#possession narrative

[legodragon]

kai quote misuse

[drabbles-of-writing]

On one hand, I think it’d be SO interesting if we never get a direct confirmation that Evelyn is a Clawthorne. Of course she is, we all know she is, but they never say it outright. She, and Caleb, forever haunt the narrative in silence. None of the characters will ever know, and that silence will haunt us, too.

On the other hand, imagine if when Belos is losing his mind and being evil and whatnot, battling Eda, who’s already going through some shit, he ends up saying “Evelyn Clawthorne” either directly towards her like how he was with Flapjack, or just as a taunt.

Cue Eda thinking he’s just an asshole who couldn’t even remember her name, she barely gets to say as such before there’s a “WHAT” off-screen, cut to Hunter and Luz, who were probably supposed to be hiding, looking like this

And tell me this wouldn’t be the funniest fucking shit you’d see in your entire life

[carlyraejepsans]

was it foolishness? (was it fate)

[rinbylin]

圣人有情而无累

dihua + 情 | 莲花楼 mysterious lotus casebook

[finalgirlsamwinchester]

1.01, "Pilot" | Stephen Adly Guirgis, "The Last Days Of Judas Iscariot" " | 5.22, "Swan Song"

[katabay]

THE SHERIFF AND GUY OF GISBORNE

uh. try to stay with me for a second. so incest motifs are a huge part of medieval lit. you see it in arthuriana cycles, you see it in romances, it's a whole thing.

Incest and the Medieval Imagination, Elizabeth Archibald

so robin hood. both adaptions and the text itself, tend to get interesting with guy of gisborne. and I will say that while I found the media being discussed in this text absolutely fucking insufferable to watch, the discussion on it was delicious, impeccable, show stopping

Mouvance, Greenwood, and Gender in The Adventures of Robin Hood and Robin Hood: Prince of Thieves, Brian J Levy and Lesley Coote

and with regards to discussions on the origin text (which I love and adore forever)

Horseplay: Robin Hood, Guy of Gisborne, and the Neg(oti)ation of the Bestial, Stuart Kane

we're. getting to the point, I promise. guy of gisborne and the sheriff in my own "adaption" are not cousins, but brothers in law (fucked up brothers in law are my thing over on my other blog. brutus and cassius? I'm there. caligula and lepidus? all over that, baby!) because I'm aiming for an adjacent transgression.

on the topic of adjacent transgressions and guy's comment in this comic about cannibalism: there's an overlap in various genres of literature, predominantly in branches of horror and tragedy: between cannibalism and incest. (additionally! a lot of texts will take on christian subtexts and allusions, so there's a bonus homoerotic cannibalism discussion happening wrt communion that I'll get into in the future) it's about. chomping. the teeth, you know.

Managing Monsters, Marina Warner

Statius and Virgil: The Thebaid and the Reinterpretation of the Aeneid, Randall T. Ganiban

there's a 100% chance I will revise the sheriff's design at some point, but I wanted to draw the flowers exploding out of the spine so bad

AND FINALLY, the neck focus on guy is half due to his fate in his origin tale (beheaded) and half my own invention: I girl-with-a-green-ribboned him. a little narrative necromancy, if you will.

[detectiveneve]

one of the things that hits really nicely for me with Astarion's romance is that he never really encourages or wants you to be some kind of "protector." there are several instances where you can offer him that; protection, swear to him you'll kill cazador, or after his personal quest--I don't have the screencaps on hand, but you can directly say to him that he'll never have to need something like the ritual, because you'll protect him, and HE says back something along the lines of "It would be nice to not need you as my grand protector.... but I appreciate the thought." -- there's tinges here early in act 1 maybe of distrust of faulty promises yes, and considering Tav naive / not comprehending the power of cazador and therefore unhelpful, but even as you proceed, he's never interested in trading a lack of protection for a dependency on a protector.

in fact, the only time he's like "I'm doing it for US... to keep US safe <3" is when he's trying to manipulate/convince Tav into letting him do the ritual. "You want whats best for me right <3333" is the thing he actively uses to try and sway you over to his side, because he knows that's an emotional string to pull on.

there's an insistence of preferring equality in the subtext there; that protection or a skewed imbalance is not what Astarion wants, at his core. he doesn't want a nurse, or to be pitied, or be beholden to anyone. to try and pity him invites his irritation, even outrage. trying to swear to protect him at best gets a fond "I appreciate the Thought" and at worst a "don't be a fucking idiot." it would be veeeeery easy for the narrative to slip into something generic about being able to fix him, but it insists on someone to depend on as equals. give and take in true partnership. and in the post-ritual ending you can really feel the lack of equality there too--only now, he's in the position of both """"protector"""", and more so than that, obsessive beholder of Tav, and he exercises it in overt fashion; of course he'll protect you, your future, your life, is his after all. (and there's a LOT about that that's very interesting to me, and equally as complex & intricate as the no-ritual route in which two people meet on equal footing.) the game never shames this approach of wanting to protect him either, it acknowledges the good intent, and simply shows in Astarion's reactions that there's more here to it than that.

[billford-dump]

I had a dream last night, that Ford's eye was bleeding. From stress, I think, and for whatever reason it was very important that he hide it.

I don't remember much of the dream, but there's a vivid scene in my mind of Ford in front of the bathroom mirror in the middle of the night, holding a wet washcloth and wiping away the blood. Dipper walks past, I forgot what he was doing, but he sees the blood and knows where it's from and there's a moment of mutual deer-in-headlights looks. "Oh shit, my grunkle's eye is bleeding!" and "Oh shit, my gnephew knows my eye is bleeding!"

The whole dream had an air of grief/mourning to it. I think the bleeding eye reminded Ford of Bill, and even though it reminded him of a bad part of him it was still BILL and he misses him.

[mishy-mashy]

Probably not gonna match with when this comes out translated, but still—just a few things I liked about BNHA 423

WE GOT TO SEE THE VESTIGES AGAAAAINNNNN!!! HI BRUCE!

I think Bruce gets a lot of bad angles. This is an example (but it's okay honey, you're still hot stuff)

Unfortunately, I have a favorite. It's Bruce. The most Normal Guy™ in the vestige line up. And the special-est sopping wet cat for Kudo ever (Yoichi is a dry cat because at least Kudo remembered to take Yoichi inside).

The vestiges were all gearing for a punch, but Tomura/Tenko is reaching out.

The rest of the users usually use OFA to punch, is the general idea we see. But Tomura/Tenko's Quirk isn't that.

Tomura/Tenko reaching his hand out to grab, and the vestiges readying a punch—it's their ways of putting the hurt on.

And Tomura/Tenko knows what happens if he puts his fingers on someone. He was aiming for AFO's head too. Guy was pissed.

I like that the vestiges look like they're crawling out of hell (or the depths) here. Technically for OFA itself, which they embody, being in AFO's realm was hell. It meant they failed their collective goals to win against AFO, and keep OFA [Yoichi] out of his possession

Also, they're all embers of who they once were. If Factors embodied their personalities, these embers are the leftovers of that embodiment. Their eyes are blank.

And even when they're only shattered fragments of themselves, they came for AFO to take him down.

They really embodied that purpose. Even as husks of themselves, or sad leftovers that scattered from their destroyed Factors, they still reached forward to clock AFO one last time.

They were that determined, and that determination was all that was left of them.

Meanwhile, with Yoichi, his itty bitty remains continued trying to talk sense into his brother till the end.

Yoichi has such a bleeding heart. But he also loved his brother.

AFO is standing in the dark. But in that dark, there's a light. It's Yoichi, as if he were the light at the end of the tunnel.

AFO chased OFA for decades, and ruined a lot of lives, just to have Yoichi by his side again.

Joining hands with Garaki; killing Banjo, En, Nana; forcing the creation and upbringing of Tenko; the whole Shimura incident; everything he did to UA and the Aoyamas to get close to the wielder of OFA [Yoichi]. He did all that, and more.

He just wanted the chance to have Yoichi with him again. That was his purpose in obtaining OFA this whole time.

Yoichi was AFO's light at the end of the tunnel.

Too bad for AFO, the light at the end of the tunnel was an oncoming train.

Yoichi is telling AFO what happened, but I love that in front of Yoichi, AFO became himself. I mean, not a mass of scar tissue, but who he originally looked like

Idk, there's just something symbolic about it?

Midoriya calls AFO a lonely man. And Yoichi comes to him, and AFO says he wants Yoichi by his side. He wouldn't be lonely if that were the case. Yoichi could make him not lonely anymore.

And the lonely man, a bundle of scar tissue from his warpath to see Yoichi again, reverts to a time he had no injuries or scars. He looks like the period of time where he and Yoichi lived in the same era.

In front of Yoichi, he's just.. himself, I guess is how to put it. Not a mass of scar tissue, or the evil villain everyone feared: he's literally just Yoichi's "Nii-san".

It's like, the scar tissue shed itself to reveal AFO's true face.

He wants to see Yoichi's face, and ended up showing his own without even meaning or thinking to.

He's finally looking straight at Yoichi, trying to see his face. It's not like when Yoichi was alive, when AFO always looked down on him, and just waited for him to bend to his will.

Now, AFO has little time left with Yoichi, and he's lost his composure for it, wanting to see Yoichi as more than an ember. But maybe he got to the point he only ever saw Yoichi for his Factor, rather than the Factor for Yoichi: how often has he said he was chasing One For All, instead of his younger brother?

AFO wanted to see Yoichi's face, but when he saw Yoichi next to Kudo... yeah, he lost his mind a bit there. Probably (Definitely?) because he saw Kudo's Ability, and Kudo with Yoichi. And Kudo is "to blame for everything".

Maybe he lost it seeing Kudo and Yoichi together, because it was a repeat of the past, I suppose?

(Technically, he did see Yoichi's face one last time already. Just that he also saw the bastard Kudo's face again too. And AFO did not like that.)

[kanofspam]

*fanmade design of Catherine used!

Till death do us part.

[catabasis]

i think ten should have been put in more painful and traumatic situations (saying this as someone who absolutely adores him)

[thesherrinfordfacility]

but what if the s3 biblical flashback for aziraphale and crowley is exodus specifically the plagues of egypt and what if aziraphale begs crowley into helping him come up with something anything to save the firstborns because he can't bear this time to aid or stand by whatsoever in the killing of children the innocent even if it's in the name of freeing the israelites, because now they have their side and they have to do it together he can't do it alone, and aziraphale steals away into heaven and finds out that lambs blood will protect the innocent so he suggests it to moses and he and crowley both help to mark it on all the doors, and that night they have a Conversation about god and why she would Do This, debate freedom and free will and the cost of it, and that's possibly when aziraphale remarks that crowley's a good person he doesn't understand why he fell and crowley just keeps silent except to say that god doesn't like questions, and aziraphale remembers when they first met and that crowley might have in fact asked the very questions he told him not to ask but did because aziraphale told him the plan for the stars, and it's when crowley starts to float the idea of the arrangement because despite the circumstances this conversation is the most he's felt seen and listened to since he can remember and he wants to keep seeing this angel again, an angel that is now more than ever before willing to go against heaven and god to do the right thing just as crowley does

[holysheithyall]

“We’re just two slow dancers, last ones out.”

[angelswim64]

characters that are fire-coded in the way that they’d light themselves on fire to reach their ambitions

[skrunksthatwunk]

this could be kuwameshi if you guys would like. take my hand and trust me

[mechieonu]

y'all i mean this w love but mha from the start has been a story examining how villains are also victims of the circumstances their world has imposed on them. why would afo be any different