#I don't explicitly say it but I do imply it

[seananmcguire]

I'm sorry I've been following you for a long time and I understand that you're suspicious of asks you weren't expecting, but implying that all fundraisers from people - a lot of them having been vetted and verified by multiple outside sources - are automatically spam does more harm than good. A lot of these people are not native English speakers and don't have experience navigating English social media, excuse them for not sounding 'natural'. I'm not saying scammers don't exist or that you shouldn't investigate the fundraisers you see, but respectfully, to paint them all as scammers is dangerous and only helps as an excuse to erode your empathy.

This is a fair and balanced response, and I thank you for sending it to me. That said, there's "not sounding natural," and there's "ten copies of the same Ask, which uses the exact wording used by five others from another source, all built mostly of emojis.

I do investigate fundraisers from trusted sources, but I cannot investigate twenty a day in my Ask box. I never agreed to that, it's not why I'm here, and polite requests have been ignored, which is leading to me feeling a lot more wary. I did not mean to imply that all fundraisers are scams or spam. Just that I'm getting flooded out over here, and enough other people are experiencing the same that Ask boxes are closing across the site.

Also, as friends have pointed out, all the other fundraiser requests have basically gone away. No more "please save my cat" Asks from blogs created yesterday. It's hard not to see these as connected.

Anyway: I do not think all requests from aid are scams or spam, and I do look at vetted fundraisers. I do think inbox requests when not asked for explicitly are difficult to trust or verify.

[zayne-li]

Frozen Blood

Cross posted on ao3

Rating: Mature (for violence and blood)

Length: 3.3k

Pairing: Zayne/MC (not explicitly, but it's implied)

Warnings: Angst, hurt/little comfort, blood, violence, MC goes into shock, character death

Anyway what if dawnbreaker turned into an abomination and we had to do a boss fight against him by ourselves

--

His hand is nearly frozen in your own, and it feels different than the way it normally does when his Evol is acting up. It's not cold like ice, it's cold like death, though he's still breathing, albeit shallowly.

“Zayne,” you're almost desperate as you squeeze his fingers. He may not be your Zayne, but that thought is the furthest thing from your mind right now, because he's right here in front of you, and you have never, never seen him in this much pain. The black crystals spreading from his palm, to wrist, to surely his arms and possibly more beneath the black coat looks almost like frostbite, painful and bleeding because you know that the ice is not external. It's internal. Its source is his heart, and it seemingly can no longer be contained within, trying to scrape and tear its way out of his body. “Zayne listen to me.”

Thus far his eyes have been unable to meet yours, fixed on the ground like he's afraid to look at you. But at your insistence, they flicker up towards you, dark and almost lifeless, with none of the spark you're used to seeing. He says nothing, and instead tries to pull his hand from yours. You don't allow it, tightening your grip, trying to have enough faith and determination for the both of you, because this Zayne… since you found him just a few days ago, seems like he's given up far before he ever met you.

“I'm going to resonate with you–”

“No.” He is firm as he says it, and tries once again to pull his hand from yours.

“It's going to–”

”No.” This time it's more broken, and he sets his jaw, physically moving further away, as much as he can from his seated position. “It's too late. I don’t want to hurt you.”

The blackened crystals beneath his clothes are spreading, faster than before, you can tell by the way he whimpers and looks back away. His breath is visible in the unnatural frigid air around the two of you.

And then… a sharp cry from his lips at the same time as you watch one of the crystals shoot out from somewhere between his ribs. The crack is sickening, wet, and the crystal brings with it a torrent of blood. Zayne doubles over, and in your own shock, is finally able to yank his hand from you own as he curls it around his abdomen, face contorting into a grimace.

Panic wells up in your chest, sticking to your throat as your eyes go wide, and you see another shard burst from his hunched back, the angle making it almost look at though he’s been impaled all the way through. Crimson red drips from the jagged tip, staining his clothes an even darker black, and plopping far too loudly onto the pavement. It echoes in your ears as his breath shudders, crackling in his lungs with every inhale. Labored. It’s like he can’t seem to get enough air.

“Zayne, let me–”

”Get away from me. Now.” It’s almost a snarl, weakened only by the shaking of his voice. His eyes find yours only long enough for him to try and get his point across, like some kind of wounded animal.

Your own breath is growing faster, terror like you’ve never felt tightening in your chest, your vision narrowing down only into this moment, and it’s like you’re frozen. A pit settles in your stomach as your mind races.

I don’t know what to do. I don’t. I don’t know what to do. What do I do? My Zayne would know. He would be calm. Why can’t I…?

You blink hard a few times, trying to calm your breathing, your ears swimming with the sound of dripping blood and another sharp, agonized cry as Zayne lurches away from you, onto all fours, his arms shaking as another crystal tears its way out of his body, this time right from the center of his chest. His breathing starts to sound wet. Did it puncture a lung?

And then, a different kind of horror grips your heart as you hear the oh so familiar sound of his evol, like a bright burst in your vision, though the makeshift dagger of ice looks more like the black shards piercing his body than the brilliant, clear blue you know so well. Zayne sets his jaw, teeth grinding together as he twists it in his grip. He’s holding it so tightly you see a drop of blood squeeze from between his fingers.

He’s pointing it at himself.

“Don’t–Zayne!” You lunge for him as you realize what he’s about to do, grabbing his wrist with both of your hands in an attempt to stop him, which he hadn’t seemed to have expected, and as a result the two of you come crashing down onto your sides on the pavement, his eyes wide with shock and likely more pain from the impact. Almost immediately they squeeze shut as his brows pull together, and the ice in his hand fades away in a puff of frost. “What the hell do you think you’re doing!?” You want to shake him, you feel sick, this has to be a nightmare, this can’t– this can’t be real.

“I–nnnh– I told you,” His voice still holds that growl that you’re entirely unused to, having never heard the Zayne you know speak in such a tone, “It’s too late, you need…” He sucks in a wet, gurgling breath, and you instinctively move back up onto your knees as his back arches, the sickening crack of bone making you flinch as you watch another crystal force its way through his stomach and ribs. Your vision is starting to blur with tears you didn’t know you were crying, and angrily, you wipe them away. Now is not the time. You need to be calm. Collected. You need to fucking do something.

Anything.

He’s weaker now, and so distracted by the pain in his body that he is incapable of resisting the way he had before when you place a hand on his shoulder and try to resonate with him. Below you, he’s almost seizing, his muscles contracting and releasing as he curls in on himself, like an animal trying to protect its wound. The fingernails on his other hand scrape against the road and start to bleed, though it’s hard to tell with the pool already spreading beneath him.

Where you can normally feel the rising tide of energy from him, raging and at times almost overwhelming as you siphon some of the backlash from his evol, now…

You feel nothing.

Why can’t you feel anything?

Is it… What is this? What’s happening?

“Get away.... Please.” Zayne’s voice has grown weaker. He’s begging you.

“I’m not leaving you, Zayne, why can’t I resonate with you?!” Your fear starts to morph into rage. Anger at him, for not explaining what the hell is going on, anger at yourself, for being too useless to help him before it got to this point, and anger at fate itself, for bringing you both here, to this point in time.

“Because I’m not–”

He never gets to finish that sentence. Instead, his words morph into an unbearable scream of pure agony, the sort of sound you’ve only heard from the dying. It chills you to your very core in a way that snow and ice never could.

Later, you’ll realize that those were the last words you ever heard from him.

As a human.

But as the sound of his scream starts to warp, you realize his body is changing too. More black shards of the horrific crystals pierce through his skin, one after another, blood pooling around his twitching body until his clothes are torn to shreds, and you realize that the very shape of him is being distorted, twisted into something alien. Something you recognize all too well.

Pure shock keeps you rooted there, on your knees beside him as you watch it happen right before your eyes.

The look on his face in that moment is something that will haunt you for an eternity, you think, half covered in the shimmering, rocklike material that is indicative of… Your brain can hardly process what it is you’re seeing.

And then the screaming stops, though it continues to echo in your ears for seconds afterwards still. He starts to stand. First with one heavy hand on the ground, clunking onto the pavement. Then up onto a knee. The crack of bones and the sound of his shallow breath can no longer be heard. The only thing left of him is one side of his face as his form continues to twist minutely. It’s contorted in blank, empty rage.

You scramble back, rolling over to avoid a shard of ice the Wanderer tosses at you as it comes up to its full height. Even taller than Zayne had been. Using the momentum, you push yourself up onto your own feet and run a few steps away, though you don’t want to leave your back exposed for too long. The sound of its heavy feet sound behind you as it takes slow steps forward, and without thinking, you grab for the sword at your side, bouncing against your thigh.

Your mind becomes utterly blank, every thought erased as shock and adrenaline has your limbs taking over without any conscious thought. It’s entirely muscle memory. You’ve done this a thousand times. You know exactly what to do.

“Because I’m not–”

You drop into your stance, legs shoulder length apart, knees bent, sword held in front of you, and duck as the Wanderer aims another ice spike at your head. Okay. For now, its movements are sluggish. Is that because it’s not finished transforming yet?

“Get away.... Please.”

It puts both hands out in front of itself, rocky and grey, glowing blue light showing through the cracks, claws long and sharp, and a torrent of small icicles fly towards you, forcing you to step to the side, and slowly, it continues to advance. The one hazel eye you can still see does not blink, staring at you with an unseeing gaze, the human half of its mouth twisting almost like it's trying to say something. What could it possibly have to say?

“It's too late. I don’t want to hurt you.”

Your heart pounds in your chest, banging against your ribcage. You force yourself to take deeper breaths, realizing that you’re nearly hyperventilating. Underneath your feet is the pool of his blood, splashing as you twist to the side to avoid another attack, forced to bat away one of the shards with the flat of your blade.

What am I supposed to do?

You can’t keep asking yourself that question. You need to act. You know what you have to do.

He’s–it’s getting closer, inexorable, immovable. Its attacks are coming faster now, ice forming beneath your feet as if to trip you, or possibly to trap you, distracting you from the icicles that speed past you as you dance away. The blood on the pavement is frozen. There’s something meaningful in that you realize, but before you can pursue that thought any further, your brain shoves it out of sight.

Right now you need to survive.

One grazes your thigh, tearing your clothes and leaving a razor thin cut that stings more from the cold than the pain. The Wanderer starts to form a blizzard around the both of you, obscuring your vision, and you’ve kept so much distance between you and him–it, that in the swirling snowflakes whipping past, you can barely see it anymore. Is it using the blizzard to camouflage itself? How?

You twist around, trying to remain alert, to catch sight of it, and though you hear it coming, you fail to react in time as one of its freezing daggers embeds itself into your side. You roar. Not from pain, but from frustration.

“If… If I end up doing something that hurts you… Don’t go easy on me.”

There.

You see it, in the artificial storm, a vague shadow, the rocky form covered entirely in snow, helping it blend in. It seems to realize that it's been found, because it roars, an ugly sound, and you match it, holding your sword up near your face, over your shoulder as both of you charge towards one another. Your blow is sweeping, from above your head and down to your opposite hip, catching on its arm as it forms a barrier of ice to protect itself, though your strength is enough to have it cracking off.

There’s no more hesitation. You immediately strike again, stepping back with one leg and then forward again to put more force behind the stab you aim right at its chest, pulsing with a glowing blue light that acts almost as a bullseye. The Wanderer roars in pain and stumbles, And without thinking, you pull back, easily stowing your sword back in your sheath as you realize you’ve been given an opening. Your feet find their stance with ease as you reach for the energy you’re so used to drawing from, familiar as breathing while one arm stretches out in front of you, and the other pulls back as if to shoot a bow. Too late, you realize you’ve made a grave mistake. There’s no one here to resonate with. The Wanderer takes advantage of your lapse in judgment and shoots another volley of tiny, piercing icicles at you, forcing you to roll to the side, but it's also spread a thin layer of ice at your feet, and you slip to the ground, the icicle in your side lodging deeper and causing you to scream.

Frost bursts from the Wanderers palm shoots forward and starts to trap your foot onto the ground, in its ice. The other hand shoots more spikes at you, which you narrowly manage to throw off with the flat of your blade once more. You can’t avoid all of them though, and your skin stings where they manage to graze you, a few embedding themselves into your arms.

It looms over you. Terrifying and beautiful. You can’t get your foot free. Your evol is useless when you’re alone.

And you’ve never felt that more than at this moment.

”Zayne–” You don’t know what to do. His eye flashes with brief recognition, and then it’s gone again. You can’t recognize him. You just wish–

Something whizzes past your head, making your hair flutter with the wind it causes.

The Wanderer is forced back.

There’s another blow.

You’re not sure what you’re seeing, but after a second it registers.

Embedded in the glow of its chest is an icicle.

Blue.

Clear.

Your breath catches in your throat.

There are footsteps behind you. Like someone running. All the while more and more shards of ice are flung almost haphazardly at the Wanderer, and it continues to grow weaker, unable to fight back much with the force of the barrage being forced upon it.

It drops to a knee.

One of the icicles hits it in the head. And then another.

It makes a sound almost like pain, and it’s close enough to you as it starts to sag down further that you’re almost making eye contact with that single hazel eye, though it still seems as if it’s more… Looking past you than at you.

You swallow thickly and reach for your sword with nearly trembling hands, sticky with blood, and before you can falter, you pull it out and scream as you slice through its neck.

The Wanderer lists forward, like it's about to fall on top of you, but disappears in a burst of sparks before it actually does. The only thing left behind are the particles in the air that float like tiny stars, and the brilliant cerulean Protocore at your feet, dropping onto the road right on top of a puddle of frozen blood.

There’s bile in your throat. You can almost taste it.

The footsteps come to a stop, and you don’t realize anyone is in front of you until he’s right in your field of vision, kneeling down and taking your shoulders in large, warm palms.

“Hey, hey can you hear me?” The voice is so familiar…

Your vision blurs and you blink away the tears as you look at Zayne. Intact. Right in front of you.

You must be hallucinating.

You’re too exhausted to care, the strength in your limbs failing you as you almost go limp. He quickly adjusts to hold you securely in his arms, and were you more aware of your surroundings, you might notice him examining you for injuries, his lips thinning as he takes the state of you in.

“... I just need you to nod if you can hear my voice.” He sounds faraway, like he’s speaking to you through water, or a wall maybe.

Though you’re not sure what the point is, you nod weakly, and that at least seems to lessen some of the tension in his shoulders. The hallucination of Zayne moves into a squat beside you and hooks one arm around your shoulders, and the other beneath your knees, lifting you with ease, his expression determined and certainly worried.

He feels warm. You clutch at the fabric of his coat, and curl into his chest, barely aware of wherever it is that he’s taking you. He doesn’t ask what happened, though he’d like to. His first and foremost priority is making sure you’re okay.

“... The Protocore…” You manage, your voice rasping as you blink and realize it's still back there, on the road. Zayne’s mouth twists, you see a muscle twitch in his jaw.

“That doesn’t matter right now. Let’s get you patched up first.”

“Zayne, please.” Your voice is small, and pleading, and it causes him to pause for a moment, looking down at you with a concerned, puzzled expression. He doesn’t know why something that insignificant would matter to you right now.

His arms tighten their hold on you, and he stops in his tracks, taking in the distressed look on your face. He seems to be fighting his need to ensure your safety, and his natural obedience to your whims. You must not have gone far yet, because he turns and only takes a few steps before it comes back into your field of vision. You start to squirm in his arms, and reluctantly, he sets you down. Yes, you’re injured, and in a severe state of shock, but you’re not incapable of standing. Your brain is still blocking any pain that you should be feeling.

Zayne watches on in confusion, brows furrowed as you bend down to pick up the blue Protocore, looking at it like it’s something delicate and precious, held carefully in both of your palms.

“Okay… We can go.” There’s not much emotion in your voice, but you refuse to relinquish it as you lean into Zayne’s side, one of his large palms wrapped around your waist in case you need his support as you both head towards his car, parked not far away.

He doesn’t ask… Not yet… But the eerie sight of that Wanderer has the question lingering on the tip of his tongue as he gently settles you into the passenger seat and then reaches into his backseat for a first aid kit. Zayne efficiently and tenderly cleans and dresses your wounds for you, the Protocore glowing ominously between the two of you, and more than once he finds himself glancing at it.

... Who was that?

He’s afraid he doesn’t even need to ask to know the answer.

[the-girl-with-too-many-ideas]

Unpopular opinion, If the story was told from Shen Jiu's perspective, svsss would be a horror and Shen Yuan the villain.

I mean, you're talking about someone who had little to no automony their entire childhood. Who was a slave and suffered unspeakable horrors at the hands of his master to the point of developing a fear of men. Who knows what it is like to have no control over your body or what happens to it.

So, to be not only kicked out of his body, but forced to watch as someone else occupies and uses it (arguably doing and becoming everything he was rumored to have been and done) would be viscerally horrific.

(This is why I firmly believe that YQY would take the Shen Yuan revelation badly. He was a slave too, and without a doubt, knows how much Shen Jiu valued his freedom and autonomy above everything else. He would be so horrified and devastated to learn that his Xiao Jiu was stripped of both again while he stood by and did nothing again.)

[spooky-activity]

Going insane over this Makoann fic because I’m gay with big feelings sometimes

+bonus I always forget how awful it is to be Makoto in the first bit of the game. Girl can’t catch a break. EVERYONE be bullying her

[lucy-ghoul]

Sasha Samokhina + Farit Kozennikov, Vita nostra & Assassin of Reality

[zincbot]

i gotta say, 13 hours into omori, i don't get why people call it a horror game

[true-blue-sonic]

What is even the point of Silver living in the future? It’s not his future anymore and he has no friends or family there. There’s nothing for him there. Now that he has precognition he should just live in Sonic’s time and get visions of disasters. 

Seriously there’s no point in his future or time travel. We’ll never see it, Silver only cares about the state of it and he can only go to Sonic’s time anyway.

I find this an interesting question myself. The best answer I can give as to why Silver keeps returning to the future is that him being from the future is "his thing", just like how having PK is "his thing". It's just something very much intertwined with his character; basically every bio he has makes mention of it, for example. But I also agree with the notion that him being from the future opens up some issues. I've seen statements that it is difficult to make Silver relevant if he must travel to the past every time, for example, which I don't disagree with (but for me, the same could then be said about Blaze and the Sol Dimension or Knuckles and the Master Emerald). Adding to that, I do not believe we know for certain if its state is generally 'destroyed' or 'saved' and if Silver grew up in a destroyed world (said in multiple bios) or a good one (I'd argue that is implied in Rivals 1, with Eggman Nega almost certainly having stolen the camera from someone else and Onyx Island being both a paradise and having developed industry on it that I do not believe Angel Island currently has). Furthermore, the Rivals games are also not very consistent to me about if the future has actually gotten rewritten or not (but it tentatively seems to lean that way, since Silver says at the end of Rivals 2 he hopes the new future is a happy one), and we legit just do not know how its alleged destruction goes. Does Silver indeed intervene before something bad can happen, or does the future actively turn bad before his very eyes and he goes back in time to undo that again? I am truly not certain if there's ever been a clear-cut answer from a credible source, though I am pretty sure there's multiple conflicting explanations from non-credible ones... but that really doesn't help make things clear. And lastly, we also do not know what he has in his own era when it comes to friends and family, nor is it ever clearly shown or said how he time-travels in any game other than '06. With all that combined I can see why having him return again and again gets... well, confusing, haha!

In that regard, I also feel there is merit in the idea of him just staying for good in the past. His friends are there, it's consistently where the action happens anyway, and Team Sonic Racing indeed hints at him having a sense of precognition. The Japanese version actually dives into it more, with Silver asking himself at the very end when Eggman's battleship is going down if that is what was causing his bad/nagging feelings. Considering he was necessary there to help carry people and racecars off it to safety, it does imply to me that that scene might have intended to show it as a genuine skill of his. Shame the English version cuts that moment out entirely. So yeah, the point of Silver being in the future is, to the best of my explanations, legit just the fact that's how he has been conceptualised, making it "his thing". But it does cause confusions for me, because of how much there is not clearly explained and all the contradictory information out there from non-game sources. I think having Silver stay in the past for good could make for a nice move on Sega's part, assuming it is within his own decisions (so not forced by A ThingTM that is entirely unexplained to us and removes all his agency, for example). I think it'd be a nice resolution for Silver to see his heart lays in the past, and he can still protect his own world from there too!

[specialagentartemis]

I would argue that to my recollection Murderbot in fact does not do a single on-page murder until Network Effect.  “These people are actively trying to kill me so I have to kill them back to protect myself/my clients/my friends” doesn’t count as “murder.”  Only in NE does it join its noble predecessors GLaDOS, Hera, and Breq in Actual Revenge Murder

[arolesbianism]

If I had the freedom of not knowing there is going to be future new lore stuff added to oni I would do unspeakable things to so many of these guys. Or Id just make them normal guys who just sorta exist. Either or.

[postnuclearwar]

I think some people need to realize that a creator making something "canon" on twitter after a fan finds a literal piece of candy but not making that change in the source material nor mentioning it at all in future installations of the media does not make it "explicitly canon". You cannot get angry at people when it is entirely absent from the source material and would take some effort to find online.

You also can't get mad at people for not adopting that "canon" immediately when the creator basically said everything and nothing is canon. There is literally one character who is trans in one universe and isn't in the other. You do not get to arbitrarily decide what is and isn't "canon" and force that onto other people.

[gothhabiba]

Hi, this is very ignorant. I'm trying to read as much as I can on Palestine and Zionism but there is one point I cannot find an answer for. Given that Zionism is not Judaism, given that at the beginning most Jewish people did not share this view and was actually supported by christians with antisemitic views, given that it was conceptualized as a colonial project that could only be actualized by ethnically cleanse Palestine, one thing I don't know how to disagree with Zionists is the idea that Jewish people do come from that land. Even if European jews are probably not genetically related to the Jewish people from there, I think Jewishness is something that can be constructed as related to that land. This of course does not mean that Palestinians are not natives too and they have every right to their land. However I don't really know how to answer when Jewish (Zionists) tell me that Jewish people fled that land during the diaspora. Other than "yeah but the people that stayed are native that underwent christianization before, arabization later, grew a sense of nationhood in the 19th century and are Palestinians now"

It's a fundamental misunderstanding of what "indigeneity" is to believe that it means "whoever has the oldest claim to the land." Rather, to describe a people as "indigenous" is a reference to their current relationship to the government and to the land—namely that they have been or are being dispossessed from that land in favour of other private owners (settlers); they have a separate, inferior status to settlers according to the law, explicitly; they are shut out of institutions created by the settler state, explicitly; they are targeted implicitly by the laws of the settler state (e.g. Israeli prohibitions against harvesting wild thyme or using donkeys or horses for transportation); the settler state does not punish violence against them; &c. &c.

It is a settler-colonialist state that creates indigeneity; without one, it is perfectly possible for immigrants to move to and live in a new location without becoming settlers, with the superior cultural and legal status and suppression of a legally inferior population that that entails.

If all that were going on were some Jewish people feeling a personal or religious connexion to this land and wanting to move there, accepting the existing people and culture and living with them, not expelling and killing local populations and creating a settler-colonialist state that privileges them at the expense of extant populations, that would be a completely different situation. But any assertion of the land's fundamental Jewish-ness (really they mean white or European Jewishness—the Jewish Arabs who were already in Palestine never seem to figure in these arguments) is a canard that distracts from the fundamental issue, which is a people's right to resist dispossession, ethnic cleansing, and genocide.

Decolonize Palestine lays out some of the ethnic and cultural history of the region, but follows it up with:

So, what does this all mean for Palestine? Absolutely nothing. Although the argument has many ahistorical assumptions and claims, it is not these which form its greatest weakness. The whole argument is a trap. The basic implication of this line of argumentation is as follows: If the Jewish people were in Palestine before the Arabs, then the land belongs to them. Therefore, the creation of Israel would be justified. From my experience, whenever this argument is used, the automatic response of Palestinians is to say that their ancestors were there first. These ancestors being the Canaanites. The idea that Palestinians are the descendants of only one particular group in a region with mass migrations and dozens of different empires and peoples is not only ahistorical, but this line of thought indirectly legitimizes the original argument they are fighting against. This is because it implies that the only reason Israel’s creation is unjustified is because their Palestinian ancestors were there first. It implies that the problem with the argument lies in the details, not that the argument as a whole is absolute nonsense and shouldn’t even be entertained. The ethnic cleansing, massacres and colonialism needed to establish Israel can never be justified, regardless of who was there first. It’s a moot point. Even if we follow the argument that Palestinians have only been there for 1300 years, does this suddenly legitimize the expulsion of hundreds of thousands? Of course not. There is no possible scenario where it is excusable to ethnically cleanse a people and colonize their lands. Human rights apply to people universally, regardless of whether they have lived in an area for a year or ten thousand years. If we reject the “we were there first” argument, and not treat it as a legitimizing factor for Israel’s creation, then we can focus on the real history, without any ideological agendas. We could trace how our pasts intersected throughout the centuries. After all, there is indeed Jewish history in Palestine. This history forms a part of the Palestinian past and heritage, just like every other group, kingdom or empire that settled there does. We must stop viewing Palestinian and Jewish histories as competing, mutually exclusive entities, because for most of history they have not been. These positions can be maintained while simultaneously rejecting Zionism and its colonialism. After all, this ideologically driven impulse to imagine our ancestors as some closed, well defined, unchanging homogenous group having exclusive ownership over lands corresponding to modern day borders has nothing to do with the actual history of the area, and everything to do with modern notions of ethnic nationalism and colonialism.

I would also be careful about mentioning a sense of "nationhood" or "national identity" in this context, as it could seem to imply that people need a "national" identity (a very specific and very new idea) in order not to deserve genocide. Actually the idea that Palestinians lacked a national identity (of the kind that developed in 19th-century Europe) is commonly used to justify Zionism. Again from Decolonize Palestine:

This slogan ["A land without a people for a people without a land"] persists to this day because it was never meant to be literal, but colonial and ideological. This phrase is yet another formulation of the concept of Terra Nullius meaning “nobody’s land”. In one form or the other, this concept played a significant role in legitimizing the erasure of the native population in virtually every settler colony, and laying down the ‘legal’ and ‘moral’ basis for seizing native land. According to this principle, any lands not managed in a ‘modern’ fashion were considered empty by the colonists, and therefore up for grabs. Essentially, yes there are people there but no people that mattered or were worth considering. There is no doubt that Zionism is a settler colonial movement intent on replacing the natives. As a matter of fact, this was a point of pride for the early Zionists, as they saw the inhabitants of the land as backwards and barbaric, and that a positive aspect of Zionism would be the establishment of a modern nation state there to act as a bulwark against these ‘regressive’ forces in the east [You can read more about this here]. A characteristic feature of early Zionist political discourse is pretending that Palestinians exist only as individuals or sometimes communities, but never as constituting a people or a nation. This was accompanied by the typical arrogance and condescension towards the natives seen in virtually every settler colonial movement. That the early settlers interacted with the natives while simultaneously claiming the land was empty was not seen as contradictory to them. According to these colonists, even if some scattered, disorganized people did exist, they were not worthy of the land they inhabited. They were unable to transform the land into a modern functioning nation state, extract resources efficiently and contribute to ‘civilization’ through the free market, unlike the settlers. Patrick Wolfe’s scholarship on Australia illustrates this dynamic and how it was exploited to establish the settler colony.

[edenaziraphale]

There's a lot to be said about the weaknesses and strengths of the writing in Dragon Age games, but for me there's nothing that trumps the way the writers' implicit biases shine through in their treatment of various characters. Anders and Solas showcase the very worst of this. Functionally Anders and Solas could (and I would go so far as to say should) operate as foils to one another. Anders is a victim of decades of abuse at the hands of both individuals and a system that demonized him from a very young age. We are given information about his childhood and time spent in the circle that makes it explicitly clear that Circles are an unjust and abusive system that traumatized him so much that he fled multiple times regardless of the fact that he knew the abuse would escalate each time he escaped. In the end, he chooses to chance death and lifelong struggle via conscription because it is his only shot at escaping his current reality. After that, in DA2, it's made clear that Kirkwall's circle is even worse. Karl is made tranquil, the templars are mad with power, and it's heavily implied that the tranquil are utilized as sex slaves and that some templars may even be selecting mages for tranquility based on their desire for them alone. In the light of all of that, Anders makes a very desperate and destructive choice. Regardless of how players feel about his actions, it's not really up for debate that the context surrounding them creates mitigating circumstances and a sympathetic backing. He was attempting to affect positive change for a group of people facing fates that the game makes clear are worse than death. Despite this, the game's writing treats him as an unsympathetic villain whose actions are not only reprehensible, but completely beyond the realm of human understanding. That dynamic at the end of DA2 carries into DAI. Solas, on the other hand, is on a quest to undo his own actions. His initial construction of the Veil and the problems that it caused can be viewed with (some) similarity to Anders circumstances in that Solas was attempting to right a wrong done by someone else, but the key difference is that, unlike Anders, who was a powerless victim attempting to free other powerless victims, Solas was on a revenge quest to avenge the death of his friend and had an incredible amount of power within the system that he existed as a part of.

His actions had horrific consequences that birthed what is essentially an entirely new existence for everyone in Thedas eons before the start of any of the games. He finds the outcome of his own actions intolerable, and seeks to reverse them. He harms friends and allies to do so, and makes it explicitly clear that he does not care who he harms or what the consequences are to Thedas or the people who live there in his quest to bring back the version of the world that he liked better. Functionally, Solas makes an excellent villain. He stands out from Anders (who operates in his narrative as a symbol of the rage and disenfranchisement of the powerless) as a representation of power and ego unchecked and the damage that they can cause.

Unfortunately, the writing of the game treats him as though he is the tragically complex victim of forces outside of his control when he is in fact the over-powered puppeteer. He is very much the master of his own destiny and he intends to be the master of everyone else's destiny as well by ripping apart the fabric of reality. No character in the series better demonstrates the writer's biases than Varric, who, as a narrator for DA2, essentially acts as the moral arbiter telling players how they should and should not feel about events, explaining what is and is not moral. His reactions to Anders stand out in sharp relief against what we see of his reaction to Solas in the Veilguard releases so far.

To be clear, I don't hate Solas as a character. I think as a villain, he works very well. His complete and total disregard for the wellbeing of others paired with his affect of wise and gentle mage are compelling to witness. His motivations are understandable from the selfish and self-centered core of us as people. He's a fantastic reminder of what happens when we decide that we know what's best with no input from others, when we pursue our desires above all else beneath the veneer of wisdom. He's fun, well rounded, and interesting. He is not, however, a tragic and morally justified sadboi victim of circumstance, and I resent that the writers treated him as though he was.

[princessfroslass]

The way I am obssesed with Angel's relationship with the girls- and no, I don't mean it on a token gay guy on the gals group™ but rather how he seems to have this- older brother ish sense to him when he is with them.

He is the one that mocks Vaggie even on her lowest point but he was also the one to rush to her side when Charlie and Alastor left- no to mention he was the one leading the other guys to prepare the hotel later on.

He is the one the keep Nifty safe- even though he is extremely weirded out by her antics, and even didn't react with aggression when she was a bout to stab him (that shit wouldn't had flied with any character I tell you lmao) also LOOK HOW CUTE THEY ARE-

He is the one that protected Charlie from HIS abuser, shielding him from his world from day one- and overall just making sure she stayed safe, and away from Val.

And then there is Cherrie- his ride or die he trusts above anyone else. She is the one he rants to about his horrible day at the studio (which is bad enough to make her RUN to the Hotel after 5 months btw, so who knows what the hell was on those textes) tho I am inclined she is the older sibling at the relationship. I dunno she just has that vibe. She protects him alot more than he does her (that is not to say he doesn't protect her- he literally pushed her away from Pen's invention at the Pilot) and I like that, is a little change or dynamic with his other relationships.

I normally don't like to call a platonic relationship "sibling coded" unless is VERY explicitly implied that is the case, but honestly- with Angel I am willing to do an exception, because of this:

Is not far fetched to think Angel might had projected Molly onto his female friends- SPECIALLY Charlie, who was often draw with her on older sketches. Their dad was abusive, their relationship with their brother non-existent (this actually intrigues me alot because I can see Niss having beef with Angel but the fuck did Molly do?) and the mom isn't mentioned yet, so I am willing to think all they had was each other- flash forward to now, with Angel separated from his beloved sister, trapped onto an soul contract with his abusive ex, and meeting a bunch of girls that had reediming qualities- my guy had issues ok let him be.

[vivelegalite]

dear dead boy detective (especially paynland) enjoyers: have you yet heard of the biggest gift bestowed upon the fandom so far, aka jayden's charles playlist? the one he mentioned in interviews? well, he dropped it on twitter at 19th of may. and man, do i have stuff to say about it.

there's a lot of 80's bangers, for sure, great to get into the mood and character, but some of the choices...

i'm gonna focus on a few of my favourites, songs that made me go insane when i saw them. honorable mentions: - category 1 (so devoted the lines blur): ain't no mountain high enough by marvin gaye and tammi terrell, there is a light that never goes out by the smiths, inkpot gods by the amazing devil - category 2 (family life): family line and summer child by conan gray, seventeen going under by sam fender, matilda by harry styles, father by the front bottoms - category 3 (being queer in the 80s): smalltown boy by bronski beat, boys don't cry by the cure - category 4 (there's no heterosexual explanation for this one): good luck, babe! by chappel roan, yellow by coldplay, fight or flight by conan gray (is this about monty? the cat king? i need answers!), the prophecy by taylor swift, arms tonite by mother mother, sweet by cigarettes after sex, head over heels by tears for fears

this list is by no means complete or comprehensive!

and now, the songs that made me go the craziest: (they're predominantly in charles' pov as it's his playlist)

found heaven by conan gray

the only reason this song made it into the list and not the honorable mentions instead of smalltown boy is that it makes almost the same point, just so much more explicitly. i don't think i have to say much about it, it's a story of a young person griping with their queerness, being forced to leave home, a common theme of the playlist. "you're in love, you found heaven" when he chose edwin over his own afterlife, heavily implied to be heaven, and built his heaven with him on the mortal plane? ouch! (and we see this same notion repeated in another bop from the playlist, heaven is a place on earth by belinda carlisle).

2. like real people do by hozier

"i miss kissing" charles rowland, 202X romantic meaning aside, the verses show a sort of a common understanding the boys have around the manner of their deaths and their lives before it. we already know from the show they don't really talk about it, with edwin not knowing about the severity of the abuse charles suffered. it feels like one of them saying "let the past be past, we're together now, yeah?". but also, jayden: can there ever be a platonic explanation for this? ghosts can't touch, can't feel, so they wish they could just kiss like "real" (alive?) people do?

3. flaws by bastille

not the most romantic song, but i absolutely love how well it fits their dynamic. despite his edwardian brand of repression, edwin truly is the one that's more open about his feelings (recognising of course that in this case, the bar is so low it's in hell. haha, get it). edwin has worn his flaws upon his sleeve, and charles has held them buried - eg. bottling up all of his anger and resentment towards his family and his own death. the song presents a very sweet outlook, in which their flaws are brought up to the surface (for example, charles' outburst against the night nurse in episode 4), but they learn to accept them as they are, an extension of themselves.

4. a pearl by mitski

you know it's gonna get intense if there's a mitski song in the mix.

the song is about a person who finds love in their partner, someone who treats them way better than they've ever been treated - and yet they cannot bring themselves to reciprocate the affection ("it's not that i don't want you, sorry i can't take your touch") despite reciprocating the feelings themselves because of the trauma. charles is known to bottle things up ("you're growing tired of me and all the things i don't talk about"). the person in the song recognises the love the other person holds for them ("you love me so hard and i still can't sleep"), which reminds me of charles' response to edwin's confession. not a "no", but a "maybe, as time passes".

5. fair by the amazing devil

this one made me genuinely gasp when i first delved into the lyrics. it's simply so sweet, such a genuine and domestic portrayal of love. at first i thought it was way too open about being a love song (normal text instead of the subtext i'd be used to) for jayden to choose it with edwin in mind, but... there's no one else it can really be about. it's far too domestic, too "established" to refer to crystal. refers to a relationship that's laster for a longer while.

the narrator in the first verse is a person deeply in love with the other person, someone who loves to make his lover laugh and simply drinks in their presence. the "he" in the song i believe is charles, while the "she" refers to edwin. edwin promises to fight off anyone - or any feelings pulling charles down (we can see this in the first episode: "you ever think... what if death did catch us? she'd force us to go to the afterlife and split up" "i will make sure this never happens."). charles feels left behind by the world (seeing as he clings to crystal at first, refering to her as "someone their age who's still alive") and believes edwin to be so much stronger than he's ever been. i'm not going to break down the song verse by verse, but if you read it yourself while subbing out "he" for charles and "she" for edwin you'll see just how sweet (and... strangely very in character?) the song is.

6. work song by hozier

if the previous song made me gasp when i saw the lyrics, this one made me go "NO WAY" out loud when i saw the title. the first one verse is just pure toothrotting sweetness, but the chorus is what i want to draw attention to:

when my time comes around lay me gently in the cold, dark earth no grave can hold my body down i'll crawl home to her

HELLO? charles, who keeps escaping death and afterlife to be able to stay with edwin? charles, as he literally takes his last breath with edwin right there, choosing to be by his side rather than move on? charles, who keeps choosing him despite night nurse's promises and threats? charles, who literally crawled through hell for him?

verse 2, to me, can be interpreted as referring to when charles died. edwin found him at his worst, and he "woke" up with his presence comforting him. he was shivering due to hypothermia and his injuries. edwin didn't ask him about what happened or pushed him, he simply listened. the lines "i didn't care much how long i lived, but I swear, i thought i dreamed her" are pretty self explanatory.

in verse 3 we still see the same attitude of "damn the afterlife, at least we have each other" as charles portrays througout the series. they're free, and heaven and hell are simply words to him.

7. orpheus by vincent lima

i literally have no words for this one. it fits too well. if you want commentary for this one, just... i don't know, rewatch the staircase scene.

8. francesca by hozier

(cracks knuckles) this is the big one. the album francesca is from, unreal unearth, is based on dante alighieri's divine comedy, a fourteenth century poem about a man venturing into hell, purgatory and eventually heaven. the eponymous francesca is one francesca di rimini, a woman who was politically married off to a man older than her, called giovanni malatesta. francesca didn't love him, and eventually fell deep in love with giovanni's younger brother, paolo. the two carried on with the affair for years, before being murdered by giovanni upon his finding out. francesca and paolo are mentioned in canto v of the first book, inferno, as two souls damned in the second circle of hell, lust. their punishment is to be permanently locked in a hurricane, swept away by the winds the moment they manage to get close enough to touch one another.

as opposed to their portrayal in the poem, the song is from the perspective of paolo, explaining that no matter the punishment, he wouldn't change anything about his life because he got to know, and love, francesca.

the first verse brings to mind the scenes in hell, especially on the staircase ("do you think I'd give up? that this might've shook the love from me? or that I was on the brink? how could you think, darlin', i'd scare so easily?" as an echo of charles' "sorry. no version of this where i didn't come get you"). "my life was a storm since i was born, how could i fear any hurricane?" could relate to charles' tumultuous family life, an assurance that nothing he has to deal with while by edwin's side will faze him given the things he's lived through. no, despite everything he's suffered through, charles wouldn't do anything differently - because his (admittedly shitty) life led him to edwin ("i'd tell them, put me back in"). we already know charles would choose him over heaven, willingly sacrificing his own afterlife to stay with a boy he's known for hours, someone kind enough to keep him company as he drew his final breath. all of it - his father's abuse, his schoolmates' bigotry, the pain of his own death, as well as everything he's gone through since - he'd do it all again, for edwin.

"for all that was said of where we'd end up at the end of it" could be taken as an allusion to the fate the boys would meet at "at the end of it", when they're finally caught by death and separated, or as more of a general "if you sin, you will go to hell when you die" (up to you to decide what the sin itself would be - an interpretation that would work with other songs on the playlist is that one such sin would be same sex attraction). then their hearts ceased, they never knew "peace", nor did they want to find it in death. their deaths were too soon, them being ripped away from life, but even though it would break his heart: charles would ask to do it all again.

the outro, i think, beautifully pulls it all together: heaven is not fit to house a love like theirs.

to wrap it all up:

jayden, what were you cooking in there? what do you know??

[virahaus]

Another day, another time to debunk shitty takes I see online.

I've seen a multiple of people pointing out that "we don't know anything about Tommy" and how could people ship him with Buck (nevermind that the ship is canon and always will remain so) when we know so little about him?

First of all, I'd actually make a point to say that we as of now already know more about him then all the other LI that Buck or Eddie ever had in the show.

I shall make you a list, so that you may remember it more easily:

- He likes cars and he's a good mechanic (extrapolated by the fact that Eddie explicitly said that fixed/improved his engine)

- He likes playing basketball and he's also quite competitive ("we'll make short work of them" said in reference of Buck and Chim)

- He's sarcastic (the closet line)

- His favourite film is "Love, Actually"

- He loves Monster Truck and Craft Beer, and MMA

- He has a big scar on his chest and it came from a fire in a factory

- He's a very skilled pilot, able to manoeuvre in a hurrican, and doesn't waver in the face of danger

- He likes watching and practicing Muay Thai

- He was a pilot in the army

- He only came out when he started working in Harbor, but prefers not to publicise his sexuality

- He doesn't like Bella Swan (and it's implied he might like Jacob more) and he watched the Twilight movies

- He likes to drive his friends to events

- He has friends that can get him high up tickets for shows in Vegas

- He has permission to fly airplanes for personal reasons when he's not on the clock

- He likes to be helpful and he's thoughtful (driving Eddie to check out his sprain, going to Buck's to clear out the air without prompt, immediately agreeing in helping the 118 with the whole ship operation, trying to get Buck to be at ease on their date)

- He's loyal (he didn't rat the others out when the chief called on their way to Bobby)

- He's a smooth flirt

- He can do a mean mouth static (at least in his opinion)

- He pays the bill on first dates

- He is very much the definition of carpe diem (kissing buck was very much shooting his shot)

- He checks for consent

- He kept contact with Chim ever after he left the 118

- Chim called him for help in the episode Broken

- He went to the 217 and opened the spot for Buck at the 118

- He participated in the betting pool Hen made on how long Bobby would last at the 118 captain

- He apologises when he's in the wrong and is shown to be able to correct his behaviour

- He doesn't like chickens (lol)

- He likes the film fight club and can quote it

- Implies to have dated people he met on a call

See? We know quite a lot actually. So you may get off your high horse how about that.

I don't think I missed anything but do let me know.

[ambrosiagourmet]

Did Laios have a plan

... when he made his deal with the Lion? How much of it was intentional and how much of it was out of his control?

Well. If I'm being honest I don't really want to try and provide a definitive answer to that question, because I think the ambiguity is, itself, part of the story. I've gone back and forth a few times myself, and I don't think either category - "fully intentional" or "fully coincidence" - is entirely true.

That being said, I would like to point out a few things that I've seen taken for granted as true. Things that, imo, are much more about the character's perspective, or about what the character WANTS people to think (well, that's really just the Winged Lion).

Consider this not exactly an argument for "Laios masterminded everything from the start and saved the world with his cunning," but more... "Laios considered what he was doing more than people give him credit for." Make sense?

Alright then, let's go:

So to start with, I want to show every time (that I could find, at least) that the question of 'does Laios have a plan' gets brought up. This is specifically after his Ultimate Monster Form is revealed, to be clear - the question isn't about if he has a plan in general, it is if he has/had a plan when he made this specific deal with the Lion.

Here they are:

-

-

You'll notice, in all of these instances, there never really is an answer given to the question. Either because there is no way to get one, or, with Kabru at the end there, because he explicitly doesn't let Laios answer. There's even a bit of an arc here: we start with a sort of desperate 'I've mostly given up but maybe this isn't as bad as it looks,' then get a more optimistic 'maybe we really are saved,' and finally end on 'it all worked out in the end, so we maybe don't need to know.'

But, as much as there is some genuine growth in Kabru's 'accept the outcome, rather than dissecting the truth,' I also think it says a lot more about him than about Laios. Kabru is the one trying to handle his questions and his uncertainty - as he said, he wants to confirm his judgement of character. He wants to feel like he had control over things.

And he lets that go! But he also doesn't actually get the truth, either, and his implied assumption here (that Laios, the wide-eyed monster-lover, probably just followed his desires), still relies on his judgements and assumptions about Laios.

But okay, these bits are all focused on the characters theorizing about Laios. How about we look at the character who actually tells us the facts ("facts"): the Winged Lion.

The Winged Lion has quite a bit to say about Laios and his monster form.

He says that Laios hates humanity, and would rather be a monster

I've talked about this a bit already, but the Lion makes a lot of claims and assumptions about Laios that aren't necessarily true.

First of all, let's just make sure we clearly establish that the Lion is being manipulative here. That may seem obvious, but it's important to understand that there is a difference between 'the truth' and 'a version of the truth specifically framed to prey upon your deepest shame and insecurities about what you really want.'

To point out a few quick-and-dirty contradictions here:

If Laios really hated all other humans, then the Lion wouldn't hinge so many of his other arguments on Laios' love for Falin and his friends.

the Lion claims that Laios "[doesn't] even care enough about the future of [the] world to express an opinion about it," even though Laios has literally expressed opinions on what he wants for the world, to the Lion's face.

In general, the Lion does not make a distinction between urges and choices (see, for instance: him using Marcille's subconscious fear of the canaries as a way to keep her from stopping the monsters from attacking in chapter 86).

I'm not saying there is not a piece of truth here, but also... we are not our darkest thoughts, and we especially are not those thoughts as defined by someone who wants to hurt and control us.

But let’s move on to the stuff the Lion claims about Laios once he has been turned into his monster form.

2. He says that (or rather, acts like) Laios is under his control

The Lion really enjoys grandstanding about how Monster Laios is an ultimate tool he has control over. He gloats about making Laios fight the others, and has him smash through the magical barrier.

But smashing the barrier is kinda the only thing that Monster Laios actually does for the Lion. He doesn't attack anyone. He doesn't hurt his friends, despite Chilchuck thinking that Laios has "turned completely into a monster." And he certainly doesn't simply let the Lion go through with his plan to eat everyone.

This barrier smashing is actually an interesting and odd thing for Laios to have done specifically, so remember that one. I'll come back to it later.

But, yeah, to the original point... despite the Lion's dramatics, all that Monster Laios does is pose, smash up a magic barrier, and then eat him. Not exactly under his control.

AND SPEAKING OF EATING THE DEMON...

3. He frames Laios attacking and eating him as thoughtlessly violent

This one is pretty funny to me, and the Lion keeps it up for the whole scene. I'm not sure how much of this is his genuine understanding of the situation, and how much is him intentionally framing things in the most insulting manner, but like... truly. The ego involved in this. To see someone who has, multiple times, tried to stand against you - someone who has literally wished for your non-existence, to your face - to see this person attack you, specifically, and have your first reaction be 'huh, I guess he's a reckless weirdo to the core???'

Incredible stuff.

And this part, too:

He claims that Laios can't recognize anyone, that he's out of control. And yet, the Lion is the only person that gets eaten here. He is Laios' singular target.

Hell, Laios even specifically attacks one of the bodies that is actively hurting Chilchuck. I don't know if that was entirely intentional on Laios' part, but I do think it's notable.

The Lion torments Laios' friend, and when Laios does something that interrupts that action, the Lion reframes it as unhinged violence. I don't know, there's something here about the way that cruel people only talk about the things people do to resist them as violent, and ignore the violence that causes such resistance in the first place.

In any case, the main point is that the Lion insists on treating Laios like an unthinking animal during this fight, despite the fact that Laios is clearly trying to accomplish something here.

And what exactly is Laios trying to accomplish? Well, the Lion isn't entirely wrong. Laios is trying to eat something. He tells us as much.

And truly, everything Laios does as a monster points to this. He had a goal. And he accomplished it.

Let me back up a moment. I need to explain smashing the barrier.

So, Laios first starts considering how to kill the Lion when he is confronted with the fact that his only other choice would be to kill Marcille. Immediately and entirely discarding that solution, because of course he does, he tries to wrap his head around what defeating the Lion would even look like.

He clearly continues thinking about this, as a nearly identical conversation happens a few chapters later, when Laios is once again told that killing Marcille is the only way forward.

Only, this time, he's started to come up with an idea for how to do this impossible thing.

Harkening all the way back to the Living Armor chapter, Laios draws on the same lesson - if the Lion has made itself part of the world, if it has made itself into something alive, that means he can kill it. And eat it.

But there's an important extra detail to this. If he's going to try and kill (and eat) the Lion, he needs to strike when it’s vulnerable. He needs to strike when it's eating.

This is why he smashes through the barrier. Again, nothing else he does as a monster really benefits the Lion. He doesn't attack anyone else. The only command he obeys is to smash the barrier. Because the Lion has to think he has won for Laios to be able to eat him.

Beat him. For Laios to be able to beat him.

The question of why Monster Laios wanted to eat the Lion is, I think, the most ambiguous part. Was he curious? Hungry? Did he fight for his own life, for his friends, or for all of humanity? Did he know how to win because he had planned everything from the start, or because he was driven by an unquenchable instinct to do whatever it took to survive?

I don't know that it is possible to say for sure. But I do know that the Lion underestimates Laios, through it all. He underestimates Laios as a human, and he underestimates Laios as a monster.

And in the end, after he is bested, even then I don't think the Lion ever gets Laios. I don't think he understands how much Laios means his words about the Lion being burdened by hunger...

or what Laios cares about most...

or what meaning there is in life, for him.

So I don't buy what the Lion is selling about Laios, generally speaking. I don't buy that Laios didn't ever know what he was doing, and I don't buy that he was nothing more than a hungry beast.

Well. I mean. He was a hungry beast. But he was a more than that too. He was the Devourer of All Things Horrible. And he didn't just happen into that title by chance.