#cult infinity

[lynvaren]

As leader she gets first dibs at scavenging the abandoned macy's

[charlesoberonn]

[inbarfink]

[feypact]

king 👑 grace monroe (youtube)

[shadowdemon-gd]

If you like anything here, we should be mutuals (this took way too long to make)

[boilingpotfrog]

Ya'll remember that trade on tiktok that was like "do you think we're soul mate every universe?" Like this one ⏬️

NOTE: THIS IS NOT MINE, IT'S BY KIMIMI ON TIKTOK

anyways I'm planning to do this trade by with Maitane and Ramon (@queeniecore Baki the grappler oc) like in different like movies, games, and shows like if they were in that universe. I have a list of them that I'm going to select be using the great almighty Spin the Wheel app, I feel like it be a great art exercise. This is a wild mix but hears what I have so far:

Garden of Ban Ban

Pokemon

Indigo Park

Dungeon meshi

Poppy playtime

The owl House

Black Butler

Imaginary Asylum Friends (the friends we left behind)

Spiderverse

Shadow house

Soul Eater

SCP

Sally Face

Carmen sandiego

Slugterra

Helluva Boss

Lady and the Tramp

Infinity Train

Security Breach

Sanrio

Cult of the Lamb

Avengers

The Hollow

Justice League

Outlast trials

If any of you have over ideas for other things that I and on to the Wheel, just talk me. Anyways Bye-bye ^v^

(This is so many Hass tags TvT)

[shapeshiftinterest]

a post on my dash had a pic of a bloody dress from the movie jennifer’s body and it reminded me of narinder’s robes, so i drew him in the dress + the lamb’s bell collar

not included but in the original idea i wanted aym, baal, and the lamb holding up signs like they’re judging a pageant

his scores are in my original tags

up to your imagination if he actually killed someone in it or not (he did, he totally did)

art reference got the idea cuz i saw this pic on my dash

art reference i used this dress (full body pic)

[yahoo201027]

Day in Fandom History: August 27…

Finally freed from a memory tape after admitting her fear of being wrong and disappointed by the people she cared for, Grace enters back into the Mall Car and rejoins the Apex, now under new leadership. The Season 3 finale, “The New Apex” premiered on this day, 4 Years Ago.

[mecub]

You walk into the Fictional Men Named Simon Who Have A Crush support group and it’s a cult leader, the Chosen One, and some completely normal guy from like 1900 standing around loudly denying that they have a crush. Two of them are gay British boarding school students and the other is probably homophobic. The kill count between these people is probably several hundred. Only one of them will be alive at the end of their series and it’s not the completely normal guy. Only one of them will end up with their crush and again, it’s not the normal guy

[disregardcanon]

one more thing before i chill about infinity train for a minute:

absolutely VIBRATING thinking about how the creation of the ideology of "nulls" part of the apex doctrine must have happened.

because simon is this frustrated young man with a lot of anger directed at the cat that he's allowed to turn to poison and grace has never really talked to or created a relationship with a denizen of the train. so of course she's down to make these people the group's scapegoat! "one of them" hurt simon! HER simon! when he was just an itty bitty little guy! maybe they're not all like the cat, but she doesn't care enough to look into it.

to grace, "null" is just like, a rando. they cohabit the space on the train. she has some distrust because of simon's experience and she doesn't want humans to "waste their time" on them or get hurt, but she's not, like going out of her way to stomp on butterflies like simon does. because the ideology for her is about the efficiency/function. it gives simon and some of the other kids a channel for their frustrations that isn't the other kids, and those little atrocities that they commit help them keep their numbers high, which is their goal at the apex.

but for simon and probably others, this ideology isn't just an explanation- it's not only permission but a mandate to become the worst version of themselves. to simon, null doesn't mean nothing like a rando, it means something to hurt and hate and exterminate. NOTHING like a curse. if i pour enough of my rage in this direction, then everything will be fine.

but when people expect you to just- just change your thought process, even with evidence? and come to terms with maybe having been wrong? when the people who helped you come to these beliefs look you in the face and say "i was wrong. you were wrong. we need to change now".

"but i'm like this for you? this is what we decided? this is what we believed?" "no, we were wrong. we need to change." and there's this like, tidal wave of judgement and guilt and the options are all bad and laced with embarrassment and hurt. and i'm not saying that makes it justified! but it does make it complicated. because it's hard to be a follower whose leader has changed course, you know? there's a lot to unpack there. that thought-process was a lot more central for simon and how he viewed their core tenants than it was for grace, and she did all her unpacking at a safe distance from him and his rage.

and again, not saying she was wrong to do that! but it's... hard. and complicated. and never was going to work out well for anyone

[cacturnia]

me when im blonde, lack compassion, and im from a canceled peak animated show

[ultraericthered]

A tale of two "tragic downfall" villains.

Really think about this - the villain is someone who has suffered greatly in his life to the point of being a traumatized, fragile wreck of a person but is a close friend of the story's main protagonist and works alongside them for years until certain events make his hatred, pride, and need for power, control, and the loyalty of others grow and put him on a worse path, on which he betrays the protagonist and leaves them for dead, taking over his friend's group and making all of them follow him now, and when the protagonist returns to face him and get him to relinquish his control of the group, they have a fight to the finish where the villain proves once and for all that he is too far gone to see reason and beyond hope of redemption, so he ends up meeting a terrible, painful demise. Which one did I just describe?

And I don't want to tear either one of them down, since they're both phenomenally written villains who star in their own dark, tragic tales that were both very well executed. ....BUT, I have to go here: I believe there is one thing that one of them got down a lot better than the other one. And it ain't the damn dirty ape.

I am referring to the quality of pathos, which is derived from, for lack of a better word, humanizing the character. Matt Reeves has expressed very clearly that we are intended to feel pathos for Koba, and for his limited screentime in Rise of the Planet of the Apes and in the first act of Dawn of the Planet of the Apes, we do. The poor bonobo was terribly abused, tortured, traumatized, and damaged by callous human scientists and has the physical scars to show it. Even after joining with Caesar and being allowed by him to personally kill his abuser, the deep hatred of humans and fear of what might happen to him and other apes should humans find some way of striking back at them remains with Koba for years; the one thing he ever learned from humans was hatred and nothing else, as Caesar puts it. But the deeper into Dawn we go and the worse Koba gets, the issue arises. Caesar and all these apes were family to Koba for a good many years, years lived in peace and relative happiness, with Caesar even likened to a brother to Koba. However, after a heated dispute with Caesar over his willingness to work with humans turns violent, Koba is beaten down and sees none of the other apes are on his side, he turns his thinking around to view any "weak" ape who'd side with or have leniency on humans to be no better than humans, and that he needs to secure the loyalty of the stronger apes (including Caesar's own son) by taking Caesar's life and framing the humans for it. So he goes for it. And keeps going. And going. And going. And in all this time he's being a villain, the whole second half of the movie, there's not a single moment where Koba ever feels conflicted over what he's doing, no visible traces of remorse nor any sign that he's internally pushing back against remorse because second-guessing himself and surrendering to feelings of shame would reflect weakness. After he's shot his "brother" and left him for dead, Koba is stuck playing the one note of being an evil, wrathful, deranged, murderous monster. There is no metaphorical dog he won't kick, no one he won't mow down in order to assert his dominance and satisfy his rage, and no limit to his blatant hypocrisy. And yes, it was the narrative intent to have Koba slide so far down the slippery slope that he becomes this twisted caricature of his former self who must be put down. But at the time he's condemned and dropped to his painful demise by the ape who was once his brother, there should be a tiny twinge of pity and sadness that it had to come to this....but I think most audiences just cheered when it happened, as there was nothing in Koba left to feel any pity towards.

For Simon, being the equilvalent to what Koba was in the second half of the film occurs only in Book Three's final episode, "The New Apex". In the episodes prior to it, throughout the course of Book Three, Simon is one of the main protagonists and has a wide range of facets and emotions to his characterization; we see moments of him and Grace having the sort of camraderie with each other that could only come from years spent together as friends that makes them both a bit easier to like despite their apalling actions, we get funny bits from him that endear him to us, we see him get sad, get frightened, get confused and unsure of the direction Grace is taking things in, hear about his personal interests, learn about his past trauma, see him vulnerable and interally torn up by conflict. When he works together with Tuba in the Color Clock Car, even sharing a laugh with her, figuring out she's colorblind, and learning more about the sad past with her deceased daughter that also shows him how much Hazel means to her, we can tell that all his views about "Nulls" and about the train are being challenged and he's starting to second-guess himself, to think that this "Null" might be so much more than he'd written her off as from the start, which would lead to guilt and shame over all the "Nulls" he'd mistreated and killed in the past...and so naturally, there's the internal pushback from Simon, because he not only cannot admit to being wrong, he cannot let himself be wrong: he has to be right all the time so that all the years on the train and in the Apex can mean and amount to something beneficial to him rather than having all been a sad waste that'd render him a pitiful, insignificant failure. So with all doubts dispelled from his mind and clear from his consicence, he deliberately and cold-bloodedly sends Tuba to her death, and feels proud to have done so. Things only spiral downward into further darkness and madness from there.

Simon finding out that Grace learned the truth about Hazel before he did and withheld it from him as a secret between herself and the "Null" is the tipping point for him. He snaps, turns against Grace and leaves her for dead, and like Koba, now feels there is no one in his life that he can trust to be on his side unless he were to force their loyal devotion to him through fearmongering and shows of dominance. And yet even in "The New Apex", even with Simon at his most irredeemably loathsome and psychotic, the writing allows for some pathos. When Grace saves Simon from falling off the train, he asks her why she did it. Grace responds "I don't know." Looking at Simon's face in the brief silence that follows, we can tell that deep down in his heart of hearts, he was hoping for Grace to give him a different answer. Something like "because I love you" or "because you're my dearest friend", or "becuse I didn't want to lose you", or "to make amends to you for everything" or even "because you're not the one who deserves to die; you were right about me, about everything." But instead, he hears a vague, ambiguous "I don't know", as it was just basic human decency from Grace and nothing deeper than that. And thus goes away whatever was left of Simon's mind and heart, as he kicks Grace off the train to her apparent death in an act that rescinds years of love and friendship built up with her, raises Simon's number higher than even Amelia's, and sends him into a complete mental breakdown as we see a surge of conflicting moods all over him. So then even if his grisly end that follows elicts some cheering from viewers (I certainly wouldn't blame them!), that tiny twinge of pity and sadness that it had to come to this is very much there by the time Simon is dust on the ground that Grace is sobbing over.

Two exceptional villains in two exceptional works, but only with Simon do I get the sense of a victimized and vulnerable not-all-bad person who tragically descended into becoming a mega asshole. With Koba, I just see a mega asshole.

[owlfacenightkit]

Rewatching Infinity Train book 3

-1hp

-1hp

-1hp

-1hp

-1hp

[sincerely-sofie]

Speedrun of character bingo entries that I don’t know / remember enough about to warrant their own entries—

— GO!!!!

Fun character who has a neat angle on the whole “I’m a facet of the fundamental mechanics of the universe itself” by having a bottomless stomach, being kinda gullible, and all around having a lovable oaf type of energy :>

I had to look her up. She seems nice! I like her design. Lots of fun colors. It’s cute that she and Sidon were besties despite her coming from beyond Hyrule’s borders. The implication of them being in a long distance relationship prior to being married is something I can appreciate.

I haven’t read the Dawn of the Clans arc, but Gray Wing seems like he has a really rich personality and a lot of depth to him! I like that he seems to adopt any child that enters twenty yards of his vicinity. That’s a fun trait.

I only know scattered pieces of fanon about him, but I LOVE his design. Bushworm McShrubface, my beloved. Him seemingly being appointed the role of bartender in a lot of official works is super fun. He strikes me as the kind of guy who would make jokes about being blind to mess with people, along the lines of Toph from Avatar.

The fact that they retain the “Lord” terminology instead of rebranding to the Mantis Ladies, seemingly out of respect and remembrance for their brother, makes me cry. Gold star. No further comment.