But something was different this time. The atmosphere on the ship felt heavier, as though the weight of what had just transpired still lingered in the air. House Atreides had won a decisive victory against the Harkonnens, but it was their encounter with House Targaryen that now dominated their thoughts.

As the Atreides ship entered orbit, the massive Targaryen spaceship came into full view. Its sleek, obsidian-hued hull reflected the faint light of the distant stars, its design elegant and mysterious. The ship was larger than anything Leto had seen, far more advanced than even the most powerful vessels in the Imperium’s fleet. It was a sight that left an indelible mark, one that would be difficult to forget.

The comms system crackled to life, and Aelor Targaryen's voice came through, calm and composed. "Duke Leto, this is Aelor Targaryen. On behalf of my House, I thank you for your assistance. Together, we’ve defeated the Harkonnens here, but our paths must now part."

Leto stood at the command console, his eyes fixed on the Targaryen ship as he listened to Aelor’s words. "It was a hard-fought battle," Leto replied, his voice steady. "But I believe we both gained something from this alliance."

There was a brief pause on the comms, and then another voice came through—one that made Leto’s heart skip for just a moment.

"Duke Leto," you said, your voice softer but still clear through the comms. "I wish to thank you personally. Your men fought bravely, and for that, House Targaryen is in your debt."

Leto’s gaze flicked briefly to Hawat, who watched the exchange with quiet curiosity. The Duke’s expression softened slightly as he heard your voice, the memory of your parting still fresh in his mind.

Before he could respond, you added, "I’ve left a small gift of goodwill with Gurney. Consider it a token of our alliance—and a reminder of our shared victory."

Leto turned slowly, his brow furrowing in mild confusion as he looked at Gurney, who stood just behind him. Gurney smiled knowingly, reaching into his jacket and pulling out a small, carefully wrapped sachel. His eyes twinkled with amusement as he handed it to the Duke.

"I believe this is what she was referring to, my Lord," Gurney said, his voice low and filled with a certain fondness.

Leto took the sachel, his fingers brushing over the soft material. Slowly, he unwrapped it, revealing the contents within. His breath caught as he lifted out the object that lay inside: a dragon egg, petrified and turned to stone. The intricate markings on the surface glistened faintly in the ship’s artificial light, and despite its stony exterior, Leto could feel the weight of history and power in his hands.

The room fell silent as the Atreides crew gathered around, their eyes fixed on the stone egg. Even Hawat, ever the pragmatist, seemed momentarily taken aback by the sight. The dragon egg was more than just a symbol—it was a piece of House Targaryen’s legacy, a relic of a time when dragons ruled the skies.

Leto stared at the egg for a long moment, his mind racing with thoughts of what it represented. The Targaryens were more than an ancient, forgotten House—they were alive, powerful, and still connected to the legacy of their dragons.

Just then, a bright flash of amber light illuminated the viewport, and Leto looked up just in time to see the Targaryen ship vanish from view. It was gone in an instant, leaving behind nothing but the cold, empty void of space.

The crew stood in stunned silence, watching as the last traces of the Targaryen ship disappeared from their scanners. Leto, still holding the dragon egg, felt a quiet sense of loss. The alliance had been brief, but it had left a profound impact on him and his House.

He whispered softly to himself, his voice barely audible over the hum of the ship. "Goodbye, Daenys."

His fingers tightened around the egg, feeling the smooth, ancient surface beneath his touch. The weight of the stone was a reminder not only of the Targaryens’ power but of the connection that had been forged in the heat of battle. A connection that, despite their parting, felt far from over.

Hawat, ever watchful, stepped forward, his eyes studying the Duke’s expression with quiet understanding. "A gift, indeed," he said, his voice low.

Leto nodded, still holding the egg as he turned back to the viewport. "A gift," he repeated, though he knew it was much more than that.

The soft hum of the Atreides starship filled the silence of Duke Leto’s quarters as the vessel made its steady course back to Caladan. The quiet was almost soothing, but the Duke’s mind was far from calm. He sat at his desk, his gaze fixed on the petrified dragon egg resting in front of him. The smooth, stone surface seemed to shimmer faintly in the low light, as though it held the weight of centuries within its hardened shell.

Leto’s thoughts were miles away, lost in the memory of his brief encounter with Daenys Targaryen and the strange, powerful House she represented. The Targaryens were more than a legend—they were real, and they were dangerous in ways the Imperium could hardly comprehend. Yet, there had been something else about them, something that left Leto both intrigued and unsettled.

The door to his quarters slid open with a quiet hiss, and Thufir Hawat stepped inside, his sharp eyes immediately assessing the Duke’s posture. Leto didn’t stir, his attention still fixed on the dragon egg, though his expression was unreadable.

Hawat cleared his throat lightly before speaking, careful not to break the Duke’s deep concentration too suddenly. "My Lord," he began, his voice measured, "we should consider formulating a response for when the Emperor’s inquiry reaches us. The events on Arctis will no doubt draw attention."

Leto’s eyes remained on the egg, his fingers brushing lightly over its surface as he answered absently, his voice distant. "Yes, Thufir, I know."

But Hawat could tell from Leto’s tone that the Duke’s mind was elsewhere. His thoughts were still with the Targaryens, perhaps more with Daenys herself. There was a flicker of something in Leto’s gaze, something Hawat rarely saw—an almost wistful contemplation.

Hawat stepped closer, his analytical mind working through the implications of what they had just experienced. "Young Paul will no doubt be intrigued by this gift," Hawat remarked carefully, his eyes on the dragon egg as well. "Our new… friends have certainly left us with much to consider."

Leto’s lips twitched slightly, his gaze softening as he thought of his son. "Yes, Paul will be fascinated." His voice was quiet, and there was a warmth there when he spoke of his son. "But Jessica will be… less than pleased, I imagine."

Hawat’s brow furrowed in slight surprise, and he turned his full attention to the Duke. "You don’t intend to tell her?"

Leto glanced at Hawat for the first time since he’d entered, his expression more focused now but still guarded. "If there are no inquiries from the Emperor, then there’s no reason to speak of this to anyone. Not even to Lady Jessica."

Hawat’s surprise deepened. The Duke had always been relatively transparent with Jessica, despite her ties to the Bene Gesserit. This, however, was different. It took the Mentat only a moment to realize why Leto would be cautious in this matter. "Ah," Hawat murmured, understanding dawning. "You wish to avoid the involvement of the Sisterhood. They would take a keen interest in such an encounter."

Leto’s face hardened slightly as he nodded. "Precisely. The Bene Gesserit would insert themselves quickly, and I’d rather avoid that. The Targaryens are… unpredictable. There’s no telling how they would react to Bene Gesserit involvement. For now, this stays between us. If the Emperor or the Landsraad does not ask questions, we will let this fade into obscurity."

Hawat nodded slowly, his sharp mind already calculating the risks. "And what of the Harkonnens? Surely they won’t reveal their plans to the Emperor. It would expose their failure and their hidden operations on Arctis."

Leto allowed himself a small, tight smile. "Exactly. They’ll have no interest in informing the Emperor. We’ll report the events on Arctis as nothing more than an ordinary skirmish between our Houses. Routine border conflicts. Nothing more."

Hawat nodded in agreement, his mind already cataloging the steps needed to manage the situation. Keeping the Targaryen encounter under wraps would be a delicate task, but it was one the Mentat could handle.

Just as Hawat turned to leave, Leto’s voice stopped him.

“Thufir,” Leto said quietly, his gaze returning to the dragon egg. “What are the chances… of us encountering the Targaryens again?”

Hawat paused, considering the question carefully. The Targaryens were enigmatic, elusive, and far more powerful than even the Atreides had anticipated. Their sudden appearance had changed everything, and their departure left a trail of unanswered questions.

“I’d say, my Lord,” Hawat began, his voice measured, “that the chances are higher than we’d like to admit. They are not a people who vanish easily.”

Leto nodded slowly, his expression thoughtful. “No… they are not.”

With that, Hawat gave a slight bow and left the room, leaving Leto alone with his thoughts once more. The Duke stared at the egg, the weight of its significance heavy in his hands. He whispered softly, as if to himself—or perhaps to you.

“Until we meet again, Daenys.”

The thick, oppressive atmosphere of Giedi Prime clung to Feyd-Rautha Harkonnen like the oily, polluted air that filled every corner of his home planet. As his shuttle descended toward the capital, the dark, industrial landscape stretched out beneath him, a grim reminder of his family’s iron-fisted rule over their wretched domain.

Feyd’s jaw tightened as he gazed out the viewport, knowing that this return would be far from triumphant. Baron Vladimir Harkonnen had already received news of the failure on Arctis—of the defeat at the hands of the Atreides and, worse, the reveal of the Targaryens. His uncle’s rage would be visible, and Feyd knew he would be the primary target of that fury.

Yet, there was something else—something Feyd clung to. They had achieved a sliver of what they were after. The Targaryens had revealed themselves, drawn out from the shadows of obscurity. The Baron may not be pleased with the overall outcome, but Feyd believed that this failure could still be turned into something useful.

As the shuttle touched down in the landing bay of the Harkonnen stronghold, Feyd took a deep breath, straightened his uniform, and prepared himself for what was to come. The heavy doors hissed open, and he stepped out onto the cold metal floor, his steps echoing down the corridor as he made his way to the Baron’s chambers.

The familiar scent of grease and decay filled the air as he approached the grand doors of his uncle’s throne room. The walls of the fortress were adorned with dark tapestries depicting the conquests and cruelties of House Harkonnen, reminders of the family’s ruthless ambition.

Inside the chamber, Baron Vladimir Harkonnen sat on his hovering chair, his corpulent form draped in luxurious, dark robes. His pale, bloated face was twisted into a sneer, and his small, pig-like eyes flickered with barely contained rage. Standing beside him, the ever-brutal Glossu Rabban, Feyd’s brutish brother, looked on with a mixture of amusement and impatience.

Feyd stepped forward, his chin held high despite the weight of his failure. He knew better than to show weakness in front of the Baron.

"Uncle," Feyd greeted, his voice calm but respectful, bowing slightly as he addressed the Baron.

The Baron’s sneer deepened, and his eyes gleamed with malice as he leaned forward in his chair. "So, my dear nephew," he began, his voice dripping with sarcasm. "You return to me a failure, do you not? After all, your mission on Arctis… did not go as planned."

Feyd met his uncle’s gaze without flinching, though he could feel the simmering anger in the air. "Yes, the Atreides interfered, and we were forced to retreat, but—"

"But?" the Baron hissed, his bloated fingers gripping the arms of his chair. "But? There is no ‘but,’ Feyd! You lost. You were humiliated. The Atreides and those damnable Targaryens bested you!"

Rabban chuckled darkly from his place beside the Baron, his thick arms crossed over his chest. "A failure is a failure, brother. There’s no excuse for that."

Feyd clenched his fists but held his composure. "We may have lost the battle, but we achieved something important," he said, his voice steady. "We drew the Targaryens out. They revealed themselves, showed their hand. That was the true goal, was it not?"

The Baron’s sneer faltered slightly, his eyes narrowing as he considered Feyd’s words. He leaned back in his chair, his expression momentarily thoughtful. "Ah, yes. The Targaryens. The ancient dragons who were supposed to be long dead. And now… they return, do they?"

Feyd nodded. "Yes. They are more powerful than we anticipated, but they are no longer hidden. They’ve shown their faces, and that gives us an advantage. Now, we know what we’re dealing with."

The Baron’s face darkened again, though his rage had softened somewhat. "Perhaps. But make no mistake, Feyd—this failure is still yours. You did not eliminate the Atreides forces. You allowed them to gain the upper hand. You are fortunate that the Targaryens revealed themselves, or I would not be so lenient."

Rabban grunted in agreement, his brutish face twisted into a grin. "You’re lucky, brother. Very lucky."

Feyd ignored Rabban, his focus on the Baron. "I understand, Uncle. And I take full responsibility for the setback. But I believe we can use this to our advantage."

The Baron raised an eyebrow, intrigued despite himself. "Go on."

Feyd stepped forward, his voice lowering slightly as he spoke. "Now that the Targaryens have shown themselves, we can manipulate the situation. The Imperium will take notice, especially if we… steer the narrative. House Atreides is already under suspicion by the Emperor. If we can make it seem as though they are allied with the Targaryens—an ancient, unknown threat—then the Emperor may act against them. We could use this to weaken both Houses."

The Baron’s eyes gleamed with interest, his fingers tapping rhythmically on the arm of his chair. "Hmm. You may be right, Feyd. The Emperor is always wary of rising threats. And if he believes that the Atreides are conspiring with the Targaryens… it could work in our favor."

Rabban, ever the brute, looked confused for a moment but eventually nodded in agreement, understanding only the basic idea. "Sounds good. Let the Emperor deal with them."

Feyd allowed himself a small smile. "Exactly. We use the Targaryens’ return as a weapon. Let the Emperor and the Landsraad turn their gaze on the Atreides. And when they fall, House Harkonnen will be ready to take their place."

The Baron’s laughter filled the room, deep and malevolent. "Ah, Feyd. You may have stumbled, but you’ve shown some cunning after all. Very well. We will pursue this path, but make no mistake—you will not fail me again."

Feyd bowed his head in acknowledgment. "I won’t, Uncle."

The Baron’s laughter faded, and he waved his hand dismissively. "Go, then. Begin preparing the groundwork. We’ll let the Imperium know about our new friends, the Targaryens. But we will do so on our terms."

Feyd nodded once more, then turned and left the room, his thoughts already spinning with plans and schemes. He had failed on Arctis, yes, but the game was far from over. And the next time, he would make sure both the Atreides and the Targaryens paid the price.

As the heavy doors closed behind him, Feyd allowed himself a small, satisfied smirk. This was just the beginning.

...

The vast throne room of Emperor Shaddam Corrino IV was cold and silent, save for the soft echo of footsteps as Mother Gaius Helen Mohiam and her attendants led the Red Woman into the chamber. The priestess, dressed in tattered crimson robes, her flame-colored hair spilling over her shoulders, had been a mystery ever since her arrival on Arrakis. Now, despite all the efforts of the Bene Gesserit to break her will, she remained unresponsive to their usual methods of interrogation.

At the far end of the room, Shaddam sat on his gilded throne, his expression unreadable as he stared down at the Red Woman. Beside him, an array of documents and reports lay scattered across a marble table—conflicting accounts of the events on Arctis. One report from Baron Vladimir Harkonnen, claiming his forces had been ambushed by House Atreides, painted the Duke as an aggressor and the unexpected return of House Targaryen. The other report, from Duke Leto Atreides himself, painted a different picture—one of defense against Harkonnen treachery. Neither report fully aligned with the scarce updates from House Ix, who had remained curiously evasive since they had delivered that parchment with dragon seal to the Emperor.

Shaddam's frustration simmered beneath his composed exterior. This was not how things were supposed to go. And now, with the Targaryens resurfacing, the entire balance of power in the Imperium was at risk.

The Red Woman was brought before the Emperor, her face serene despite the chains that bound her wrists. Her eyes, fiery and unwavering, met Shaddam's without fear. Mother Helen stood just behind her, her presence a quiet threat.

Shaddam leaned forward, his voice low but firm. "You have defied the Bene Gesserit and refused to answer their questions. But you are in my presence now, priestess. And I will have answers. What are you doing on Arrakis, and what is your connection to the events on Arctis?"

The Red Woman's lips curved into a faint, mocking smile. "You align yourself with serpents, Emperor," she said, her voice dripping with disdain. "The Bene Gesserit whisper in your ear, guiding your hand, but they do not serve you. They serve only themselves."

Mother Mohiam's face tightened in anger. "Careful, woman. You speak to the Emperor."

But the Red Woman did not flinch. Her eyes remained fixed on Shaddam, her gaze burning with an intensity that unsettled even the most seasoned court attendants. "The time of false kings and the Sisterhood's shadowy plots is ending," she said, her voice calm but with an undercurrent of fire. "The Lord of Light has sent me as a warning. You think yourselves rulers of this universe, but your reigns are but flickering candles in the darkness. The true prince will come, and he will burn away the corruption that festers in your Imperium."

Shaddam’s expression darkened, his patience wearing thin. "I asked for answers, not riddles. What do you know of the Targaryens? Of their return?"

The Red Woman’s gaze flickered with something unreadable, her smile never fading. "The dragons are of the flame, born of the same fire that will cleanse this universe. You cannot stop what is coming. You will either bend before it, or you will be consumed."

Mother Mohiam stepped forward, her patience long gone. "Enough!" she barked, her voice filled with frustration. "You dare speak in riddles and prophecies while defying the Sisterhood? You are a servant of chaos, and you will answer for your insolence."

The Red Woman’s smile only widened, her eyes gleaming with something almost otherworldly. "The night is dark and full of terrors, Bene Gesserit. And you are blind to the true threat. Your whispers of control, your breeding programs, they are nothing in the face of what is coming."

Shaddam's eyes narrowed, his annoyance boiling over. "Enough of this. Remove her from my sight," he ordered, his voice cold. "She is no more than a madwoman spouting false prophecies."

Two guards stepped forward to take the Red Woman away, her chains rattling as they pulled her toward the exit. But as she was led from the room, her parting words echoed through the chamber like a curse. "The time of shadows is ending, Emperor. The Lord of Light sees all."

When the doors slammed shut behind her, silence filled the room once more. Shaddam stood from his throne, pacing slowly, his hands clasped behind his back.

Mother Mohiam approached, her voice cold and accusing. "You knew of the Targaryens' presence long before the Sisterhood did, didn't you? And you said nothing."

Shaddam stopped in his tracks, turning slowly to face her, his expression hardening. He had known about the possibility of the Targaryens' survival for some time, though he had kept that information close, using it to his advantage when necessary. But now, with conflicting reports, he realized someone had leaked sensitive information.

"It seems," Shaddam said, his voice measured but edged with annoyance, "that certain reports have slipped through the cracks. There has been a leak, and the Targaryens' presence has become known before I intended."

Mother Mohiam’s eyes narrowed. "The Sisterhood could have acted had we known sooner. Now, the situation is slipping from our control. The Targaryens are a threat we cannot afford to ignore, and this… priestess has stirred up resistance on Arrakis. Her followers are growing, undermining our groundwork for the Kwisatz Haderach."

Shaddam’s patience wore thin as he rubbed his temples. "I have a plan to deal with the Targaryens, but it will take time. As for Arrakis, your order should focus on securing the situation. We have little time left before things spiral further out of control."

Mother Mohiam’s lips pressed into a thin line. "The groundwork is already in place, but the presence of these servants of the so-called Lord of Light is complicating matters. They are spreading dissent among the people, speaking of a prince that will come to save them."

"Then fix it," Shaddam snapped, his voice sharp with frustration. "The Bene Gesserit have manipulated rulers for centuries. Surely dealing with a few religious zealots is not beyond your capabilities."

Mother Mohiam’s expression darkened, but she said nothing further. The tension between them was palpable, but she knew that the Emperor’s patience had limits. With a final curt nod, she turned and left the chamber, her robes billowing behind her as she exited.

Shaddam stood alone in the vast room, his gaze once more settling on the conflicting reports before him. The Targaryens, the Atreides, the Harkonnens—all were playing dangerous games. But in the end, Shaddam intended to be the one holding the strings. Time was running out, and soon, all the pieces would need to fall into place.

But first, he had to deal with the shadows lurking within his own empire.

[azaharinflames]

I need to get this off my chest—with all due respect and love:

911 isn't that deep. I know we love our theories, headcanons, and the idea that writers might be foreshadowing future storylines. Admittedly, the writers are skilled at setting up characters and connecting the dots when the opportunity arises. For instance, they did an excellent job crafting Buck’s backstory, perfectly tying together everything we know about him and explaining who he is as a person. But they aren’t constructing some grand, deeper plan. What we see on screen is what it is.

In episode 704, it’s Tommy that Buck is spending time with when Eddie interrupts them, which already sets the stage for how the story will unfold and who’s creating the tension. From the first scene with the three of them, it’s clear—Tommy and Buck are the focal points, with Eddie acting as the disruptor. Buck wants to be invited to Trivia night to spend time with Tommy. He goes to the basketball court for the same reason. When Buck sees Tommy’s attention on Eddie during the game, he craves it for himself. Later, Buck is thrilled when Tommy shows up at his apartment.

If Buck were truly interested in Eddie, he would have been hanging out with Eddie from the start, with Tommy as the one interrupting. He would’ve accepted Eddie’s previous invitations to the basketball game. The conversation at the apartment would have centered around Eddie, not on making Tommy feel better.

Whether people want to admit it or not, Eddie was the obstacle in episode 704—something Tim Minear himself has stated. The idea that Buck was jealous of Tommy for getting Eddie’s attention just isn’t true, and it’s embarrassing to claim otherwise. Yes, I’m especially referring to certain so-called journalists who thrive on riling up fans.

We’ve agreed countless times that some fans lack media literacy. But sometimes, it’s truly shocking how much they refuse to see what’s actually canon.

[yourmaidsp]

Hello, I’m inlove with your art style and how you draw sceneries!! I really wanna try learning how to draw backgrounds more often, do you have any tips about drawing background? Thank you!

Complete guide to Background painting:

So um thank u for asking me Caleb- chan (˃ ⌑ ˂ഃ )! Im glad u trust me on this! But I'm not actually that confident about myself on this, and as a chaotic anarchist, I'll just dump everything I know about this topic to u...

There's so much to talk about background painting, so this is going to be very long, pls bear w me here n forgive me for the broken english_(:зゝ∠)_

It's better to demonstrate with an illustration, so I'll be using this colorkey for that upcoming animated project as an example(two versions for different methods).. along with some other old pics of mine and this sketch I loosly built.

(Also just like I've mentioned in the color tutorial, this would be the only time I explain the theories n tricks, bc it takes too much time to make these.(；′⌒`) I hope ppl r okay w this?)

Purpose and rules

Well for me personally, I'd like my paintings to be rich in storytelling and emotion, rather than a pure decorative picture. So I'm providing two basic methods here, one about realistic background, another about surreal background.

We'll talk about these two in later chapters, but first, preparation.

Preparation

Like I mentioned in last tutorial, gather information before u start any project.

Some irl images —— for real life physics, I'm studying mostly reflections here.

Refs from the original material —— Ofc

Illustrations —— once you studied the irl physics, check out how other ppl deal with the same situation for inspiration, but pls don't just copy them.

Movies —— I think they're just neat (for a nice overall tone, and that helps making your work more)

You could start by painting characters on existing photos, it's a nice exercise.

Realistic

Realistic background requires the understanding of a lot of things, for me personally, proportion is the most important, bc it's the easiest mistake your viewer could spot.

If u check any tutorials on this they'll say u need to use vanishing points to create invisible grids and , I loosly made these to show u how they work

most of the time u use vanishing points to set up the whole scene, two would be enough most of the time.

( Well, or three points, if u want to do something more dramatic, fancy. Or 5 points if u want to do something even more dramatic. )

( For a more lens based logic, 3 or 5 points work best for a mock up 15-35 focal length shot.)

Do a grid using these points. and build environment following the grid.

Put your character in this environment, and their vanishing point will match the one with this environment.

Determine the lighting for your environment, one lightsource first.

Then do the shadow for your character.

(If you don't want a very detailed background this would be enough? Normally I don't do sharp and clear perspective for a more chaotic and hand crafted aesthetic.)

But again, sometimes u just need it to be extremely accurate.

So I made a model for my animation scene, it's widely used by concept artists, so if u're interested, try it out:

u don't have to make a complete set, just boxes would also help.

Surreal

No need to think about actual background this time, just do whatever u want that makes it look good in 2d composition.

u could check out my tutorial on composition on this.

For topics and ideas to put in these experimental surreal paintings, u could try thinking in a "meta" way?

Like this one, I compositioned it from the understating of texture and material : glass.

all the strokes r square-ish, making everything looks breakable.

and the composition is also square-ish, u see sharp edges for the silhouette

Um... it's something I can't explain to the fullest, but u'll get it one day...

Demonstration

And now, the demonstration: I've painted this twice, this one using Blender as the assisting tool:

My logic here is using a mild color scheme over an existing environment, using strokes following the structure.

I made mock up lightings in my model, so the lighting is easier.

the rest is just putting Butters in this set.

And this one just traditional method + eyeballing: (what I've been using recently)

Since I'm not painting over model, eyeballing the set or use the vanishing point+ grid method from earlier... then set the main tone for it (this time it's blue)

I went for a very saturated blue compairing to the other one.

Then paint the light out, for a main light source. I used yellow for a contrasting effect.

The rest is basically the same, but since it doesn't have a model under it I don't need the strokes to tenderize the solidness of an existing model...

Anyways...

I'd suggest u use whatever method that is more comfortable to you, bc I might not be that good at doing it most effectively_(:зゝ∠)_ and I'm sure you're going to find your own unique way!)

Recording of these two paintings is here, hope they're helpful to u:

Exercise and Summarize

So um, after each painting u might want to summarize. One thing I would do is to remove saturation and check if the grayscale looks good-

check what colors u used the most-

check what angle (or shots or framing) u like better-

check what lighting suits your atmosphere-

these are good for u to develop a style-

There are some tutorials on the internet on more of this topic, I'm sure ur able to find them, they'll do a better job for me I think~

And I'm sorry this came out so late! a lot of things have happened...

Hope u have a good time creating art, and have a nice day Caleb-!

-Maid

[wings-of-ink]

Related to your poll.

I picked this option: "Select specific/individual stats from a selection at the start."

I tend to prefer IFs with more flavor text related to selecting personality traits. But imo, the best of both worlds isn't exactly this. What I prefer are IFs that dedicate like one or two chapters to defining MC's traits, and then offer a personalized experience for the rest of the book / series, with the personality traits not changing anymore. Basically, a personality lock-in rather than selecting during the creator. This is the best of both worlds as it allows the player to actively select and fine-tune the personality organically during the story, but still sets something specific in stone for later that allows the author to still have a lot of flavor text.

I think it's a good system because depending on the author's writing style and the setting and context of the story, I don't always select the exact same personality type for my MC, and this is not something I can know when I'm just creating the character at the very beginning.

Another system I like is also with a lock-in, but where the player sets a "dominant personality trait" among their strong personality traits after a chapter or two. That means there is some flavor text based on opposed stats and what not, but more often than not the game will reference the dominant stat for the "main" flavor text.

Ultimately, it also relates to the age of the MC and pacing of the story though. If the story takes place during like 2 or 3 days, it doesn't realistically make that much sense for the MC to entirely change personalities, so I favor lock-ins (or preset personalities decided during character creation). Similarly, with older MCs who had time to really grow into themselves, it makes less sense to have personality changes during the story. On the other hand, teen MCs could only truly grow into themselves during whatever aventure the story is telling. And well, obviously if the story takes place during the span of months or even years, it could be outright weird to fully set the MC's personality in most cases (though exceptions can exist, depending on the writing style, of course).

That would be a great option, and it probably does make the most sense for a set-as-you-go personality system. I've often wondered if GC needs to have a similar cut-off.

The dominant trait is another terrific idea. I totally see where that gives you a good focal point. Best for both the reader and writer there.

I hadn't actually considered the age of the MC either. In the new IF they may need to be on the young side. It just depends on what I work out for the main plot to function. I will definitely take that and the time span into consideration when I make my final choice. I think I'm going to have to make some more concrete plans before I can decide. I imagine this story will take about a year and some change to get MC from start to finish.

[imustbenuts]

shinto gods can split. something something trigun twins.

a ??? piece about trigun stampede and the twin stuff which might be rooted in shinto, but since i lack the full depth of knowledge its gonna be surface level at best

afaik an aspect of shinto is about appeasing the spirits through song, dance, rituals, festivals etc. prolonged periods of neglect is thought to upset them and bring about misfortune. the ideal focal location to do these is in shrines where the aspects of gods can inhibit a vessel.

so, nicely kept shrine = appeased and happy gods. its a lot like maintaining a church in a sense.

further, specifically in japanese mythology, its not uncommon for a god to basically... split into 2. the idea is that their mitamas 御霊would be split into a aramitama 荒魂 (raging spirit) and a nigimitama 和魂 (gentle spirit)

the aramitama is associated with rage. one so strong that it rampages, destroy, and creates new things and changes in the process. associated with natural disasters like typhoons, earthquakes, tsunamis, etc (...knives?)

the nigimitama is associated with benevolence and humility etc. so this aspect is more about nurturing and grace. maintaining the status quo. (vash?)

these split spirits can exist independently at the same time and are considered opposites of each other, but are the same deity. in certain cases in the Nihon Shoki (the big japanese chronicle collection), certain splits might result in the 2 aspect gaining different names even though they are considered to be 1.

an appeasement ritual is meant to be performed on the aramitama for the nigimitama to appear. the nigimitama can then further spawn kushimitama 奇魂 (wondrous spirit) and sakimitama 幸魂 (happy spirit).

the flowchart relation is like this:

the kushimitama can create miracles such has granting people sudden talents, skills, or cure illness

the sakimitama gives happiness to people through bringing good harvests and luck

...side eyes the pregnant plants and wondering wtf is studio orange cooking once again...

anyway, since all of these are considered to be the same aspect of 1 god, studio orange is probably picking and choosing which aspect to put into their story. its not a 1:1 and its likely they're playing inter uhhh culture religion 4d chess theming.

i want to point out a possibility that nightow himself may have been affected by this belief of shinto to some degree. since it doesnt seem strong enough in trigun/trimax, only a little further beyond a possible twin as embryo split theory.

FURTHER, theres some parallels with the yin-yang concept, where yang is the active energy and yin is the chill energy.

ive written a little about it previously here under the JuLai Emblem bit.

thats about all i know about this particular topic. maybe theres more but idk what do we think