#the original source material

[slayerlevampire]

Technically Untitled - Almost got burned at the stake for this one lads

Idk a very short written thing I made a while ago about Robotnik becoming a vampire

Or something like one anyway

Since everyone is posting about their monster AU's around here aidnakxnskxj

It was a dark and stormy night, perfect for dramatics, dark magic, and mad science... Even if the "storm" was actually heavy snowfall in the form of a blizzard. Ivo Robotnik delved deep into his own writings, his notes scattered across a table as he took his own advice from each paper. As delicate as this process was, he was frantically scrambling to get it right this time, as it would be his last chance. The power to unlimited life came with human sacrifice, he knew that early on in his work, so with his failed attempts so far? The nearby village had finally figured out what was going on despite how much of a recluse he was in the woods. He knew they would be here by morning, so this was his last chance to get this right before he was most certainly taken and executed.

His human sacrifice was currently tied up, wrapped round-and-round in rope to keep them as still as possible. Alive of course, but unconscious by virtue of getting hit really hard on the head.

From tales of magic to science he's tested to be rooted in fact; he finally found that he compiled the key to eternal life. At least, a form of it anyhow. There was no way of truly knowing if this method was the most effective, but he figured that if it worked, it didn't really matter as long as he wasn't making any demonic deals. As easy as making a deal with some otherworldly being might be, there was no way he'd let himself be overshadowed by or even as much as connected to someone more powerful than him, nor would he allow himself to be put in a debt so deep.

This reasoning of his meant that it required him to do a little extra work, crafting his own demonic sigils rather than using ancient ones, so that he could make his own life rather than summoning an existing demon. Not to mention his dabbling into the science of lightning and its electric properties was something that most people this day and age thought was just things to do with deities of sorts, but he knew better. Variations of demons and maybe even angels might exist - along with other "supernatural" entities such as spirits, fairies, or werewolves - but gods, at least of the "all-powerful" kind, were nonexistent. No, this electricity from the sky was the work of natural forces that could be tapped into by less natural means. It just took skill and know-how, both of which Robotnik had acquired.

He took his various items outside into the blizzard, setting up a large circle in the snow of a cleared out area from the forest, his sacrifice in the middle. It pained him inside a bit to be letting his notes get wet from melting ice, but if this worked, he'd have plenty of time to rewrite them anyway. He followed his own instructions, drawing his symbols in the snow, cutting deep enough down to trace them into the icy mud below. Lightning struck a tree not too far off in the forest as he was doing this, almost as if it was a warning, but he ignored it and kept his concentration, mumbling an incantation that was honestly just him repeating a general idea of what he wants to happen. A form of manifestation, if you will.

Once he's got his magic items carved and laid out, he brings his human sacrifice out and in the circle. Then, he looks up to the sky, and counts between lightning strikes. This is the part he's yet to ever get to… And may or may not be the end of him here. So, admittedly, even through his intelligence and certainty that this was going to work, he was still just a tad nervous.

1… 2… 3… 4…

1… 2… 3… 4…

1… 2… 3… 4…

1… 2… 3… 4…

With each set of numbers, he drank from a new vial, each tasting more bitter or rancid than the last. It was like a waltz, counting the time between crashes of thunder and flashes of light until the electrical storm was dancing around his very circle, making it impossible to hear his own chanting even as he raised his voice louder and louder for nature itself to shy away from. The air was full of static, hot like fire despite the torrents of frozen rain that continued to pound down harder on the two forces of life on the ground. Robotnik raised his dagger high as sweat poured from his brow, melting into the clean snow on his face and running down into the earth, and he soon plunged the blade down dramatically into the chest in front of him. The sacrifice's waking scream from the burst of pain wasn't heard by anyone, not even Robotnik himself as the desire for immortality burned in his eyes while he watched the life drain from the only other pair around.

He pulled the dagger back out, and before he could hesitate or second guess himself, ran the side of the blade along his tongue before the air could freeze the blood or make his mouth stick to the metal. Then he plunged the dagger into the ground and raised his arms to the sky, calling out one last incantation to the clouds above.

That's when the first lightning strike hit the inside of the circle, hitting him directly. The pain was indescribable, like he should have been ripped apart from the very impact, but entirely energizing at the same time. The burn was searing just afterward, as if he had been in a fire for hours in the span of a second.

A second strike, hotter than the last, and Robotnik felt his body convulse as he fell backwards into the snow. He couldn't think, couldn't see, couldn't hear, could hardly feel.

A third strike, and he knew no longer. Nothing but electricity and heat as he slipped into unconsciousness.

Into death.

~~~

Everything was too much. Way too much.

Robotnik was already trying to pull himself off the ground, but the snow piled on top of him was oddly sticky. The wind was too loud. Smells too strong. Everything was heavy. He couldn't have possibly been out for long, it was still dark out. However, he may have woken up just in time: The torches and lanterns were already sputtering in the distance. He had to try his best to block out as much as possible. No matter how weak he felt, how overwhelming it all was. He had woken up from a short visit from Death themself, and he was already on the run. He could hardly lift them, but his pure determination got him to pick up what was left of his notes after being in the pounding blizzard so that he could stumble his way back to his house. He needed to hurry, but he needed to change, as he wasn't getting anywhere far like this.

He slammed and barred the door behind himself, and had to continue pushing forward to refrain from just sliding down the wall.

He didn't even realize he wasn't breathing. Wasn't blinking. Wasn't shivering despite the cold, but his hands trembled as he shoved as much of his life's work as he could into a bag. That's all he cared about. No other possessions mattered other than that of his notes. He could hear the mob approaching as he shed his outer layers of heavy clothing, only having enough time to throw on a dry coat before banging sounded at his front door.

A lantern crashed through his window as he lifted his bag over his shoulder, and when the oil spilled it didn't take long for the old, wooden floors to catch fire, along with all the other flammable objects that were nearby. He went to escape out the back door, but it was blocked. They had trapped him inside.

At least, they thought they did, but Robotnik wasn't about to let that stand. He sidestepped what he could around the fire to make sure it didn't catch onto him as he made his way to a ladder, climbing up it and to the roof above in order to escape. It was hard to open with all the snow, but he managed to climb out and look around. His little house here is mildly surrounded, in a sense that if he hits the right spot, he could probably book it. So, that's what he aims for - knowing they'll gather too close if he waits too long - and hopes the snow is deep enough to break his fall somewhat as he jumps from the quickly burning building.

He hits the ground harder than anticipated, pain shooting up his legs, and thus he collapses then and there with all the rest of the pain he has going on. He shakily tries to stand, but before he knows it he's being lifted off the ground and slammed into the wall, the heat from the fire inside burning at his back. He grits his teeth as the man who lifted him up shines a lantern near his face, illuminating both of their angry faces. Though the anger on the man's face changes swiftly to one of disbelief, even mild fear.

"Глаза демона!"

The eyes of a demon.

While the man was distracted, Robotnik took the opportunity to reel back and send a punch as hard as he could muster, which - surprising even himself, with how weak with pain he's been feeling - manages to knock him reeling, dropping Robotnik in the process.

That's when he could smell it.

Another look up from both parties, and that's all it took. The sight of fresh blood pouring from the man's nose, less than a meter away.

Everything else seemed to go hazy, time felt slower. All he could think about was the warm, red flow of life.

Something he no longer had for himself.

Everything went out of focus. Everything, including what was right in front of him.

When he came to, the mob was gone. The snow was red. He was covered in red.

Robotnik felt temporarily satisfied.

[bublp0pr]

what's really been annoying me, and why i couldn't make it past the first episode, is the amount of aggression and violence from the ambush of the air nomads. And i'm not talking about from the fire nation. It's the growls and roars and visceral *hate* on all the air nomad's faces as they fight them that feels so out of place to me. The scenes are structured as classic action movie battle scenes, right down to a shot where two lines of fighters clash into the center of the frame. The bender's staffs are being used less as a tool to manipulate their bending and more like weapons they were trained to combat with. Certain fighters literally charge at their opponents seeking to throw them against the ground or down stairs. And yeah, Aang does that a lot during the show. But in this setting, with the actors fixated on choreographed combat rather than evasion and the scenes aimed to get across the atmosphere of a war... the intention seems less to disable threats and bring safety but to cause as much harm as they can as they go out.

I always interpreted the assaults on the air nomads as being far more of a massacre than a true battle. These are a collection of monks. Aang himself corrects in The Headband when a fire nation teacher refers to "battles" that the nomads did not have any kind of military. Bending inherently is associated with combat in the universe, and Aang shows his competence in that area a lot so i assume the others would have similar skill sets. But no one knew what the fire nation had planned when the attacks started. Not the scale of their deployment, nor their true goal of total annihilation. I pictured any resistance that was mustered up as being individual crop ups rather than a garrison quickly built to deal with intruders because there would never have been a need for such a thing before.

A large part of their philosophy and something very important to Aang's final character arc is the sanctity of all life, even those misusing it for wrong doing. So their response to a siege would in most cases be to flee or disarm/incapacitate, never kill. So fundamentally, any fights that did break out while this tragedy was happening would always have been on uneven footing. Beyond that, it's referenced that Sozin used the last arrival of the comet they later named after him to "defeat" the air nomads so the enemy isn't even at normal strength but the super-charged extreme we see in the final episode of the show.

I'm not saying that different people didn't have different reactions. Monk Gyatsu's body was found surrounded by a crowd of fire nation helmets after all. But some would have tried and failed to reason with them, some would have been caught completely off guard, some would have started fighting and when it became clear that more and more soldiers were piling in would have tried to surrender to protect lives - not realising these men's goal wasn't to conquer but perform genocide. How you act when there is theoretical danger once soldiers are in your home and how you act once you've witnessed them burn a man alive are also different. Desperate people sometimes fight back in ways they usually would never. But that kind of desperation was not there in those scenes.

What i'm really trying to say is that of all the people the fire nation could have targeted, air nomads perhaps symbolised the attributes of peace best. The weight of injustice and horror of what happened is that beyond the fundamental loss of life, this was a willful strike on a people who offered no aggression to justify it. To frame it as any kind of proper battle is supposed to be absurd propaganda. The tv show literally makes this point a few times about the fire nation not being taught just how imbalanced the whole "siege" was. Nothing about the incident was two opponents fighting for the goal of defeating the other. It was extermination, it was a calculated hunt to wipe out innocents.

I just feel like... I don't know. Perahps skirmishes like this did happen during the genocide, but by making that the exclusive way you choose to display the air nation getting taken out? "oh no, there's too many of them so now we lose and die". No. Just No. That's not what happened. You're misrepresenting the slow systematic hunt and extermination of every person they could find.

The original tv show left it vague for a reason. Maybe my interpretation isn't an accurate one. But removing all of the unknowns and blank spaces of that piece of narrative history just does more harm than good in my opinion. No one lived to tell the stories of what happened there. Isn't that so much more awful a way to learn what happened than a dumb action sequence showing off your airbending choreo/vfx?

[m0rbs]

Also wanted to share that earlier today I got the mysterious and otherworldly urge to draw them as horses. Just so you know

[jo-the-intellectual]

Sonadow fanfic authors who forget how integral Amy was (and still is) to Shadows development and that she was the first one to properly reach him, and then write Shadow like he has no idea who she is beyond “Sonic’s friend” or “the girl who likes Sonic”

[diorsbrando]

guys i nearly embarrassed myself and moaned out loud….in PUBLIC.

[hiemaldesirae]

Alastor manifests a conductor’s hat and dons it. “All aboard! Next stop: Royal Circle and the Morningstar Palace!” His face softens as Vox steps up. He offers his arm. “Shall we? If you ignore the warm, sponginess of the floor, Tim’s insides are quite comfortable.” Vox grins. “Sure. A train ride to an upcoming battle sounds weirdly romantic.” Alastor kisses the other Overlord’s knuckles. “I’m so glad you’re safe.” He whispers. “I don’t know what I’d do if I lost you.”

- Radio Healed The Video Star, Finale I (by Aspiring_Forest_Witch / @slash-is-my-weakness86)

ive been reading and rereading this fic from exams week actually. i dont know what exactly was put into the story but im assuming it was some sort of crack because this might be hands down the best thing ive ever read. i wanted to draw one of my favourite scenes (the train ride on shortline tim.... if anyone questions my taste just know that we all watched the original hazbin so youve no room to judge) ((good luck on ur job search btw author !! hoping u find one sooner than later, thanks sm for making this fic))

[tangents-within-tangents]

Just some things I think deserve a super accurate movie/show adaption in a beautiful 2D animation style:

The How to Train Your Dragon series

Gregor the Overlander

Artemis Fowl

The Adventure Zone

The Hitchhiker's Guide to the Galaxy

Frankenstein or the Modern Prometheus

The Wonderful Wizard of Oz (fr so much was left out of the 1939 film!)

Alice's Adventures in Wonderland and Through the Looking-Glass

The actual Little Mermaid story (there are a ton of adaptations I haven't seen yet so maybe it exists somewhere but we all know Disney’s didn’t even come close)

[thunderboltfire]

I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.

It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages" And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series. Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.

The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.

What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.

But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.

There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel. it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.

On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.

But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.

My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.

The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.

I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.

And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it! The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.

It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important. And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.

And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?

There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.

[demonicimagery]

you know now that i’ve finished gomens s2 i could probably write an essay on my mixed feelings. what about when a work is - especially so in some parts - very fucking good. thematically interesting and consistent, characterisation that is so painfully human and told in a fascinating manner. but due to a lack of conclusion - inherent because of the format (tv series) - it feels an inherently different sort of narrative to the original. i do not think good omens season two is bad - not at all, but what i do think is it is now a very fundamentally different type of story than that of the book. not because the events of the show don’t happen in the book but because the style of storytelling is altogether different. it’s inherently going to be the case when one of the original creators has sadly passed on, and it doesn’t necessarily make it bad - however it does make it not what personally made me love the book of good omens in the first place. maybe it’s because i came in with certain expectations given that i have read a lot of sir terry pratchett’s other work and basically none of neil gaiman’s, but it’s just a different format of story. like the difference between an epic poem and a serialised story.

[brie-draws]

I wanted to dress them up and then I realized. I can draw ship art and dress them up at the same time. [ Noel x Makoto [BlazBlue]]

[wttcsms]

horribly short summary of what im trying to accomplish here, but if you were to read a fic featuring character, a soldier honorably discharged and is officially off the battlefield and yet he can’t seem to shake off the war from clinging to his body, and he’s basically a bit of a mess and feels incapable of returning to ordinary life and there’s you, the sweetest thing in the whole world, and he keeps trying to tell you he’s no good and you’re there to help him with everything (and it kills him a bit, to see you wasting your time to help him, and it kills him because he feels like he shouldn’t be the type of person who needs help) and !! just slowburn and falling in love and just read the tags for the vibe ok, who would it be for

[volitioncheck]

i think i wouldn’t hate disco elysium’s collage mode nearly as much if it weren’t for 1) the way that it was marketed in such a tasteless, soulless manner, let alone the fact that it was a last ditch distraction from a dead on its feet studio piloted by dumbass thieving execs and released on the day of the court declaration, and 2) those dumbass fucking stickers

like if it had been included with the base game from the start and had been titled something a bit more tasteful and in-line with how i would have liked the feature to be marketed as— something like “exploration mode”, something that perhaps could only be unlocked after completing the game for the first time, AND didn’t have those stupid as hell visually and tonally incongruent with the artstyle stickers, i would have applauded it as a nice little bonus for being able to study and appreciate the 3d models and environments for reference.

[starablin]

I've mentionned him in passing in the last costume log blog post as some ill-fated first attempt at a fursuit head, so it's only fair I actually showed him off at some point: here's Uncle Uncanny the Nargacuga in the flesh.

I started him in late 2020 as a little technique-learning project during a time where cons were dead and costume motivation was an all-time low. It's a funky little Nargacuga head all made from scratch! He's lined and everything, and I'd be crazy to call him bad because I know objectively he's a very handsome boy for a first attempt, but he always looked a little... funky. Despite all the flaws though, he was so dang fun to make that he paved the way for the Wurmple partial and other future projects, and was an invaluable learning experience! I'd never bring him out though because the actual WEARING experience is a hot mess. Like, the materials are so bad he's periodically falling apart despite never taking him out to an event. He's so hard to breathe in, too... So back to storage you go! Speaking of, good lord please periodically check your costume storage to make sure everything's a-ok. He's been in the same dry closet as everything else for years and for some reason the plastic bag he's been stored in was just casually FLAKING APART in a sticky, blooming mess (while everything else was just fine, including some other ANCIENT pieces in similar bags) . My hands feel so gross and smell like copper but he's survived just fine, thankfully. Seriously, though. Check your storage.

[boyybites]

So last night I was playing palworld and was wondering what a Lovander Noct would look like so I made 2???????? But obviously I got carried away so they're my ocs now.

Anyway I love noct designs in palworld because yeah they could've just recolored them all black and blue and been done with it but some of them have the coolest ass little tweaks of their design ever.

[doyouknowthischaracter]

DO YOU KNOW THIS CHARACTER?

[scootkiddo]

I can’t stop thinking about this one exchange between Joel & Ellie in the official trailer

Ellie: “If you don’t think there’s hope for the world, why bother going on?”

Joel: “You haven’t seen the world, so you don’t know. You keep going for family.”

Ellie: “I’m not family?”

Joel: “No. You’re cargo.”

THAT IS SO LAST OF US. It’s Joel neglecting to be recipient towards Ellie by belittling her inexperience and dehumanizing her. He’s denying her humanity and downright EXISTENCE by ascribing her to something as trivial as mere baggage, making her out to be entirely insignificant. Which is obviously all a front for Joel to shield himself from emotionally opening up at the risk of getting hurt again, but that barrier all the more stings knowing that Ellie requires love and validation. She craves her own purpose for existence, but Joel invalidated that by writing her off as a thing rather than a person.