#I'm so sorry at the length

[limeshade]

What’s the matter with them? Why are they acting that way? Why, don’t you know? They’re “twitterpated.” Twitterpated? Yes. Nearly everybody gets twitterpated in the springtime. For example—

BAMBI (1942) Directed by David D. Hand et al. Written by Perce Pearce, Larry Morey et al.

[essektheylyss]

One thing that I feel is really interesting and often forgotten about Essek is that fundamentally, his characterization has been from the start based upon his desperation for external perspectives and connection, which, along with much of his narrative and mechanical positioning, means that he actually has an extraordinary and almost (but not actually, as I'll show) counterintuitive capacity for both growth and trust.

(Buckle in. This is a long one.)

In particular, I would argue, knowing now that many places where the plot touches Ludinus have long been marked for connecting back into the current plot, that he was quite possibly built as a prime candidate for radicalization by the Ruby Vanguard. He felt isolated from his culture, he was desperate for other connection, and he was certainly of the type to believe he was too smart to be drawn into such a thing, given his initial belief that he could control the situation and the fallout. If things had gone any other way, he easily could've been on the other side by now.

As such, he has been hallmarked by being fairly open to suggestion, perhaps for this reason, but the thing about that kind of trait is that it is both how people are radicalized and deradicalized. This is certainly true of Essek, who experienced genuine kindness and quite frankly strangeness from the Nein and was able to move from the isolation the Assembly had engendered to meaningful and genuine connection, largely propelled by his own internal reflection. By the time Nein are aware of his crimes, he's already begun to express regret to an extent and, furthermore, doubt in the Assembly, including explicitly drawing a line against Ludinus, even in a position where he was on his own and probably quite vulnerable.

Similarly, when the Nein reach the Vurmas Outpost some weeks later, he has moved from regret for the position he's ended up carrying a heavy remorse. This makes sense! He's fairly introspective, seems used to spending a lot of time in his own head, and was left with plenty to mull over. It's not some kind of retcon for him to have progressed well past where the Nein left him; it just means he's an active participant in the world who has done his own work in the meantime.

This is another interesting aspect to him. I've talked about this a bit before but I cannot find the post so I'll recap here: antagonists in D&D have significantly more agency than allied NPCs. Antagonists are active forces, against which the party is meant to struggle; allies are meant to support the PCs, which means they tend to be more passive in both their actions and their character growth. Essek was both built as an antagonist, in a position that gives him significant agency, and also was then given significant opportunity to grow specifically to act as a narrative mirror for Caleb's arc. Even when he becomes a more traditional D&D ally, he still retains much of that, though he occupies a supporting role.

I believe that this is especially true because of the nature of Caleb's arc, which I've already written on; the tl;dr of this post is that Caleb is both convinced that he is permanently ruined and also desperate to prove that change is possible. Essek is that proof, because he is simply the character in a position to do so. But this also means that his propensity for introspection and openness is accentuated! He has to do the legwork on his own, for the most part, because that's where he is in the meantime.

But he still ends the campaign necessarily constricted; he is under significant scrutiny, he's at risk from the Assembly, and he goes on the run fairly soon after the story ends. He spends most of the final arc anxious and paranoid, which is valid given the crushing reality of his situation. It would be very easy to extrapolate that seven years into this reality, he would be insular, closed off, and suspicious of strangers, even in spite of the lessons he's learned from the Nein and their long term exposure.

So seeing his openness and lightness now is surprising, but at the same time, given this combination of factors in his position in the narrative over time and his defining traits, it's not by any means unreasonable.

But one thing that I found so delightful is how much trust he exhibits, which is obviously a wild thing to say about Essek in particular, given much of what he learns is both earning and offering trust, which was something he says explicitly in 2x124 that he's never really experienced: "I've never really been trusted and so I did not trust." It makes up much of the progression of his relationship with Caleb, and the trust that he is offered by the Nein in walking off the ship is the impetus he needs to grow.

But I think it's easy to talk about trust when it comes to people who have proven themselves to you or to whom you've ingratiated yourself, and that's really the most we can say about Essek by the time he leaves the Blooming Grove. There is this sense in a lot of discussion of trust (not solely in this fandom) that it is only related to either naivete or love, but there's far more to it. Trust at its best is deliberate—cultivating an openness to the world at large is a great way to combat cynicism and beget connection instead. It allows a person to maintain curiosity and be open to experience, but it can be incredibly difficult to hold onto.

It is clear that the Essek we meet now is a very pointedly and intentionally trusting individual. He trusts Caleb and by extension Caleb's trust in Keyleth, as he shows up and picks up a group of strangers from a foreign military encampment and walks in without issue. He trusts the Hells to follow his lead moving through Zadash and to exhibit enough discretion so as to avoid bringing suspicion upon all of them. He trusts that Astrid will respond well to his entrance, but he also trusts himself and the Hells enough to execute a back-up plan in the case that she doesn't. In the end, he even trusts them enough to give them his name and identity.

He doesn't scan as someone who has spent half a dozen years living like a prey animal, afraid of any shadow he runs across in an alley, withdrawn into himself and an insular family, which would've been an easy route for him to take. He scans as someone who has learned the kind of trust borne of learned confidence and a trained eye for good will and kindness, which are crucial weapons one would need for staving off cynicism in his circumstances—as if he has survived thanks more to connection and kindness than paranoia and isolation. (If we want to be saccharine about it, he scans quite poignantly as a member of the Mighty Nein.)

So it is easy to imagine this trust and openness as a natural progression of his initial search for perspectives external to his own cultural knowledge. Though he makes those first connections with the Assembly to try to vindicate his personal hypotheses, he finds in them exposure to the deepest corruption among Exandrian mortals, which could've—and did, for a time—turned him further down that same dark path.

But it's also this same openness to exposure from the wider world that allows the Nein to influence him for the better, and in spite of the challenges he's certainly faced simply surviving over the past seven years, he seems to have held onto this openness enough to move through the world with self-assurance and a willingness to extend the kinds of trust and good will that he has been shown.

(I would be remiss not to mention that I was reminded about my thoughts on this by this lovely post from sky-scribbles and their use in the tags of 'light' to describe Essek's demeanor this episode, which is really such an apt word for it.)

[beanghostprincess]

Finding hilariously ironic how most of Sanji's perv jokes end up being extremely trans-coded to some extent only because the joke is longer than it should be.

The "guy with a woman's body" joke has been a thing for ages now, but it usually ends after the "haha I have booobs" joke. Sanji extends it to "I want to stay in this body forever. It feels right. I don't want to give it back". Which could still be read as some perverted stuff, but I don't think any man would agree with that. No matter how much of a pervert he is. Because usually being perceived as a woman is something they refuse to go through although they like being in possession sexually of a woman's body (a type of excitement Sanji actually shows, not by being that much aroused by it but being comfortable with it? Which is... A different approach to the joke).

Sanji has made the typical "going into the girl's changing room/bathroom" joke a couple of times, but in Egghead he goes all the way to be extremely frustrated about not being able to do so? And it is obviously different than wanting to keep Nami's body forever. It can still be seen as frustration for not being able to see girls naked. But. But. The fact that the length of the joke increases? The fact that it's way longer than it should be for an average "haha boobs" joke? You know what I mean.

Not to mention his whole arc during the time-skip and how a simple (both transphobic and misogynistic, by the way) joke, goes all the way to show us that Sanji is indeed comfortable in more feminine clothes and environment, until he's pretty much forced to snap out of his fantasy to go back to the crew. But he wasn't having a bad time at all. And it is intended to be a joke, but it's... Longer than it should be to be considered only a joke and to not pay attention to it.

This isn't meant to be an analysis of any kind because if it were I would've worded it differently and would've mentioned how his childhood is also extremely trans-coded, but we all already know that. I just find it extremely funny how all of these jokes that intend to be directed at straight perv men are actually too long to not be taken into consideration as something deeper than a joke. But, aha, yeah, these are just jokes and definitely not proof of Sanji's perception of gender and his issues with it.

[faytelumos]

Rewrite My Line

Tagged for this one by @tildeathiwillwrite, and—

Oh gosh, it's an internal thought line! XD Before even touching this I can tell you it's going to be so much longer than the original!

---

my line:

He wandered about the city aimlessly, eventually stopping at one of the fountains and resting at a nearby bench. He stared at the splashing water almost desperately, trying to turn his mind to less depressing thoughts. It didn’t work.

rewritten as:

He wandered. He didn't know where he was going, where he wanted to be. Nowhere. Anywhere. As long as it wasn't here.

Eventually, he stopped at a fountain square. The air was cold where it blew off the mumbling stone. One of many in the park, the fountain muttered and grumbled, the water cycling endlessly in an illusion of permanence. He sat down on a bench to watch it, to distract his stupid mind from its stupid, depressing thoughts. Maybe he could go into a trance. Maybe he could find some kind of profound wisdom in the miracle of gravity made trivial by modern technology. Maybe he could just dunk his head in the basin and count all of the coins tossed in despite the signage, drowning the world out until he had to come up for air, choking and coughing.

He sighed and leaned forward, burying his face in his hands.

---

Gently as ever tagging @afoolandathief, @amethystpath-writes, @annakayy, @gummybugg, @kaatiba, @those-damn-snippets, @serenanymph, @surplus-of-sarcasm, @written-in-starlight, and anyone else who wants to play along!

Your line today is:

The leader stopped, and we each turned to take our places. There were moss-covered boards for us to kneel on, to save our knees from the hard, rocky ground. I knelt down, and when the leader motioned for us to get low, I leaned forward, placing my hands on the wet, gravelly ground, and rested my forehead on my fingers.

[again, I'm sorry if this is kinda long. @_@ You can cut pieces out, it's okay.]

@thelazywitchphotographer :D

[nat-20s]

THE GIRLS (FOURTEEN AND DONNA) ARE FIGHTIIIINNNGGG'

aka Donna has some lingering Feelings on the whole mind wipe thing and she's gonna shout about it <3

The Mess That's Made of Us

She didn’t mean for an outburst. They were having a calm, rational, adult discussion, not a fight. She didn’t even want a fight, not really. But The Doctor, he couldn’t just let it go and let her sort out her big stupid feelings on her own. No, he had to needle, he had to inquire, he had to push. He had to say that “everything had turned out all right, in the end”, and oh, that so wasn’t the fucking point. Nearly choking on the words, she yells out, “What would you have done?!”

After he startles and she has a moment to be thankful no one else is home right now, he’s shockingly even when he replies, “You..you know what I did.”

She lets out a right and proper growl of frustration. Clenching and unclenching her fists a few times in an attempt to ground herself, she grits out, “Not what I meant.”

“Donna, I don’t-”

“I meant, you pedantic little-”

She cuts herself off, takes in a deep breath in and out through her nose, and tries again. “I meant if our roles had been swapped. If I had been the one to take that year away from you, if you were about to have an essential part of the person you had become stripped all away in a moment. How would you have reacted? What. Would you. Have done?”

“I..”

She doesn’t let him finish, collect his thoughts, say pretty words that would fix it all. See, she can push, and push, and push too, now can’t she, Doctor? Generally, Donna doesn’t consider herself a cruel person. Sometimes oblivious, sometimes obnoxious, sometimes inconsiderate, but not cruel. But she knows she’s capable of it. She knows, if she so desires, she can hurt someone. She’s not trying to hurt The Doctor, except that she is, not to wound but to pull him to where she is right now. To make the grief and the rage and the conflict be shared. So she keeps going. “It’s not the same though, right? No, of course not. One year out of a billion, maybe more, that doesn’t make much of a difference, does it? Like forgetting what you had for breakfast that morning, barely a breath. I bet it would’ve been so easy, for you.”

“Donna!”

When he says it, his face is hard, and frustrated, but not cold. That’s something she’s still getting used to, with this new-old face. He used to have the coldest rage she ever saw, standing like a stranger. Now, he doesn’t tend to rage at all. It’s enough to make her clamp her mouth and actually listen for a second.

“Respectfully, what the hell are you talking about? Barely a breath, easy for me? Do you really believe that our time together meant that little to me? Do you really not understand by now? I mean, look at my face, Donna. And this is the second time that I’m completely rearranged myself in memory of you! One day with you changedme. One full year with you? Rewrote me.

So yes, removing my time with you would’ve made a difference. It would’ve made all the difference in the universe. And I don’t know what I would’ve done. If I had to get rid of the part of me that was made from you. I’m not sure I could.”

Such pretty words. And, well, the face in front of her right now does suggest some truth to them. But she can’t quite believe them, and she can’t quite look at said face, so instead her vision drifts over to the Tardis parked outside their kitchen window. Folding her arms and staring listlessly, she counters, “Yeah? Don’t you think you would’ve, I dunno, blinked and gone ‘oh that’s odd’ before putting on one of those manic smiles and inputting the coordinates to Venus in the 15th century, and that would’ve been that?”

Out of the corner of her eye, The Doctor’s face goes through a rapid series of motions that she can almost sort out, before stopping at realization. Oh. She didn’t like that one bit.

“Ah, that’s what you think did happen, huh? You think I flew away in my box and had magical adventures and found someone else in a day. It would make sense, right? Start pallin’ around with the nearest redhead I could find, forget all about me ol’ mate Donna, it’s not like she was gonna remember, so why should I?”

She sniffs, and tilts her face up, and resolutely does not let any tears fall. She also does not look at him.

“Donna, there was no one else, not until I was someone else. You want to know what happened, after I lost you? I broke. And then died. There was no me without you.”

Fuck. He changes his tune then, and she’s pretty sure they’re no longer fighting. They’ve always lacked a talent for it. He comes closer, placing both his hands gently on top of her still crossed arms, and moves until she has to look him in the eye. He even throws in a smile. Damn him to hell, he knows it’s near impossible for her to see her best friend smiling and start smiling a bit herself.

With a breath that borders on being a laugh, he continues, “But you! You got married, and yelled at parking attendants, and had a kid, and you existed. And I can’t regret that, I can’t. So I’m sorry, I really am. I ignored your pleas, and I took some of you away, and I’d do it again. I’d do it every time.”

She lets out a sigh and lets her arms drop to the sides. “I know.”

Wiping a hand down her face, she mixes a huff and a shrug. “Honestly, Doctor? I think I’ve already forgiven you.”

With a nod, she stands up straight and tells him straight, “I think I forgave you the moment it happened. I just..I just need time. I know it’s been years but I’ve only been able to think on it for a week.”

“I understand. Hell, there’s things that take me a couple thousand years to process, so.”

Donna rolls her eyes and let’s out a small chuckle, before opening her arms and saying, “C’mere, spaceman.”

The Doctor quite readily does, and the hug fits just as naturally as it always has. They take a moment to breathe together, and Donna gets to listen to the comforting double rhythm of the two healthy hearts in his chest. The silence is comfortable and the sharpness has eased.

When she pulls back, she can’t help but ask, “Wait, second face? What was the other one?”

“Ah. About that-”

[rivkae-winters]

You Will Rot

I adore this entire scene and their entire exchange and there are plenty of other posts out there on it but I’ve never come across the points I wanted to make hence why I'm writing this. Specifically on the implications of exactly what rots since that latched into my brain and would not let me go.

As always: this is only my interpretation of canon, there is no one true analysis to take as gospel. In fact please interact with your thoughts if you have any! I enjoy talking to other people about this sort of thing, fandom is all about discussion after all!

My stance on this line is one of nuance. I tend to think Sephiroth chose the worst words he could think of without fully considering the full implications.  He said the thing he knew that would hurt Genesis the most after the entire conversation beforehand.

What does it mean to be told to rot? Or even so told you will rot. 

In the FF7 universe, most explicitly displayed in CC, bodies dissolve. Corpses, both monster and human, are depicted as dissolving to return to the Lifestream. This is re-confirmed in the remake. 

Rot is not a term for humans, it’s not a cultural concept the same way it is for us in the real world. To decay and decompose are not processes that sentient beings undergo.

Rot is something for objects- things that live but aren’t alive enough or connected enough quote-un-quote to return to the Lifestream in the same dramatic manner. Rot is for things like food and flowers and things that are below the level of humans or animals or anything with general sentience. 

Sephiroth is telling Genesis here, he is not just a monster: he is insignificant. He is telling Genesis that he is not enough of a sentient being to return to the Lifestream and he’ll continue falling apart in real time just like a piece of fruit left forgotten and rotting on the kitchen counter. He is telling Genesis that at the end of the day he’s already dead in every way that matters and is no longer a person. Sephiroth is telling Genesis that he will have no mercy given to him at the end of the day: he will rot and waste like an object lacking sentience and then he will be left there.

Sephiroth is digging into Genesis’s own deepest insecurities here. Genesis fears not just being irrelevant but being rendered a non-entity, to be kept or out of control. Genesis has defined his entire life as a journey to be someone to be enough to be someone worthy of love and praise and being seen. Objects aren’t people, and Genesis is an object to Sephiroth with that statement. 

The only person who could help him no longer considers him a person- nor a thing with sentience. 

Obviously this is all over analyzing Sephiroth’s dialogue. This line was said with calculation, yes, but it was also somewhat reflexive. Sephiroth is under a lot of stress in this scene and Genesis has been slinging everything he never wanted to be told at him in a single conversation. Genesis then has the audacity to try to act as if he did something good. While Sephiroth’s world is collapsing around him and his other defected friend acts like he did him a favor. Sephiroth is angry, who wouldn’t be angry. Sephiroth thought the world of Genesis prior to his defection, he thought the world of both of them and those illusions have been crashing down around him.

So he uses Genesis’s own grief over his former friend’s tattered life that manifests as self deprecation and self dehumanization against him. He confirms the de-humanizing rhetoric that Genesis has been attaching to his own existence. Sephiroth in his pain and anger pushes past the fears that Genesis has been externalizing to what he knows Genesis is truly afraid of. 

If Genesis considers himself a monster than by the standards of the person Sephiroth thought he knew he is already living out his worst fears. He is nothing, he is nothing without his mind. If Genesis wants to be what he once considered a non-entity: wants to wallow in the rot and non-personhood so much then he can. 

Sephiroth turns his back on, in his mind, the moving corpse of the long dead Genesis Rhapsodos and walks away. 

You will Rot You are Nothing

There is also something to be said here for the Kanji used in the original!

I’m not touching on this as much as I would have liked to but it would be criminal if I didn’t at least pull out a Kanji dictionary.

I pulled Sephiroth’s line from here; warning the website is not in English at all but easy enough to navigate via context/knowledge of story events and the characters' Japanese names. 

Sephiroth’s line is: 朽ち果てろ kuchihatero

This is translated in the official English release as “You will rot” and in a pre-US release fan translation from May of 2007 roughly the same way as “Go decay”

朽  Decay; Rot; Remain in Seclusion

果  Fruit; Reward; carry out; achieve; complete; end; finish; succeed

[1][2] [3 specifically for 朽][4 specifically for ��]

Thanks for reading!

[alicentsgf]

starting to think the fact that not a single character in house of the dragon comes across as genuinely intelligent isn't a writing choice

[ananxiousgenz]

okay now that I've had a night to sleep on it I just wanna take a minute and go absolutely buckwild over john doe in part 26 bc like. I was expecting the "I will not let you drown" line. I've seen the fanarts of it floating around, I knew that was coming. what actually fucking killed me was the second I realized john was reciting a robert frost poem to calm arthur down. and not just any robert frost poem, one that has been quoted over and over again, usually by arthur. that made me start SOBBING bc like.

this inhuman entity, who around 4-5 months prior, wanted arthur and the rest of humanity dead just because he had power and could kill them. learned so much from this broken mess of a man. learned about stories and poetry and music and mysteries and compassion and love and fell in love with all of it so deeply that it permanently changed who he is and how he sees humans and the world they live in. changed him so much that when he saw his friend crumbling under the weight of his own grief and guilt, chose to not only comfort him, but chose to comfort him with a poem. a fucking poem. when john has been so deeply invested in the stories and poems he's heard from arthur. he heard one that he liked enough to memorize and to keep close to his heart. and he chose to give it back again when his friend needed it most. to reach a hand out to arthur with a thing he loved and tell him he's heard. he's not alone. but he needs to keep going. most human action imaginable. do you think arthur ever recited that poem to john? to keep him calm when he got scared and lashed out? and that's how john learned it? and it brought him enough peace and comfort that he figured it would help arthur too??

literally the only equivalent I can come up with for this moment is something I saw once a long time ago. so my mom was sick. like really sick. normally she's a power-through-a-cold kind of person and she was laid out on the couch, so she wasn't doing great. and our dog, who was a lot younger then, knew something was wrong, and clearly wanted to make her feel better but didn't know how. so, she got her favorite toy, and gently shoved it into my mom's mouth. a kind of "I don't know how to make you feel better, so here's something I love and I hope it helps." it was one of the sweetest things I've ever seen. and it wasn't that the bone itself helped, it was the act of giving it that made everyone feel a little bit better. and that is what happened here. it's not the thing that john gave, even though it is significant, it's the fact that he chose to give it.

nobody talk to me for the next 5 business days, I'm going absolutely insane

[necrotic-nephilim]

i recently remembered DickTim Week 2024 is happening very soon and i looked at the prompts again to see if i could get anything out for it and. the Hades & Persephone AU prompt for day 1 has got me really thinking so here's a vague concept i plan to write.

i've been pretty burnt out on modern Hades & Persephone retellings because of how they always seem to fall into the same generic "innocent wide-eyed girl runs from her evil mean mother into the arms of a dark mysterious man because actually she went willingly and chose to marry him" which has gotten repetitive for my tastes. (for clarity i don't care if this retelling is your cup of tea personally, so long as you're not actively trying to rewrite the original myth and claim untrue things about it, if this is your favorite flavor i sincerely hope you enjoy the buffet i just have little interest in it since it feels overdone for me and exhausted of it's supposed commentary atp)

but? but. biblically accurate Hades & Persephone AU has me all kinds of interested. because wait listen so hear me out right. Hades!Dick and Persephone!Tim, obviously. i feel it'd be more loosely inspired by with themes and imagery (though playing with death and nature powers could be interesting, i haven't decided) rather than explicitly making them gods and all. but. something dark and fucked up where Dick and Bruce are especially estranged. maybe to do with Jason's return, maybe to do with them just clashing and having their usual explosive arguments. and Bruce knows the peace needs to be kept, if he and Dick are at odds then everyone starts to pick sides and things just fracture so he needs a peace offering.

and the peace offering is Tim.

Bruce (the stand-in for Zeus) offers up Tim. agrees to have Tim move to Bludhaven and be Dick's... whatever Dick wants him to be. knowing that with the implication comes the likelihood of Dick grooming Tim. and Tim has no real say and is hesitant to put up a real fight. he doesn't want this, he knows what this is going to imply Dick will do to him, but he also knows if he says no things have the possibility to just... fall apart. so he's the unwilling bride, dragged off to the metaphorical underworld (Bludhaven) with Dick, away from his family, his friends, the life he built.

and on the flip side, i think weirdly enough, your best pick for the Demeter stand-in is *Jason*. just, hear me out on that. not necessarily on the side of it being motherly, but on Jason being just estranged enough from the Batfamily to be the one willing to call it out for being bad and wrong and raising bloody hell to get Tim back. maybe it's because Jason wants Tim for himself, maybe it's truly out of a concern for Tim to have autonomy, i'm toying with the idea of it primarily being Tim's POV and him genuinely not knowing which of these is true. (and the truth possibly ends up being a complicated middle ground) and because i like Helena, i think you can use her as the Hekate stand in, the one who strikes a tentative alliance with Jason and tries to go find Tim and bring him back. Tim stuck with Dick, getting groomed and hyperaware of it, possibly even getting fucked the whole time as well, knowing he can't go back without causing massive issues for Dick and Bruce because well, Bruce did promise him to Dick. so he has to adjust his whole life, try to figure out being a vigilante in this new city with Dick breathing down his neck the whole time.

and then much like the ending of the myth, a sort of compromise is struck that's a shaky deal for everyone involved. Tim is put on an essential timeshare, going back and forth between Gotham, where he has friends and family and a support system, then getting dragged right back to Bludhaven with Dick in this brutal cycle that he slowly gets used to and stockholm'd into even liking it. Dick isn't so bad, once he gets used to the quirks of their unbalanced 'relationship'. the sex is even something he can adjust to as well. not quite a happy ending but one that sits in this realistic grey area that becomes Tim's life.

i will write this, eventually, but i don't know if i'll get to it before DickTim Week ends so by posting the idea i'm essentially putting it out into the world so the peer pressure holds me accountable. i just. really like the potential of making Hades/Persephone AUs as fucked up as they can be simply by adhering to the source material and making it a raw story of being stolen away and forced to like this new home you didn't ask for.

also a less fleshed-out aspect of this idea i have ties into Persephone becoming the Queen of the Underworld when she's taken and how the transition from Kore to Persephone could be reflected in Tim. how he makes the best of the worst situation and becomes something far more dangerous and dark when he's in Bludhaven, possibly takes on a new vigilante name/identity and leans into the worst quirks of his personality he tries to tamper because there's no point in not going full tilt Obsessively Weird if he has no choice anyway and it being one small way he takes back his autonomy, and that inevitably making Dick *more* into him, because he gets to see Tim finally just. let loose.

[galedekarios]

larian: “we’re releasing patch 5 this week!! don’t worry, we fixed the most pressing issue: ast*rion’s kiss! 🤭” my brother in christ you have a whole roster of character’s that need tending to. honestly this is just comical at this point.

so i just came home from work and hoped this message was a pointed joke, but no

it wasn't 🙃

[sk1llz-heeler]

Gustavo moment (New pencils)

[echoes-in-echoclan]

How tall is Kiki next to the other cats? can we get like- a scale of how tall each cat is?-

So my biggest problem is that my cat's heights aren't the most consistent :") If they aren't a kit/apprentice or a special case (like Kiki) then they're all relatively the same height, which isn't any specific number or anything

But this is Kiki in comparison to Raggedghost, who is average height

[fandom-zoomer]

I think I may have come up with the best worst tma time travel “fix-it” au (imho)

Inspired by Ketakoshka's 'dread spawn' idea in their dread child jon series, Dribbledscribbles' origin story for the dread powers and extinction entity interpretation in their extinction!jon fic (and some more of the latter in their post-eyepocalypse fic too), as well as my own love for making unholy (aka fun) fusions of things and sandboxing eldritch interactions with the 'mundane' . . .

. . . I have created a post-canon, Somewhere Else, time travel ""fix-it"" story that I think might be unique (at least I've never seen any fics like it– but if I'm wrong then please please share the link!! or dm me if it's your own work hehe but no pressure!!)

(mag 160+ spoilers after this point!)

(i'm about to wax poetics here (hopefully coherently)—so you can read the story-ramble OR you can scroll to the TL;DR at the bottom to skip it & spoilers to read the nutshell & see if you're interested :3)

so get this...

The big Change happens right? But this time the Extinction is a bigger player in the game than canon, and ultimately deeply marks Jon throughout the eyepocalypse.

So when the finale happens, since Jon is now connected to the epicenter of the whole show, his 'death' and the panopticon's destruction has the simultaneous effect of baiting the Dread Powers into the Hole (via his voice in the spools of tape)– and also killing everyone trapped by the Dread Powers in the world via Jon the walking detonator thanks to being entrenched in the Extinction's influence. —Combining both his best and worst plans and realizing his worst nightmare: killing everyone and spreading the Powers to an unknown number of worlds to wreak even more havoc.

How did this happen?

Simple—but first some backstory for context.

The Extinction was more of a 'lurker', much less "outgoing" than its 'siblings'. And when it was "grandiose", well. . . it tended to leave no survivors. Thus its unrecognition by those like Robert Smirke or Jürgen Leitner.

To go back even further, the Dread entities were originally one cohesive entity with many faces and limbs. Its faces reflected the same developmental complexity as the sources of their manifestation. So those with the most diverse species feeding them held the widest capacities. Namely: the Hunt, End, and Extinction. But being a singular entity, it didn't mean much.

But as human species' family lines develop and grow more complex cognitive ability, more esoteric Dreads developed, and more faces become more complex. And the Extinction was right there from the beginning as more species died out one by one. Quietly. (...maybe? 👀)

Over time humans discovered the Powers and bonded with them, then started to classify them. From here, the Dread entity fragmented into Dread entities.

They developed their own 'consciousnesses' distinct from the hive 'mind' they once were. And, eventually, sapience. Self-awareness. Desires. Personalities. But they were still connected, part of the 'system'.

The Extinction and the Web (newer, but always sapient) are a quirky pair, the Web seeking control over everything and the Extinction seeking ultimate entropy and change upon its catastrophe.

It's hard to distinguish the Extinction exactly, its work misidentified for others with few under its own unique umbrella. Things 'unique' to it get missed due to being a misnomer and not getting clocked. (But that is the nature of the Dread Powers after all.. being a fragmentation of their original singular mass.)

...

The Extinction represents the fear of disaster that will bring about the end of everything—everything you know, love, need to survive. Everything you built, worked for, hoped for. The destruction of stories and of life, of the very history written by your land—your home.

Your community. Your society. Your species.

You.

Annihilated in totality.

The Extinction represents the fear of those that come after you to replace you—worse than you, different from you. Leaving you and your history and stories (the driver of your continued existence) forgotten forever. The fear of life moving on after you, ignorant and apathetic. Your story meaningless, irrelevant.

Your community's story. Your society's story. Your species' story.

Your story.

Erased and written over.

The Web represents the fear of being controlled, fate being out of your hands—by malevolent authorities out of reach, by abusive companions or relatives, by invisible forces far beyond the human comprehension. Spinning, winding, twisting, pulling each decision in your life made for you. Until destruction of the self by your own hand.

Your struggle for change futile. Your feet following the same path. Your fate determined for you.

You forfeit control—your feet march you to your bitter demise.

The Web represents the fear of being conspired against. Scheming, plotting, planning your downfall. The loss of everything you hold dear, worked for, bled for. Spinning, twisting, scripting lies about you. Your credibility falls to pieces, your world shatters, and your story distorts.

You are kept alive by the spreading of your story. And the people have decided to trust the manufactured tale.

You are forgotten—twisted into an image of something wrong.

...

Sometimes they're at odds. Where one seeks to manipulate the threads of everything endlessly, the other seeks to destroy it all so thoroughly, with such finality, as to mutate it– the schemes, the pawns, the gameboard itself.

Sometimes they're complementary. Where you watch as you lose everyone you cared for one by one, spiraling down a path darker into entropy, the irreversible nightmare, and wondering if you ever really had free will in the first place– if anyone did.

What if the end for you really was just another game to them? What if this wasn't their first round? What if you're just the next step in the grand scheme, larger than even your own universe?

Alright, now with that out of the way, let's bring back the question.

How did the Extinction change Jon, and how did this cause the altered result of the finale?

The Web has been there since the near beginning, pulling Jon along and guiding him to his next milestone in the plot. She had known the world would come to an end one way or another, and wanted to bring it about on her own terms so that she—they all—could escape it.

So when the Web saw what the Eye was doing, she had an idea. So she aided their acolytes, seeing her sibling as the perfect way to bring all of them together for the final step. And the Web set her own card onto the board: Jon.

Jon had a natural disposition for the Eye; from stubborn curiosity to the reckless pursuit for answers to even the coldest cases. Whether he knows it or not, his mind is a gaping maw for horrible knowledge—chasing after experiences disguised as answers to his burning questions so dreadful they leave scars on him like sigils of a looming doom.

While he has no affinity for the Web's machinations, he is still hers. She has no issue with guiding agents from across the court, she knows how to share. Especially when it benefits her. Jon archives each event, every little detail, with such care and readiness that he makes the perfect vessel to pull them in—to guide them out. He'd flourish best as her tool in the Watcher's sphere.

After the Watcher's Crown and the Dread Powers came into the world, the Extinction started to make its presence known. It seeped into other Domains and fed on the people's dread for permanent catastrophic change, on their fear of ruin and total desctruction. And as Jon traversed them and lived through their fear, so was he marked by the Extinction.

It seeped into his skin like oil and burned through his veins like acid. It tainted his trails with the radioactivity of human hubris and greed, twisting and mutating both the mundane and Dreadful as he passed. It closed its grasp on him with the tightness plastic rings and infected his Perceived routes with the stench of mountainous landfill and the thickness of city smog.

The Web and the Extinction had a complex relationship, but in this moment they guided the Archivist in synchronous song like a soldier being led to his final mission: dropping the nuclear bomb.

Did Jon know?

...

No.

The twines of manipulation layer labyrinthine over everything, above and below and through every angle and dimension. Even the Nigh-Omniscient Antichrist and his All-Knowing God will never fathom its depths.

He might never know that he helped start the Extinction's ritual: Raze the Earth.

Or that both the Web and the Eye knew and did nothing. (honestly, the latter's only there for the show)

So when Martin stabbed Jon and Melanie lit the gas mainline, the threads around the world snapped and the glowing light of humanity's greatest sins exploded over everything—

—and they prayed—

—and they wept—

—and the Dreads rushed out torrentially. (pulling a few strays with them)

Now for the part you were all waiting for (well I was)—the Heart of this AU

The Dread Powers and the ones who were dragged with them were transported Somewhere Else– a parallel world in a parallel universe. But they were. . . Changed from their previous/original selves.

The tag-alongs—Martin & Jon of course, but also Annabelle Cane, Oliver Banks, Simon Fairchild, and Arthur Nolan—replaced their parallels at birth, and gained partial or full amnesia to their past lives. But their personalities are altered, reflecting some aspects of their pre-finale personalities.

Except for Jon. Jon, the Pupil of the Eye, the Warhead of the Extinction, the Spools of the Web, the Archive of the Dreads and linchpin to their escape. . . was significantly destroyed in the center of the storm. He got it and so much worse—a stick so short its existence was inverted.

While they did get reach the new universe, they had to reconstruct their linchpin/Archive that they're still connected to so that his total destruction doesn't tear them apart as well (being an Extinction avatar that's now deeply connected with them, he's capable of "taking them down with him").

When Jon was reborn, he was literally thrown into the world like a meteorite, landing with an explosive blast that rendered the surrounding area a lifeless wasteland in moments. High radioactivity and a deathly curse left few flora or fauna returning before wasting away soon after. Those that 'survived' did so by being infected by the Extinction or Corruption.

It would permanently remain uninhabitable, and it would take months before the withered stillborn spawn of the sapient eldritch Dread Entities would crawl out of the jagged crater on its own, none the wiser to its tragedies.

TL;DR

The Web manipulated Jon's attempt to put a stop to the Entities' reign, utilizing the Eye's easy influence to help the Dreads escape the world and into a fresh new one before they were also destroyed in the Extinction's "Raze the Earth" ritual (set up by using Jon to weave toxic-filled veins throughout the world he was traversing that'll explode at once 'grand finale' style).

Jon, now deeply binded to the Entities' purest forms and still an Extinction time-bomb, was mostly destroyed during the trip to Somewhere Else and the Entities had to reconstruct him so his death wouldn't destroy them too. This led to Jon being reborn a near completely different being (with some of him preserved) as functionally the direct spawn of the Dread Powers, replacing his parallel counterpart from the new world.

[mintjeru]

taking a break between tasks, time to post old kvthm doodles

open for better quality | no reposts | ID under the cut

[Image description: A page of uncolored digital sketches of Kaveh and Alhaitham.

The topmost sketch is a redraw of a scene from the Archon Quest in which Kaveh frowns while looking up to meet Alhaitham's gaze.

The bottom left drawing depicts Kaveh and Alhaitham in an embrace. Alhaitham is nestled into Kaveh's chest and looking forwards with a neutral expression. One of his arms reaches around Kaveh's waist. Kaveh smiles as he looks forwards. One hand loosely caresses the back of Alhaitham's neck while the other lightly touches his jawline.

The bottom right drawings depict a chibi Alhaitham and smiling chibi Kaveh. An arrow with the phrase "do not separate them!!" points at them.]

[n8-shaw]

who: open when: early on during the thanksgiving dinner where: the commons

There were few events Nate went to at Ogden College without dragging his feet, complaining the entire time. And while this was certainly no exception, he was at least mildly more willing to attend the thanksgiving dinner. He had attended all four years so far, looking for any reason to avoid seeing his family, and honestly, the food? Fucking good. Rich ass school with cash to spare must've figured they could spare some effort for the misfit students left behind on campus for the holiday.

But this year...was different.

He hadn't totally anticipated it, hearing families were invited and not thinking much, considering it didn't change his situation either way. As always, he texted his younger sister (and only his younger sister), confirming he'd be staying on campus for the holiday, and that he'd see her at Christmas (a lie, hopefully, if he could manage to find a way to stay away from the Shaw family again). So when Nate walked in, the sheer amount of families that were there caught him a bit off guard.

Not nearly as off guard as the person currently walking towards him, though.

Nate stood his ground, even if he was slightly blocking the entrance, hands shoved in his pockets while his face grew stormy as he stared at his older brother. "What the fuck are you doing here, Liam?" he said through his teeth once his brother was close enough, making no pretense that he was happy to see him.

Liam offered him a mocking smile, reaching up to clap his younger brother on the shoulder in greeting. "Good to see you too, little brother," he chided, glancing at the person entering the hall behind Nate, brushing past him due to the Shaw brothers currently blocking the entry way, his smile turning charming in a way Nate's never quite managed. "D'you know where we can get a drink?" he asked them conversationally, even potentially flirtatiously, clearly already aware Nate would not be forthcoming with any information.

[philhoffman]

I just stumbled on an article by film professor Caetlin Benson-Allott called "The Queer Fat of Philip Seymour Hoffman," originally published in the book Millennial Masculinity: Men in Contemporary American Cinema and it is FASCINATING. Here's an excerpt that lays out her basic thesis:

In these films, the actor manipulates his physical breadth and weight as well as his gestural scale to draw the viewer’s attention to how compulsory heterosexuality marginalizes certain lives and bodies. These physical techniques help Hoffman visually exceed the fat male stereotypes of his early career, stereotypes that coded his body as immoderate, less than masculine, and thus most suited for minor roles, comedic turns, and pathetic losers. In such cases, fat male stereotypes rely on stock meanings attached to the actor’s stockier build. Hoffman transcends these roles with nuances of movement and deft exploitations of gesture and in so doing illuminates the process through which overweight male bodies are made unintelligible by a filmic culture that denigrates fat genders even among the gender and sexual alterities that it occasionally exploits.

Hoffman’s physical acting exemplifies the gendered as well as sexual potential of gesture and performance, for he uses his corpulence to visually refuse the traditional masculine-feminine gender binary and dramatize orientations and physical expressions of the body otherwise excluded from heteronormative American cinema... In each [film], he offers another version of what has remained a pale, overweight male body... As James Lipton notes, these relentlessly physical performances suggest that “Philip Seymour Hoffman may be the archetypal sex symbol of our time” in that he gestures toward new approaches to representation for marginalized sexualities and genders.

She goes into a deeper analysis of PSH's roles in Twister, Boogie Nights, and Mission: Impossible III, mentioning a few other performances throughout and focusing on how he used his body to challenge cinema's traditional ideas about fat male bodies and sexuality.

On his role as Dusty in Twister:

Hoffman must still perform the invisibility traditionally associated with fat bodies on-screen or risk violating Twister’s already tenuous verisimilitude. The genius of Hoffman’s performance is that he manages to do both by exploiting the cultural unintelligibility of obesity; he uses the spectator’s own tendency to dismiss fat men to camouflage Dusty’s narrative centrality. Because Hoffman is the only overweight actor in this film, his girth emphasizes Dusty’s position as the film’s fool, which helps disguise his formulaic responsibilities. Hoffman’s weight opens up a dramatic tradition through which he can exacerbate his character’s hedonistic qualities and conceal his intelligence and manipulative capacity. By making his body both overly visible and easily overlooked, Hoffman obscures Dusty’s generic necessity.

On Scotty J in Boogie Nights:

Hoffman orients Scotty’s physical expression of his sexuality around his belly. Because Scotty is written as inarticulate and suffering from unspeakable desires, Hoffman uses his body, specifically his largest and perhaps least mentionable feature, to communicate Scotty’s unmentionable orientation. Hoffman thus borrows a technique from gay male fat pornography and “displaces erotic pleasures [or their symbolic representation] from the genitals and disperses it to other parts of the body, thereby reconfiguring what can count as a pleasurable body.”

On Mission: Impossible III:

In contrast with Tom Cruise’s strong jaw and hard muscles, Hoffman’s relaxed flesh becomes a manifestation of his confidence; Hunt is tense, but Davian is at ease. This lack of visible affect exempts Davian from the tradition of fat villains whose bodies incarnate their overabundance of desire, appetite, or greed. His smooth contours and the reflection of light off the broad planes of his golden skin allow Davian to transcend associations of his body with appetite as he refuses to show interest in Hunt’s interrogation or subsequent threats to his mortality. Hoffman’s elimination of gesture thus helps Davian become a new kind of fat villain, one whose body suggests a lack of interest in the physical world rather than an excess thereof.

Pleaseee seek out this article if you have any interest in Phil's work and physicality—it's one of the most detailed and intriguing pieces I've ever read on him and I'd loveeee to talk about it, the good and the bad. You can download the PDF for free on academia.edu but if anyone has a problem getting it... just DM me lol. Wrapping this up with one excerpt from the conclusion bc I know Phil has taught ME a lot about "being in one's body," as the author says, so I love seeing that in print:

Hoffman’s body offers a new vision of male embodiment outside compulsory heterosexuality, an alternative use of the flesh we might even consider queer. Kathleen LeBesco has observed that the queer and fat liberation movements share many similar projects, but watching Philip Seymour Hoffman suggests that in some cases fat is queer... [Hoffman's] movements propose a new way of being in one’s body, for even within the highly structured heterosexual order of Hollywood cinema, Hoffman helps us envision the body outside normalizing gender strictures.