#like i like to think that this is based on or directly looks like an old spribonnie mascot suit that would be worn during the time the

[st4rrmii]

My thought's on the "Ben Situation"

(Obvious spoilers for the trailer below the cut)

Okay, the Ben situation, with him knowing about Brooklynnn being alive, I think y'all are going a LIIITTLE too hard on him rn, like I've seen people saying they're gonna drop him as a fave character and I'm like??? We only have the trailer kets breathe for a moment.

Anyways, based on clothing, it looks like it's going to be in the first few episodes, I'm kinda betting second or third, and with him only finding out at the END of episode 1, that doesn't leave a lot of time between things, unless they do a pretty major timeskip, which I doubt. It doesn't seem like it's going to be a conscious decision where he just- chooses not to tell them because why not, it feels like it'll be a very stress/fear based decision, which is fair!

Think about it, your friend has been dead for 6-9 months, you just found out they were targetted due to possible illegal activity, and now you're in an unknown area to find out/fix what happened, then you find out they're actually alive and in some dino ecoterrorism group, that's not gonna be easy to tell people! Especially with having no proof thanks to the phone being dead, he has no way to ACTUALLY show Brooklynn is alive, honestly I feel like either way someone would've been mad at him, it honestly would've made sense if Kenji straight up didn't believe him and got mad at him for "making shit up".

Overall, it just seems like an overall garbage situation for Ben, on one hand he could tell everyone without proof and risk being seen as literally insane, and on the other hand he could not tell them and let them find out themselves, but not be trusted by them for who knows how long, neither situation is good. Ntm just the mental block of telling people things like that, like y'all cannot tell me you haven't had moments where logically you SHOULD be telling someone something but fear stops you.

I just think we should let the season come out before we make any major judgments on characters, and that goes for ALL of them (I'm looking directly at Brooklynn)

(Also, it looks like Ben and Kenji seem to be somewhat okay after the fight, so I don't think Kenji is just gonna straight up hate Ben the whole season)

[plumpybread]

I would love to know your story/headcanon about Chilchuck getting huge is it the lure of an easy life with lots of food and booze ?

It pretty much boils down to the introduction of Senshi into the party.

It's stated in canon that, because of Senshi, Chilchuck's weight has been going up and is beating his "all-time high" weight. We don't really see this directly in the manga, but it's pretty much confirmed he starts to get heavier because of Senshi and his cooking.

Now, we gotta remember that Half-foots are super short. Chilchuck's like in his 30s and he's 3'7" tall, the guy's pretty tall for a half-foot, but he is still incredibly short (for reference, just look at the nearest door, he's a bit taller than the handle). This means weight is affected differently for someone his stature.

Chilchuck weighs 48 pounds, and Laios 197. If Laios were to gain 10 pounds (he canonically gains more, but just as an example), it would hardly be noticeable. Now, if Chilchuck gained 10 pounds, it'd be like night and day, he would look considerably hefty, all because he's so short.

With Senshi in the party, the characters no longer have to scram for mediocre meals, he just whips out incredibly rich meals every day, which are both healthy and heavily packed with calories. Under Senshi's diet, Laios and Chilchuck easily put on a couple of new pounds after some time (Marcille would probably stay the same, elven bodies are really odd with the thinness ingrained into their genetics). Laios' body wouldn't go through much of a change with the extra pounds, but Chilchuck's body expands way more easily, with each pound having a clear change on his physique.

Based on the "he's very careful to keep his weight under control." line from the image above, and just knowing how Chilchuck is like, he would never admit that he's gaining weight, even as his shirt's clearly straining against his newly formed stomach. He wants to watch what he eats, but god damn if Senshi's food isn't simply irresistible.

So he continues to eat excessive amounts of food. Senshi, who's love language is cooking, sees Chilchuck's eagerness to eat his meals as appraise, and continuously makes sure to increase his meal rations so he doesn't go hungry.

Laios gains some pudge at 209lbs, a 12lbs gain from Senshi entering their party. But Chilchuck put on 50lbs, being just short of 100lbs, but having undergone a huge transformation.

At 98lbs, Chilchuck's fatness would look comparable to Laios if he was 402lbs heavy, so.... huge.

He would deny any of it, though, while gorging on the custom rations Senshi would make him.

Senshi wasn't of much help either, he started making his usual meals, and would prepare a separate bowl just for Chil, where he would add more ingredients or fried things more in hopes of making it more filling. At this point his portions started to get bigger than Laios'.

Any attempts by Marcille to get Chilchuck to cut it out and stop getting fatter were met with insults from the growing half-foot and never led anywhere. Laios didn't think much of it, half-foots ARE usually on the heavier side, with Chil being an exception, so he thought his weight gain wasn't a huge concern, even if he was growing at a bit of an alarming pace.

So he continued getting fatter and fatter, ignoring the advice which was turning into concern from Marcille, and Senshi dedicating himself more and more to fill Chilchuck up with food.

[physalian]

Narrative Framing Devices

This is a long one…

A story need not be told chronologically, nor does it have to be only one layer deep. There’s a ton of different ways to frame your narrative, I’m just picking a couple today, some I thought worked and some I thought didn’t, and my personal favorite.

Most people think of framing devices in terms of time travel stories or fairytales, where it may start in the present or the future and work backwards, giving up the ending before telling how we all got here. Or by chopping up the chronology and letting the audience try to puzzle out the order.

There are also those that break the fourth wall, with the narrator beginning the story directly addressing the audience but never doing so again, or the narrator opening the story telling their own story to a present audience, so we’re the audience behind the fictional audience.

The other obligatory framing device is the time-skip, a la “6 years later” or “8 months later”. I’ve already talked about those. Or the preface/preamble/prologue that may spoil some important event later in the story, or is simply an important moment or montage of moments to catch the reader up on “how did we get here”. Shoutout to Castlevania for the most efficient pilot episode I have ever seen, with a 1 year timeskip.

Also honorable mention to the “A Life in the Day” montage from Magicians, speedrunning decades of a life together between two characters stuck in a Situation, maybe 60 years? Key moments between the two having a whole romance, with a kid and grandkids, over the course of one beautiful bit of soundtrack. One of the best episodes in the show, for a sequence that only lasted a little over 5 minutes.

—

Story within a Story | Princess Bride, "Ember Island Players"

Best example I can think of, specifically the film, which is based on a book that already incepts itself. The movie opens with a regular kid being read the book The Princess Bride by his grandfather, and occasionally cutting between the kid’s reactions and the fantasy story with the actors.

There’s several moments where the grandfather either loses his place and rereads a scene that replays the same dialogue, or skips a scene in the “kissing book” because his grandson gets squirmy, and moments where the grandfather narrates over a couple montages.

Princess Bride is one of those movies that knows exactly what it is and isn’t trying to be something it’s not. It’s self-aware and loudly and proudly sincere, with one of the best revenge arcs ever put to film.

Recap episodes can either be clipshows or get really creative like ATLA, telling the series recap through the medium of a propagandized play about the Avatar's journey, performed by actors of the Fire Nation. The Gaang sits there in vague states of discomfort, horror, or in Toph and Sokka's case, thrilling enjoyment, watching their hardships and heartbreaks played for laughs. That it's the story we know, but also with the added filter of it being enemy propaganda takes what could have been just a clipshow and still told multiple layers of a story with it.

The Fourth-Wall Break | Riordan-verse, Deadpool

“Look, I didn’t want to be a half-blood” defined a generation. It’s one of those fourth wall breaks that opens up the story and never appears again, though occasionally Percy will get slightly self-aware, saying things like “I didn’t know it then, but I’d never come back here”. But for PJO it almost doesn’t count.

Kane Chronicles on the other hand chose a bizarre framing device, having the two leads pretend to host a radio show, or a podcast—something where they were recording themselves and I don’t think it worked very well whenever it popped up and stopped the plot.

Shoutout to Tangled, too, for having a fairytale style fourth-wall break at the end, much like KC, where Flynn reveals that Rapunzel has been listening to him tell their story the entire time. Many fairytale stories open up with the physical book flipping open to the story, like Shrek and Shrek 2, but I don’t think those are translatable to the written medium very well.

The big one, though, is of course Deadpool. Have not seen the second one, and while ‘breaking the fourth wall’ isn’t by itself a framing device, DP & Wolverine absolutely makes it one, fast forwarding and jumbling up the sequence of events to deliver a “how did we get here?” during the opening credits.

Chronology Salad | Memento, Predestination

Have not actually seen Memento but I know the premise, working backwards as the protagonist recovers his memory of “how did we get here?” Predestination is a batshit insane time travel story that I don’t think most people have even heard of and detailing the plot at all is giving spoilers but it is the most “how the fuck did we get here??” movie I have ever seen.

Then you have stories like Twilight that open with “I’ve never given much thought to how I would die” that spoils (kind of) the ending, with the goal of the story not detailing if something bad will happen, but how. Twilight’s prologue reminds me of The Bachelor, where they’ll tease the audience with *shocking* moments completely out of context from later in the season that are way less cool when they actually come to pass (from the one time I watched with relatives out of morbid curiosity).

The point of these chronological mixups is how all the random puzzle pieces fit together, despite essentially spoiling themselves constantly, they’re so random, so out of place, meant to keep you constantly guessing until the big reveal of the picture on the box—and are extremely tricky to do well without completely losing your audience. You’d have to have a very thorough outline to not confuse yourself while trying to write it.

Honorary mention here for Inception, one of my favorite sci-fi movies, because the plot is crazy, but still told chronologically, just across different dream levels. However, the movie does open with the ending scene (though you don’t know that on your first watch). And Tenet, but I don’t know anyone who likes or cares about that movie.

Dual Timelines | Outlander

There are others I just cannot think of them at this moment. Dual timelines tell two stories simultaneously across two different eras, either decades apart or mere hours, with some relation between the two. Sometimes one timeline’s protagonist is the ancestor of the present timeline, for example.

Dual Timelines happen in sequential order, making them distinct from a flashback arc (more below) essentially two chronological plots running in tandem squished into the same book, episode, or film. They carry equal weight and try not to overshadow each other in flair or importance.

In Outlander, Protagonist Claire is already a time traveler, in a time travel story whose rules are “whatever happened, happened, and you end up causing whatever you tried to prevent”. Season 2 opens with her returning to the present, leaving the entire rest of the season with a foreboding sense of dread, wondering what will get her back to that moment.

Season 3 dangles the carrot on the stick, randomly cutting between Claire in the 60s and trying to move on with her life for… I think 20 years, while Jaime, her love interest from the past, just keeps getting kicked while he’s down. It takes forever to get these two back on screen together. And the dual timelines continue taking up screen time when Claire and Jaime’s adult daughter also eventually makes a trip to the past. Points off for being blatantly manipulative storytelling with its cliffhangers, but season 1 is still worth the watch.

Flashbacks, Flash-Forwards, and Flash-Sideways | Lost

This show’s earlier seasons were heavily framed with this device. In The first 3 seasons (up to the last episode) the framing device was exclusively flashbacks, focusing on one of the main 13 heroes for an episode, particularly in season 1.

They didn’t always answer “how did we get here” but told some story relevant to the character in the present, either a challenge they had to face or parallel relationship drama or ghosts come back to haunt them. Usually, these little flashbacks were told in sequential order, but they could hop months or years ahead at a time depending on the episode.

The flash-forwards began in season 4 and closed the gap between the “Oceanic 6” escaping the island and all the missing time while they were gone, before the infamous “We have to go back” line.

The show also had flash-sideways, which featured the main cast, many of whom had been dead for a few seasons, reprising their roles to show what could have been their lives if they never crashed. To… mixed reception.

The show also also had a time-traveling character who in-universe experienced flashes of the future and got mentally temporally displaced between two timelines for a hot minute.

Lost was… a show that demanded a dedicated following. I still love it.

Flashback Arcs | My own personal soapbox

This right here is the whole reason for this post. First you have flashback episodes and I can name a lot of those—ATLA has a couple, “The Storm” & “The Avatar and the Firelord” but both are technically “stories within a story” with characters either around a campfire telling it or reading about it. The alternate timeline takes up a majority of the runtime, only occasionally cutting back to the present characters for a reaction.

In TFP there’s an offbeat flashback episode “Out of the Past”, framed, again, as a character telling this backstory stuff to another character. Many, many vampire stories will have flashbacks to some degree, since their characters live for so long. Vampire Diaries, especially in the earlier seasons, had dozens of them filling in all the blanks back during the Civil War when the two leads, Stefan and Damon, were competing for the affections of the main villain, all leading up to how they were turned, and how she allegedly died. Once the Originals were introduced, the show then had flashbacks to a thousand years ago, when they were human, and various eras in between.

True flashback episodes don’t waste precious minutes setting up a framing device, they just dump the audience in an alternate timeline and let them figure it out on their own that something isn’t right.

But none of that comes close to the full-on Flashback Arc. I. Love. This. Trope.

I actually first saw it when Arrow was good in its earliest seasons, cutting fairly equally between a present-day Oliver back home and starting his hero journey, and him learning combat back in the past, over several episodes like a series within the series.

What you end up with is a happy medium between a full dual timeline and a random grab-bag of flashbacks as they become necessary to the plot. A flashback arc relies entirely on the existence of the A-plot to make sense, as opposed to a dual timeline where it’s essentially two self-sufficient stories rolled into one big narrative. This arc is substantially shorter than the rest of the plot, cutting the story it’s telling down to the absolute need-to-know moments and cutting all transitions between the two. These arcs tend to cover weeks, at minimum, and decades of a long life at most.

I think they're best implimented after the first book, film, or season. Not something you want to throw at your audience who barely knows or cares about these characters, so if you're stuck with ideas for a sequel, consider the Flashback Arc.

My favorite thing that I have ever written (sans ENNS) was for my sci-fi WIP, a C-plot flashback arc in 13 parts. They started out as in-universe nightmares to give credibility to when these flasbacks started occuring, framed around the character's reaction to the scene, but then took off independently to avoid redundancy.

This arc covered his time as a POW, telling the reader how he came to be the living weapon he was, and the first detail it opened with was the reveal that he wasn’t the only one of his kind, he’d lied and shouldered the blame of every atrocity to protect the others, as their numbers dwindled and it all fell into place. A truth he wouldn't tell with a gun to his head.

Because you already knew he lived, because he’s right there in the present A-plot, the arc wasn’t telling you if he’d survive the war, but what he’d do to survive, and how it all fell apart. Because it was framed up with the existing narrative, I had a lot more leeway in omitting details and dropping the reader weeks or months ahead as opposed to this being a completely fresh story with new characters. You knew immediately based on the tone that this POV was the C-plot flashback POV, and you knew the only person who could narrate it was my poor character.

Over 13 POVS, 34k words (of a total whopping 202k), I told a whole love story, established and killed off 10 characters, and gave heaps of worldbuilding lore and exposition to fill in all the blanks in the present and answer questions that this character would never, and revealed just how much he lied about and why.

All of this tied in with the A-plot, staggering the physical placement of POVS within the book to hit at the right moments tonally and as the character’s condition kept deteriorating because he refused to talk about What Happened. His reason was that he’d done all of this and suffered so much to keep their legacies pure. If he gave it up now, he would have done all this for nothing.

And this was some heavy shit. There was murder, suicide, death by giant alien super robots fond of ripping people apart, assault, mercy killing, torture, gaslighting, and psychological horror. One of my magic systems let magicians regrow limbs alchemically, which meant they could endure a shit ton of pain and just get reset to do it all over again.

It was a lot.

But because it was just in flashbacks, I gave you just enough dark shit before cutting back to something marginally lighter, not just one long slog of misery. There was also the unknown of how quickly it would end. The book would end when you hit the last page, but you had no idea which flashback POV would be the last.

And also.

I got to flex my writing skills to the fullest, writing this character’s flashback POV in a completely different tone and style to make it that much more distinct from the rest of the present book.

ENNS’ sequel is very much under construction, but the one thing already polished is a flashback episode packed into one chapter for one of my characters. It’s perfectly knife-twisty and I can't wait for people to read it.

—

There’s dozens of framing devices out there. Most important thing, I think, is not sacrificing audience understanding for the sake of something ‘cool’. Doesn’t matter how amazing the story is if your audience gets completely lost and confused trying to keep up with what’s going on.

If you'd like to check out my book, Eternal Night of the Northern Sky is available now!

[firestorm09890]

Penny stardewvalley makes me so sad because she's SO sensitive to, like, basically everything you tell her (telling her that you can't stand children while two children are nearby is a pretty lousy move but -1500 friendship?? being a jerk to other characters' faces typically loses you about 50 points, and if you choose the option labeled "creepy" and ask Leah for a kiss in her 2 heart event she physically hits you and kicks you out of her house but that's only -100 friendship…) and so if you want to befriend her it's a whole lot of lying and tiptoeing around her feelings (2 hearts: George was right but saying that makes her feel bad. 6 hearts: her food sucks but even if you try to be polite about it she feels like a failure; only a bald-faced lie pleases her. 8 hearts: saying you don't want to be tied down with a family loses you a little bit of friendship and she's only happy if you say you want kids) and I can't help but think she's a product of her environment. She lives in a trailer with only her mother, who gets drunk every night and has something of a temper. Penny's like a skittish rescue animal who won’t even come out from hiding under something unless you leave her lots of treats

[ashilean]

VUHIA, toa Mangai of the green (10/11)

Tending to the gardens that surround the great temple, Vuhia finds her position joyful and effortless. After fighting alongside her newfound siblings, she marked their victory by planting a vuata maca tree from her homeland on the mountain--a tree which grew so potent and full of life through her nurturing that the garden has long overgrown its original bounds.

Vuhia's quiet focus fits in well with the rest of her team, but she does what she can to make up for their distance and standoffishness. Any matoran eager enough to track her down in the vast temple garden is welcomed warmly, and the most dedicated few have become skilled foresters in their own right, helping Vuhia tend to the trees.

She wears the great Ouha, mask of healing, and wields a pair of Old Growth Trowels which see most of their use digging through the tough mountain soil. One day Vuhia and Tokat took a walk through the gardens, and what was thought to be them taking their time has turned into a mystery even their toa siblings haven't solved.

[laundryandtaxes]

This is a really interesting time to be working in the service industry because I've noticed that guests sometimes make a new expression which I can only say I immediately and intuitively understand to mean that they are thinking, "Oh, one of them said 'behind' to to the other! Just like in The Bear!"

[the-meme-monarch]

hey so.. Just thought abt it and, you have Cap'n and Sweet wear and take off headphones, and I'm p sure they aren't taken off ever in game so you could have technically assumed they were, part of them... So my point.. As somebody who wears headphones constantly because noise issues autism

...r the sound guys have autism?

i've seen some takes where their headphones are Physically part of them and I think that's really neat ! id have to get the concept art of them again but to me it just read as regular headphones that'd presumably be able to be taken on and off, but yeah I think they're all three autism :] i like to think kk just really hates the feeling of things on his head/face that's why he doesn't

[mem-fr]

today's pinfeather pixel update is : i've learned the hard way that polkadot makes me borderline physically ill to look at so here's a tide / foam wildclaw instead .

[utilitycaster]

Queueing to make it clear this isn't a one-time thing or vagueing a specific person and more an irritating trend, but: if you have speculation or a personal wish for a story, that is always totally cool and you can and should post about it to your heart's content but it is pretty irritating to post it on other people's theory posts unless you can construct a logical argument and relate it back to their theory.

You want to see a guest character return? Okay, pitch me how this is related to my post, and why it would make particular sense within the story. You think a ship is going to happen? Great, say something other than "Um, I have eyes" on my post if you want to reply to me. You think this campaign is going to go on until level 20? Do you have an argument other than "I want it to?" Then give it, otherwise this would really be better suited to you making your own post.

You don't need an argument in your own post! I think it's wise to have one if you have any interest in convincing other people (and indeed, I tend to find that if there's a lot of MAN WOULDN'T IT BE COOL evidence- and argument-free posts in the tag for something I wasn't already inclined to like, it will make me feel more unfavorable towards it), but if you're posting for yourself and not to make a point you can and should just say what you want! You do need one when you're shoving it onto mine though because now I'm going to get all the people responding to you and I don't want them. Also when people do this and I don't care for their theory I tend to hide the reblog, or I just make the post nonrebloggable if it takes off and I'm sufficiently annoyed, and now no one can see or respond to the theory because they didn't write your own post and I'm in control! Writing your own posts is great! Please, if you are not directly responding to the content of an original post but rather going off on your own tangent, make your own post instead of getting on theirs.

[frostbitedoesart]

Just making a general post real quick in response to an ask.

When I say I'm anti-ai I mean I'm against any sort of AI that steals from others or would otherwise be used to put people out of a job. I don't feel like having an elaborate conversation about the positives and negatives of AI and all that, so I'll state this as plainly as possible.

I don't like AI art. I don't like AI voice impersonations. I don't like any sort of AI that has to steal stuff from people without their consent in order to function. That is literally it.

I'm not against ALL AI. I don't think people that are okay with AI in general should be burned at the stake or something. I'm just an artist and writer that doesn't like AI being used in CREATIVE SPACES. That's it.

I didn't think I would have to clarify this but, here you go, for anyone that was bothered.

[op3ra]

I've been thinking about race styles recently, and particularly about the three main locomotives and Pearl:

I feel Electra is confident enough in her skills that she likes to play games with her opponents--often alternating between falling behind intentionally to make her opponents think they're winning, only to use her lightweight speed to overtake them in a sprint. It's a great way to psych out her opponents and stay out of the way while also continuously gaining the lead. She and her primary race partner (Volta) are well trained in this technique together--that being said, she is capable of skating at a steady pace when the situation calls for it. She's all about flashiness and style, but don't underestimate her skill.

Rusty is focused on stamina and agility--above all else, he's small and quick, and good at evading hits. His technique focuses mostly on keeping a steady pace while dodging conflict and allowing his competition to tire each other out, saving the last of his energy for a final sprint. In some cases, he'll even plan out exactly how much water and coal he should be carrying to stay as light as he can. He prioritizes taking curves in the track as close to the inner edge as possible, occasionally falling behind only to dart around his opponents and overtake them by taking as tight a turn as possible. Tight turns are dangerous, but he's practiced them enough that he has an advantage whenever he attempts them.

Greaseball is all about brute force and getting + maintaining an early lead; he expends most of his energy on an initial sprint to gain a lead, and then focuses on taking out or blocking his opponents. The drawback, however, is that by the end of a race he's typically losing quite a bit of steam (well. not really. ykwim) and is relying on the early lead that he gained at the beginning. He's very experienced in techniques that involve staying in front of others, such as different maneuvers to cut trains off and throw them off balance.

Pearl is, overall, a formidable racer despite having nearly no prior experience. She excels on her own in solo-carriage races, but is also an extremely valuable asset in partner races due to her adaptability. Even if she's never raced with a locomotive before, she can pick up their race style with ease. She reads the tiniest changes in their stance and technique almost instantly, and adapts to them so quickly that other trains joke that she can read minds. In reality, she's just extremely observant and quick-thinking, making her a sought-out coach for partner races. Although she enjoys the thrill of solo racing, she loves the coordination and technique involved in partner racing. Although she's late to the game, her career in racing is only beginning.

[doomzday-zone]

how do you feel about the whole 'phantom ruby originated from The End' theory. i personally love it, the cyber corruption sonic gets is like a mild version of what infinite has to deal with every day & there's more voices fucking w him

OKAY tbh originally i didnt think id have too much to say on this(and i still might not lol but Im Thinking really hard abt it so it COUNTS !!!!!) n whatever cause i personally don't really give a shit abt sonic frontiers it just doesnt intrigue me as a Complete *thing*

HOWEVER !!!!!!!!!!!!

i just watched like over an hours worth of End related videos and????????? THIS SHITS CRAZYYYYYY its so insane how this fits in w my lore n shit 4 the phantom rubies personally (Sega upholding the tradition of stealing ideas directly from my brain<33 im just that good😏)

my actually genuine reaction when the celestial bodies n space rocks r sentient w power that rivals the chaos emeralds:

LIKEEEE. okay. okay. not to be infifi lorepilled on main r anything. *i explode💥💥💥💥💥💥💥💥💥*

I THINK ITS A VERY FUN IDEA. idk how i feel abt the phantom rubies coming directly from The End but i can def see how they can be related to each other, esp knocking sonic out of his super form briefly COME ONNN literally phantom ruby reference?!?!!?. i rest my case💼. i still dont think i know enough about The End to give a full comparative analysis on The End and pts abilities n such but i can 100% see the correlation anf thinks its a VERY VERY fun idea even if i dont necessarily agree w them being one n the same... ill have to do more research n come back to this for sure.

ill end this w a silly thought of my own though(lmk if this has already been said lol... i dont keep up w all this lol): obv ive seen ppl compare the dialouge of The End and infinite..... AND. hear me out if we were to run w the phantom rubies and End being of similar origin and ignore every other supplementary material that expounds on infinite besides Sonic Forces there is a teeny tiny bit of room to consider infinite rock possession😳 like the way they speak in certain contexts is similar and like.... if we can consider the phantom rubies as vessels that serve as an extension of The Ends power perhaps....?😳😳😳

OBV ik this is a MASSIVE stretch and isnt fully backed by canon but. a silly theory to consider to regardless lol. if someone else has already come up w this idcccc its mine now. bajabnsbbd

[setevulpo]

i was thinking about the archangels and how fucked up being possessed by one of them would be and this was created. headcanons on what each (non-bloodline) vessel would go through while possessed! bon appétit

-

michael

their vessel runs hot, grace a constant thrum under the skin that imitates a heartbeat well enough for those unaware not to notice. the blue glow that takes over their eyes upon the slightest provocation calms only when their enemies are on the ground, enochian seared into what’s left of their skin once the light dies down.

the heat that follows them shapes the air into wings too big for the space they’re in, even in the most expansive fields earth has. they have to watch out when stepping on grass, or stretching their wings too far into the trees, or fire will follow them too.

eventually it starts to burn, whatever body they’re in. the grace running through its veins turns closer to lava with each passing day, flares deep inside its chest and expands down to its hands when their anger rises. bruises showing up in blues no matter how old they are, burns in its skin hot to the touch.

a smell of fire and smoke follows them when they leave the vessel, and they set ablaze anything in their path on the way to a new body. the largest fires are caused by their rage, charred eyes and hearts left behind on their path.

-

lucifer

there's something freezing under their skin, somehow encompassing entire rooms and digging into the skin of everyone around them. the air around them is cold enough to kill, frostbite reaching others before turning their own vessel's hands red with it. its lips are bitten red and raw because the taste of blood is almost intoxicating.

garbled enochian slips through in a constant downpour, because they are an angel and won't taint their tongue with a human language despite the way it burns their vessel's mouth. the easiest way to find them is following the trail of frozen footsteps and the scent of rust so strong it can be tasted.

the hypothermia that sets after some time is what leads them to find a new body, when the one they are wearing becomes too sluggish and their grace starts slipping through the dry cracks in its skin. all that's left is a cold body with its eyes frozen shut.

the earth bleeds on their path, water freezes red by being in their proximity, plants burn and die from the frost. their grace whips through the air and leaves bloody slashes in the skin of anyone who dares get in their way, the wounds never closing completely.

-

raphael

their electricity can be felt under the skin of their vessel, sometimes shocking those who try landing their hands on it. their presence makes people’s hair stand on end, their voice resonates through the room in a way that makes it impossible to ignore. the fissures that appear on its skin from one day to the next are eerily similar to lightning.

the eyes of their vessel gain an unnatural brightness, something fiery that is just wrong when compared to the decaying state of the rest its body. their words flow in a way that’s almost hypnotic, calming until the next strike of their blade.

an ill-suited vessel can’t hold them for long. the tremors starting in its hands show that, as do the bouts of dizziness that hit them every so often. by the time their vessel starts losing its sight they have a new victim picked, their electricity having already eroded the brain of the previous.

it seems as if thunderstorms follow their grace, both rain and lightning falling close but never hitting them. wildfires start in their wake, raindrops never quite reaching their destination, and the injured miraculously recovering in hours.

-

gabriel

there’s a wind hiding under their skin, usually unnoticeable to the common eye. they’re light on their feet, eyes travelling through every corner of the room they’re in, the air around them somehow feeling heavy with the power they chase. at times it blows stronger, the whole of them looking longer, bigger than their vessel, but it doesn’t last long anymore.

their vessel’s skin grows dry with time, tearing open with each snap of their fingers, grace pouring from its hands and giving life to lilies wherever it falls. all of their vessels’ hands are burnt by the time they leave, skin too fragile to handle their grace.

erosion is what kills their bodies, the debris that always seems to fly back towards them easily chipping away at flesh and bone. what’s left of the body after they take their leave isn’t enough to keep it alive, not with the dust coating its lungs.

tornadoes follow the path of their grace, leaving destruction and chaos between their vessels. they are angry, and they are frustrated, and the mayhem they create is the singular way they can be heard. the debris lifted by their rage is flung as far as their grace can reach.

-

[taralen]

FOR HIM and ONLY HIM

LOVE LETTERS #10 & #11

[cypric-rat-hyperfixation]

As my following grows and as I meet more and more people who have rats, had rats, know someone who has/had rats, and love rats...

increasingly I wonder if/when a day will come... a day that I'll express rat enjoyment to someone and they'll enthusiastically ask me if I've heard of This Funnie Little Rodent Blog they like, figuring I may already know it or will enjoy it if not...

and it's.. my blog... and then I have to come out as popular Rat Tumblr blogger that they follow and now know IRL.......

[autistic-shaiapouf]

JUPITER, BRINGER OF LIGHT, KING OF GODS