#aspect of doom

[roachie-paradise]

aspect markings, inspired by time-woods tma marking post! go check them out!!!

[wisteriasymphony]

every time a tumblr post mlb rewrite mentions the fact that they're taking out marinette's 'obsessive stalker' characteristics an angel gets run over by a steamroller and fucking dies

[meraki-sunset]

🥀Unknown goddess🥀

Meraki Art style practice #2

[autisticaradiamegido]

day 168

ok so the thing about trying to draw outfits based on solluxs god tier is its unclear if it is just the doom palette or if kanaya has dressed him in her own clothes

either way theyve both arrived at this party looking swag as hell

[windienine]

everyone has to be a little less mean to themselves about not reading enough books. letting go of reading as a pride thing is the first step to relearning how to actually enjoy reading for pleasure again. it's totally fine to start with a novella or with a comic or with a field guide or with literature meant for someone younger instead of being mad at yourself for not grokking ulysses in a week. just vary your diet and you'll be good.

i'm a literature scholar, i'm the one who has to be strict with myself about page counts and citations. you all? do what you want, just read and have fun.

[stardvstbby]

how many hours did Mage Viktor spend babbling to corrupted Jayce about the timelines he’s visited? did he talk through his ideas on which rune to use in Jayce’s presence, just like the old days in the lab, even though he couldn’t respond? did he ever break down in his guilt, “sorry”s pouring from his lips like a waterfall, eventually sitting in silence with his head rested on Jayce’s shoulder in a cruel mockery of the physical affection the other man once loved to give?

was Jayce actually conscious the whole time? trapped in his body, forced to endure either endless loneliness or the sounds of his partner’s suffering? i wonder if he warred with himself - his adoration for Viktor oscillating with his bitterness towards his involuntary and confined existence, thoughts swirling in his mind like a black hole, consuming him in his inability to express them.

[ninarembran]

small mizisua ramble (mizi focused)

heads up: if i use a photo with the original korean text then the images are meant to focus on the art rather than the text.

i really like how literally mizi's sense of control is shown here. her hair covers and hides sua and her arm acts like a wall separating her and everything else. she touches sua's face as she pleases, caressing her and relaying the same praises she was given as a child that now resemble the act of 'being loved' in her eyes. because of the twisted way in which mizi herself was 'loved', she dehumanizes sua in an unhealthy manifestation of 'love'. sua is in her costume meant for the stage, a place where her humanity becomes a tool for viewing, while mizi is wearing something completely normal. mizi is just a 'person', but sua is a 'god'. she is something not up to this world, beautiful and loved in the only way mizi knows how to love; by placing the object at a distance and admiring it from afar. just as 'sua', her eyes and her telling expression in all that makes up her identity and humanity, is covered by mizi's hair, mizi does not always see sua as who she is, but rather as the very 'doll' sua despises and as 'god'. perhaps the most excruciating part of this perspective is how sua feeds into it, providing no attempts at showing mizi anything human in her nor anything outside of the happiness mizi brings out of her; her guilt constantly overwhelming.

when mizi was young and hurt, the aliens could not understand the concept of mizi being in pain. even when there was something on her head trying to bite into her, her owners merely ripped it off with its teeth stuck in mizi, not caring for how their actions could have backfired on mizi. they did not view her as someone who suffers and hurts, but more as a fragile thing to be taken care of. they stripped mizi's humanity away from her, her ability to feel, and simplified her to the physical effect of her pain. mizi is made powerless again, hurt and toyed with by a higher power. in both “the true face” and the most recent comic, there is a lot of emphasis on mizi being weak. she is helpless to be pushed around by everyone else, and in her craving to feel strong, she wanted to go to anakt garden. there, she could have that ‘power’— the power to ‘crush someone’ as she always feared would happen to her, the power to make someone else powerless. mizi was drawn to sua for all the things she hated being identified through. the sentiment is clear throughout the entire comic, sua’s smaller body parts, her smaller frame easily being covered by mizi, mizi’s dress visibly not fitting sua, etc. when mizi calls her adorable, it is her repeating the same dehumanization she had dealt with as a child from her owner and reminding sua of the very words she can never rid herself of; her uselessness, her clumsiness, her existence as a doll and not a human being.

it is because of sua’s fragile and delicate demeanor that mizi found so much fascination in her. it is because she is the very picture of something to be protected and cherished that mizi, who desperately seeks strength, became fond of her. having the power to ‘crush someone’ is ultimate strength to mizi, someone who has always had that very dynamic used against her; since she was a child with her owner and even further into her life through the abuse she faced from the blonde boy, mizi is visibly weak. she is an object, something to be thrown around and seen rather than perceived and respected like an actual human being, like an equal. as a child who knows little of love and identity, mizi cannot conceptualize the desire to be seen as a person, but she can understand the desire to be in control because 'control' has always been lorded over her head. it is through sua, who forgives her for every little thing, who guides her and shields her, that mizi becomes strong and in control in a way she has never been. for mizi, sua, who is physically smaller and weaker than her, who seems fragile in the same way she does to others, was beautiful. she is someone mizi can overpower, someone she has the power to crush easily, and for that, mizi became drawn to her. a common psychological pattern in victims of abuse is the repetition of past scenarios from a different position. it helps to make them feel less powerless, more in control. after the scene in “true face” where mizi was slapped, where mizi couldn't properly express how she felt, and where she was berated and hurt for the mere act of being a woman, by slapping sua the same way she was hit after she said the same phrase her abuser did was a way for her to regain control. she was powerless then but now, where was she? in a safe environment, taking out her anger and discomfort on the person she loves the most, on a weaker target just as her abuser did. for a second, she felt like she corrected the imbalance she felt earlier, as hurtful as the sentiment is. it must be noted that, just as mizi views her as weaker, she also despises this idea of sua in her mind. when mizi hits her, she immediately starts sobbing again, remorse and regret clear on her face. it is only through mizi herself twisting the narrative that mizi’s view of sua can be misconstrued. though she was drawn to sua because she saw her as ‘weaker’, we know that mizi spent a lot of time listening to sua sing before she approached her. she saw, consistently, a part of sua that was human—a part of her that was equal. mizi is, at her core, a scared child just like sua is. she does not view everyone through a lens of “weaker” and “stronger” unless the idea is forced into her face (like it is when she’s made helpless) and when she saw sua as that, it was because of how prominent the ideas of strength and control were in her life at the time. as a child who has known nothing else but weakness—her mother being crushed in front of her, her owners hurting her— she desperately searched for a person weaker than her to control and gain back all that was taken from her. yet, as much as she wants to have control and power in the way she was robbed of it, she’s not as heartless as the ones who took that power away from her. she loves sua, and the shame she feels for the ideas of “weaker” and “powerless” in her head are undoubtable. because she is weak and powerless, too. how could she use someone just like her, in the same way she was used? as they grew closer, mizi probably found a lot of solace in the fact that they were the same. they could be equals with one another, could be safe with each other.

as much as mizi’s viewing of sua as a god is a manifestation of her love, it is also the very thing that stops her from loving sua as an equal. mizi views sua as her light, her guidance, her strength, and a hundred other synonyms for adjectives that all represent a “reason for living”, something god is supposed to provide. yet, as romantic as the sentiment is, viewing another through the lens of god will not only ruin you but strip the subject of their humanity and ruin them. there is an innate expectation in being viewed as god. a god is considered such because of his lack of humanity, because he is above our worldly rules, and because he is the guiding light to escape our suffering. mizi places sua as a god because, to mizi, sua is a saint. she is an angel so pure she becomes god. an angel who forgives mizi no matter how disgusting she is, who allows her to keep a facade of innocence, who cultivates her purity. an angel who shows no and thus feels no sorrow, who is all merciful, who guides. an angel of light; someone so bright they can only be considered god. because mizi can only view her within the same distance she was viewed, mizi offers no comfort to a lifeless sua beneath her. even though sua's eyes are ones of hurt, mizi can only say that she’s adorable in the same way her owner felt she was adorable when she cried out of pain as a child. it is mizi’s way of showing love. just as owners can’t conceptualize a pet feeling in the same way that they do, suffering the same anguish they suffer, we cannot conceptualize the idea of a god who suffers the same anguish we suffer. sua shows none of her sadness to mizi, so mizi has subconsciously gotten used to a complete lack of sorrow from her. a god does not feel agony, but mizi’s god is fragile. she breaks and cracks as if she feels because, at her core, she is merely a human molded into a god. all mizi can see is the physical manifestation of sua's pain, and not the pain itself. sua never shows it to her, and confronting it directly would mean a confrontation of their fate.

when sua says “you always say that” in response to mizi calling her adorable, all that mizi thinks is “of course, you’re someone who i could crush in an instant if i felt like it.” it’s as if this form of love is a given for their relationship. a child’s definition of love exists only through how they see it displayed, and mizi is no exception. mizi has all the control that was robbed of her, all the control her child self viewed as love, and sua willingly gives the reigns to her. she says nothing when mizi hurts her, protects her innocence in the cruelest way possible. because she loves her, because of her time as a child, because she is guilty for loving her, sua leaves herself to mizi’s hands, surrenders control to a higher power, and that is her manifestation of ‘love’. she forgives everything mizi does because she feels that she is the main perpetrator of their relationship. she’s the one hiding their fate from mizi, and she’s the one prioritizing her own happiness over the possibility of mizi’s future anguish. she allows mizi to believe in her as a god and breaks neither mizi’s bubble of innocence nor her own bubble of veneration, and so she is mizi’s to crush. yet, through sua's death, mizi begins to understand that being 'crushed' is not merely a physical manifestation but a mental one. sua leaves mizi with a hundred layers of guilt, each and every one mirroring sua's own. mizi's guilt after sua's death is a reflection of sua's guilt before her death; the regret of having lied, of being the cruelest lover, of the pain their love caused each other.

mizi is her most unreliable narrator. mizi is merely a human being, a powerless child becoming an adult in an environment that does not foster growth. she is not merciless nor is she heartless. she is not like the aliens she imitates, and thus her emotions are not as shallow as theirs. i don't feel as if mizi is not speaking out of her own desire when she says she has the ability to crush sua. she wants that power, but mizi is not as merciless as she believes, and all she can do is hold and love sua like the god she believes her to be, as if in worship. she loves sua, loves her so much that sua becomes a god in her eyes. as dehumanizing as her first interpretation of sua was, you can actively see mizi regret every single time she tries to regain control she lost through sua by hurting her. sua is the same as her, her only equal in a world not made for them. she fell in love with the very person she meant to use and became so terrified of their reality that she grew willfully ignorant to the end of their relationship. how could she face the fact that one of them would have to die? as a child who found something she wanted to protect, she fooled herself with childish ideas of a tie in order to distract from their inevitable end. sua fed into her delusion with lies in order to protect her, and what could mizi do but take them as truth? she was scared and she didn't want to face their reality, and sua's lies were so sweet, so ideal; so unlike their reality. for how much mizi speaks of control and crushing, mizi doesn't do anything but cradle sua in the most gentle way possible, as if she is a mother holding her child. mizi could never hurt sua in the way sua gives her the freedom to, not purposefully. she nuzzles against her arm as if her entire life is at the mercy of sua, caresses her face as if she's the most precious thing in the world. they hurt each other a hundred times over because of who they were made to be and how their world was structured, but their love is undeniable. they're nothing if not their love for each other, no matter how many mistakes they made in their process of understanding one another. they care for one another and it seeps into everything they do. at their core, they are two children in love--two children who don't know how to love desperately clinging onto one another. their relationship dynamic is a meaningless game of constant surrender to one another, because the reality is that their relationship is in the hands of nothing more than the audience. their lives are not their own, as much as their love is.

also a little something to be noted about the anguish in mizi's eyes here. she's not stupid; she knows what's going to happen as much as she deludes herself out of the knowledge. she's terrified.

[m-i-a]

DOOM - Marvel Rivals

[tmos-time]

*sits up in bed from a cold sweat* oouh redraw day cringetober erisol real.... ok good day o7

[cgtg]

DOOM PLAYERZ ONLY

as with the prev polls: if you consider multiple, i suggest going for the one u feel aligned with currently/most often, which one u wanna represent in a poll like this, whichever has the most compelling role/narrative, whatever works for U. classpecting is very subjective, and fluid for a lot of people.

i actively encourage discussion in the replies of what your class and aspect mean to u. simple or lengthy, i wanna hear it :J

excluding master classes bc no space for em, sorry.

for those who cant vote: i’d appreciate u passing the poll along. also, i’ll post updates throughout the week on how it’s going so everyone can have a peek inside. thank u

[shamsshamousa]

Aegon II and Helaena's wedding. Decided to mostly focus on outfit ideas and mess around with the colours because, I feel like a lot is communicated to the viewers with colours

Maybe in the future I could draw a proper wedding picture for them, tears and all.

Anyway first and second is what I feel is more true to their personalities with as little interference from their houses as possible. The 3rd is a more Valyrian version similar to what Rhaenyra and Daemon wore, 4th is Hightower influence.

[overthinkingmoth]

still not over the fact that my favorite mdzs character is the blind guy who dies before the story even starts

[starlit1daydream]

Introduction to my Classpecting Ideas

This felt like a good idea for something to put out before I put my Knight & Page analysis out there, since I plan on making this a 6 part series. (Potentially 7 if demand for a Lord/Muse addendum is high enough).

So, I'll be laying out my most important philosophies on the subject here for future reference.

Classpecting is...

Point A. Classpecting is malleable.

There is not one rigid, set definition for any Class pair, or any Aspect pairing. The freedom of the author is that they may assign any symbolism to a concept that they may like.

What I mean by this is that people often seem to think that manifestations of an Aspect within Homestuck's narrative paint that object or idea as a concept inherently tied to that Aspect.

Example: Pumpkins & Void. You would not believe the amount of people in the early fandom who swore by the idea that pumpkins were inherently just Void constructs because of their role in Homestuck's narrative.

No? Pumpkins symbolise Void in Homestuck itself and Homestuck itself only only due to a running gag inherent to Homestuck itself.

Anything, with enough narrative basis and existing thematic ties, can serve to symbolise an Aspect. Furthermore, two different authors may have different ideas of what Aspect something represents.

Some authors may see alcohol, for example, as a Void-bound concept owing to its obfuscation of fair judgement. Some may see it as a Light-bound concept owing to the idea of 'in vino veritas' and the tendency of drunkenness to induce truthful confessions. Some may see it as a Life-bound concept owing to its associations with hedonism and impulsive behaviour.

With enough narrative consistence, anything is possible. Homestuck's narrative is not as rigid of a point of reference as some people would swear by it being. This is deeply important.

Point B. Classpecting is not the whole of a character.

I can't exactly phrase this in a satisfactory manner, but... a Classpect is not a personality type in of itself. An individual being a Prince of Heart does not instantly make them Dirk Strider. It merely means that their core value is identity & selfhood, and they interact with it by destroying it. It is that simple!

I see, time and time again, Classpecting blogs acting as if a Classpect is indicative of a character's whole personality and giving guides as to the exact behaviours & quirks a character with that Classpect should have.

I am imploring you to explore wider possibilities when it comes to this. Even if it means sharing a title with a canon character! It doesn't mean you have to just rewrite that canon character because that's not how Classpecting works.

I've seen fanventure characters share titles with canon characters. (Sovereignstuck's Annomi Errata & Dynama Zarrow sharing titles with Dirk & Porrim respectively, and Porrim herself is also a player in that narrative, mind you!)

I've seen fanventure characters share titles with eachother. (Vast Error's Dismas Mersiv is a Rogue of Mind. One of my fantrolls is also a Rogue of Mind!)

In every instance, they are fundamentally different people. I cannot put it any simpler than this.

Point C. Classpecting is always applicable.

That is the perfection of the Classpecting system. You can give a title to any character, from anything ever made. It's not even that difficult if you're half-decent at media analysis!

Quite literally all you need to do is ask yourself two questions.

"What's this character's core value?" and "How do they interact with that?" Do that, and you've got yourself a Classpect.

That's the beauty of it! It's obviously not going to be as airtight as a story that has the Classpecting system baked directly into the narrative, but it's still going to work out!

Hell, do it to yourself! Do it to your friends! The world's your oyster. You can do anything you want, forever, for the rest of time. I'm a Seer of Life! My best friend is a Page of Blood! My mother is a Witch of Hope! Go wild.

Post formatting

For my Classpecting posts, I'll aim to give two related definitions for every Class.

Definition A is the narrative function, what the Class says about the person and how they interact with their Aspect as an abstract concept.

Definition B is the practical function, what the Class says about their role in the session and how they interact with their Aspect as a SBURB construct.

Therefore, we get an idea of both the abstract, personal definition of a Classpect, and the functional, game application of a Classpect.

I'll also aim to give about two or three examples for each individual title about how you could write a character with them, since there are always going to be multiple directions you can take with a Classpect.

Conclusion

tl;dr - what I'm trying to say is this. Classpecting is malleable, easily applicable & capable of saying any number of things, and my posts will aim to give two concise definitions of both narrative and practical function for every title.

I'll get the Knight:Page analysis done either today or tomorrow, and the rest of the Class posts will be staggered releases in order of poll results. Thus, the order is going to be:

Knights & Pages, Deficiency and Exploitation.

Mages & Seers, Experience and Comprehension.

Witches & Heirs, Adherence and Manipulation.

Princes & Bards, Instability and Destruction.

Thieves & Rogues, Inundation and Redistribution.

Maids & Sylphs, Maintenance and Generation.

And, potentially...

7. Lords & Muses, Absolution and Dominion.

And then, subsequently, the order for the Aspect posts, which I've decided based on relevance to the canon, roughly speaking anyways...

Space & Time, Genesis and Terminus.

Breath & Blood, Fluidity and Stability.

Light & Void, Potential and Simplicity.

Heart & Mind, Instinct and Dialectics.

Life & Doom, Progress and Stagnation.

Hope & Rage, Conviction and Iconoclasm.

I look forward to the next post. Until then, take care.

[alicesoinions]

Aspects

My views on Homestuck's Aspects. Part of this analysis is the idea that Aspects have relationships to each other, each bringing the other about.

I will use my own custom Aspect symbols throughout, but the analysis itself is based on canon.

Space

Space is the Aspect of beginnings, of new things. Space experiments and improvises. Space cares about what is possible now, and cares more about the discoveries made in a journey than about a specific endpoint. Space is infinite discovery and potential.

Space is represented by art, fashion, atoms, and frogs.

Space is the color of the night sky, empty beyond human perception, endless and unfathomable but not featureless. Inky darkness, dotted by stars. Space has no color at all, which sometimes results in it using Sburb’s default texture.

Space is opposed to the Aspect of Time.

Space is the fundamental force of creation that gives rise to the duality of Life and Doom well as the unknown mysteries of Void.

Void

Void is the Aspect of the unknown. Of hidden, ill-defined things impossible for us to know or give names to. Void is the Aspect of true reality, of things on a spectrum, of quantum and biology.

Void is represented by water, darkness, and pumpkins.

Void is the color of deep waters, hiding what lies within; its color somewhere on a gradient, but impossible for humans to pinpoint or define no matter how long they stare; Void is the shifting hues of the color of the sky.

Void is opposed to the Aspect of Light.

The unexplored unknowns of the Void hide the untapped potential that is Space, leading to new creation.

Life

Life is the Aspect of agency and self-direction. Life is self-directed and idealistic; Life concerns itself primarily with what Life wants to do, not caring for obstacles or drawbacks. Life sees an infinitude of options, and picks the one it desires.

Life is represented by plants, food, coins, and wealth.

Life is opposed to the Aspect of Doom.

The ultimate freedom to do whatever one wants eventually leads to the ennui of Breath. The interplay of Life and Doom leads to defining one's self in Heart or hiding in Mind.

Doom

Doom is the Aspect of fate and constraint. Doom has burdens and limitations; Doom concerns itself with practical issues instead of lofty ideals. Doom sees no escape or negotiation, going with what others demand of you.

Doom is represented by skulls, death, and fire.

Doom is opposed to the Aspect of Life.

The practical matters and the knowledge of our limits leads to the endless toil of Blood. The interplay of Life and Doom leads defining one's self in Heart or hiding in Mind.

Breath

Breath is the Aspect of detachment. Breath goes with the flow, not caring about anything or anyone in particular; Breath does whatever feels right in the moment, not worrying about much.

Breath is represented by wind, leaves, and rivers.

Breath is opposed to the Aspect of Blood.

The freedom of exploration of and detachment of goals leads to the compromise and negotiation of Hope and to exploration of the self in Heart.

Blood

Blood is the Aspect of effort. Blood has lofty expectations, from both itself and others, and runs itself ragged to accomplish all of them. Blood cares intensely about what it does, without rest or thought.

Blood is represented by blood, sweat, stone, and iron.

Blood is opposed to the Aspect of Breath.

The exertion and toil of Blood eventually lead either to hiding in Mind or to the revolution of Rage.

Heart

Heart is the Aspect of self and emotion. Heart is a person's identity and definition, their emotions and their friendships and their biases. Heart goes with its gut. Heart cares about what its heart directs it to.

Heart is represented by music, hats, and horses.

Heart is opposed to the Aspect of Mind.

Heart’s loyalty and instinct lead to the upheaval of Rage and Heart’s caring nature leads to Blood.

Mind

Mind is the Aspect of thought and masking. Mind coldly adapts itself to circumstance, hiding the true self in order to blend in with what's acceptable. Mind is impartial. Mind weighs all the options, and picks the one most suited to the situation.

Mind is represented by masks, blindfolds, and scales.

Mind is opposed to the Aspect of Heart.

Mind’s bottling of emotions leads to the real detachment of Breath; and Mind’s adaptive nature leads to Hope.

Rage

Rage is the Aspect of rebellion. Rage is skeptical of what society presents as true, and fights tooth and nail for what it stands for. Rage riots and fights back; Rage would sooner bring revenge than healing. Rage fights for sudden change.

Rage is represented by fangs, beasts, and waves.

Rage is opposed to the Aspect of Hope.

In fighting against their shackles, one gains the newfound options of Life. Rage’s sudden changes forms half of the past events of Time.

Hope

Hope is the Aspect of diplomacy. Hope believes everyone is good at heart, and that everything could be solved if only everyone talked things out. Hope has blind faith and will sooner comfort a friend than hurt an enemy. Hope solves things slowly and steadily.

Hope is represented by religion, ribbons, and blankets.

Hope is opposed to the Aspect of Rage.

Hope’s compromises and negotiations lead to new shackles in the form of Doom. Hope’s slow changes form half the past events of Time.

Time

Time is the Aspect of the past. Time is concerned with traditions, patterns, and the inevitability of what came before. Time brings the authority of established rules and governance. Time looks to what was to decide what will come about.

Time is associated with gears, crowns, sand, and clocks.

Time is the color of a gear turning to rust, of blood leaving a vein, of a game timer running out. Time powers shine in all colors at once before they settle on one.

Time is opposed to the Aspect of Space.

The knowledge of the established patterns of Time leads to the knowledge and definition of Light.

Light

Light is the Aspect of definition. Light has clear rules, clear definitions, and clear answers. Light creates frameworks of understanding and puts things in black and white, right and wrong, relevant and irrelevant, which can sometimes lead to ignoring the gray areas between. Light is the Aspect of human knowledge of the world, our ideas, stories, and sciences.

Light is represented by the sun, fire, and compasses.

Light is the blazing color of the sun, impossible to look at for long, but shining its light everywhere, a white light that returns as a myriad of colors.

Light is opposed to the Aspect of Void.

The sharp delineations of Light ignore the gray areas outside definition, creating Void.

[madbard]

The Vampire/Werewolf Fiddlestan AU is so funny to me because one of these characters does canonically dress up as a vampire… and it is not the one you’re drawing.

[gameblorg]

dumbn rentry stanmp things i madg of sollux nd mituna also rrequetss fur atamps open if anyonr sees tgis!!!!!

f2u wighout credit by ghe way ehehe