#using it to resurrect the dead

[myinventoryisfull]

Do you have any lore to share of Di'angeleo? 👁️

Oh my god. I have so much lore. And art!

Okay, not so much art, but! He's a character I've had since Burning Crusade, so he's been around A While. His mother was a Quel'dorei Ranger who got captured by the Amani and used her feminine wiles to get free. She returned to Silvermoon only a little worse for wear and a little pregnant. When Di'Angeleo was born, she promptly dumped him in an orphanage, and he was treated about as well as you'd expect a half-troll to be treated.

As a teenager, he became the apprentice of a Shadow Priest named Mourne and learned hand to hand combat from Mourne's partner, Tre'jani. It was a pretty decent outlet for all his angst but stuff kind of happened and he ended up on his own by his 20s. During this time, he started searching for his parents, and while his mother was a huge (but not unexpected) disappointment, his father was...

Well, waaay back when, his father was kind of booted from the Amani for losing the elf woman, and was about as surly as Di'Angeleo was. Still, he was secretly thrilled to have a son to pass his legacy onto, and he began teaching Leo traditional Amani hoodoo. They were constantly butting heads and getting into arguments, but there wasn't really resentment attached to it. It was, more or less, the best way they both knew how to communicate and nothing a little tussling didn't sort out.

Eventually, the Amani learned that their ways were being taught to an outsider - an elf, of all wretched things - and came for the pair in the night. Di'Angeleo's father sacrificed himself so Leo could get away, but since he wasn't done with his boy, he now haunts his own shrunken head, and he and Leo continue their arguing.

Beyond that, Leo is a cranky blade-for-hire whose base of operations is in the haunted part of Duskwallow Swamp, but his meanness is largely a coping mechanism after years of being treated like shit. Once you get past his gruff exterior, he's very soft-hearted and he cares a LOT about what people think of him.

As a Maw Walker, he spent most of Bastion doing the Office Stare Into the Camera thing because he could see the Forsworn thing coming a mile away, and oh my god, he loves Maldraxxus. Hates the fact that he can see all the bullshit about to hit the fan there too, but like.

He's an Amani Berserker.

The Theater of Pain was the most fun he's had in years. He's having the BEST time hacking things up and ripping Constructs to threads.

He's going to HATE the whimsy of Ardenweald, and Revendreth will not be much better. He's SO bad at mind games and politics.

OH and so I don't forget- the red coloration over his left eye is PERMANENT. It's tattooed on, and it's meant to indicate his status as a berserker - and a half-breed. It stops just behind his ear, and if he was a full Amani, it'd cover both eyes, but since he's not, it's just the one. The rest of the markings are facepaint which have meaning to the Amani tribe (aside from the blue heart), and he switches them up based on what message he's trying to send. And while other trolls can easily recognize them, the variation between tribes means that the accuracy of interpretations may vary.

[goryhorroor]

horror sub-genres: lovecraftian/cosmic

[aalghul]

"claiming any writer ever intended to write that jason was sexually assaulted as a child is stealing from mia" is still one of the most ridiculous takes i have ever seen. by the way

[crazylittlejester]

why do people in the lu fandom specifically, thats where ive seen it most think that any of the links are illiterate…? are there not signs or things we as the player have to read in All of their games, implying that Link can therefore also read? im genuinely so confused as to where this hc came from and why ive seen so much of it recently

[fellthemarvelous]

I still don't get why people wanna be mad about these two female characters who survived being stabbed by a lightsaber...because somehow it's...unrealistic...or bad writing? (Because no one in real life has ever survived something that should have killed them, I guess.)

I'm sure no one in Star Wars has ever survived anything crazier than being stabbed by a lightsaber!!

...........

...........

............

Being cut in half...

Being dismembered and then catching on fire...

Surviving an explosion and finding his way back to the GAR...

Surviving an explosion only to be experimented on by the enemy...

Being eaten by a sarlacc monster and surviving the digestive process...

Being tossed down a reactor shaft...

Star Wars is basically a space fantasy soap opera. Of course people are going to survive certain death. I'm not sure why this is a surprise to anyone or why it should cause so much anger.

[foolsocracy]

Now having watched Frankenstein (1931) I find this really interesting. I didn't really expect the writers themselves to have watched the film; I assumed they saw it was a horror film released in Pete's time and included it with the bonus that the audience would know the story because its Frankenstein. It really aligns with the themes of spider noir though, so I'm second guessing myself.

I read Frankenstein a while back so I'm not as familiar with it as I once was, but I'd say its generous to say the movie is based off of the original novel. It hits some of the points but it really is different. I mean, in the film its Henry Frankenstein, not even Victor.

In the film, the monster is played almost-infantile. He reaches out towards light as if he could grab it. He plays with a little girl by a lake, throwing in flowers to watch them float like boats. When he kills her, it's an accident. How could he have known that she wouldn't float along with the flowers? Its Frankenstein and his assistant who are portrayed as monstrous. They lock him in the dark for three days. The intimidate him with fire and whips and fists.

Despite this, its Frankenstein who gets the 'good end,' while the monster is left to burn alive, pinned inside a wooden mill set alight by the townspeople.

Pete could have gotten nightmares from a number of scenes. Although I wouldn't personally say this is a scary film, there are definitely unnerving parts. There was also a different standard in 1931 for what was scary in film, plus Pete was already living a hard life at such a young age when he saw it.

Based on the panels themselves it is clear that Pete was scared of the monster itself (which is fair, the make up and costuming wanted him to be frightening). "I expected him to tell me there's no such thing as monsters," because no one in real life is a resurrected, looming... once-man-now-creature. (Just you wait, Peter). It's a more juvenile read of the film but Pete is a kid. Ben though, is a veteran, a socialist, has been around the block. He has the sense to analyze the film and interpret it differently. It is the men who find themselves with a capacity for senseless cruelty that are the monsters. That is exactly what the noir comics are about.

I really like that it's clear that Uncle Ben knows what Peter is about to learn. It also shows how much Pete has changed, just within the 1-2 years since he'd seen Frankenstein.

[cesaray]

[chais-corner]

THIS IS FOR A MINECRAFT AU

cain beating himself up over the fact he didn't work for his position in any facet of his career (even from the start, when he was a child picked up by the schola progenium) meanwhile yarrick fought and worked for his position (even from the start, as an orphan fighting to survive as his homeworld was invaded by orks)

yarrick beating himself up over the fact that he should have been like cain. he should have been better. cain was a much better commissar than he was—his title proves it. cain was the hero of the imperium, yarrick was simply the hero of a single planet.

of course, it's not like their titles mean anything anymore, since they're... somewhere else. certainly nowhere in the imperium! (continued in the tags)

[bruqh]

normally clerics use divine magic to work miracles amongst the living but i think kristen is going to use her mortality to work miracles amongst divinity

[thisshitisridiculous]

if the point was to direct the audience into accepting the death as real and truly a death then why frame it around a buried but not actually dead plot? why bring that question into the narrative at all? only to say sike? i get possibly anticipating the audience struggling to accept this plot. i get trying to intentionally right that disbelief. but then why set up the idea that there could be a mix up to figure out in the first place? why set up references to coming back to life and fake situations throughout the season? why make it a situation where we can't get access to or see the body? why make it a new type of disease no one fully understands instead of a risky yet realistic situation that firefighters often face if showing the consequences for real firefighters was the intention? why not show the body? famously something shows and films are very capable of doing. why not let that impact hit? they set up the buried alive theory themselves, and wrote and filmed this episode before any of that had leaked so why would this be a direct statement to the audience to counteract the theory when the theory came from their actions after the fact? why muddy the waters if the intention was always for them to be clear? or am i just framing all with this in this mindset because of the april fools script?

[roseverdict]

hey look what i managed to find

still just as dead as it was last time i saw it but surprisingly still outwardly intact

part of me kinda wants to see if i could repair it. probably no recovering the save data (those SD cards are LONG gone) but i bet if i had the parts i could get it running all factory-reset-like.

[ananke-xiii]

Rowena and the thick, bloody umbilical cord between choices and faults.

In a previous post of mine I’ve explored a little bit how Mary and Kelly represent a sort of “missed opportunity” for, respectively, Sam and Jack.

At the beginning of s13 Sam resents the fact that he hasn’t been proactive in seeking to create a relationship with his mother and now that she’s (presumably) gone he doesn’t want to deal with that reality. He had wasted his second chance. Jack, on the other hand, never even had a first opportunity to begin with but, unlike Sam, has experienced a sense of unity with his mother so extreme that one of the first things that he tells Sam is that he was his mother(!!!).

S13 reinforces the Mother-Son symbolism because, after Jack’s birth, a rift is opened in space (apparently not in time?): Kelly stays (dead, rip girl I love you) on one side of it while Mary crosses it and finds herself in Apocalypse World. To make things even more clear, this is no random parallel universe: this is the alternate reality where Mary didn’t deal with Azazel. So mothers and their choices/faults are a central theme in this season. Or, well, more or less.

To complete the mothers’ trimurti or, better, tridevi we’re missing the final mother, the destroyer who is, of course, Rowena. It’s therefore quite apt that Rowena reaches her highest potential this season and even confronts Death. What motivates her in an interesting blend of (missing)love and (lacking)power. Lucifer is as part of her story as Kelly’s and Mary’s. Unlike these two, though, she doesn’t have a son who resurrects her, nor a turned-benefactor cosmic being who offers her resurrection as a gift to her son. Rowena has to resurrect herself. Not once but twice. She is, perhaps, the loneliest character in the whole series.

This is actually quite ironic because, if we look back on previous seasons, her “choice” to kill Oskar, her putative son, was what triggered the whole chain of events (the freeing of Amara first and Lucifer second) that directly link Rowena with Mary and Kelly.

It’s only natural, then, that s13 Rowena keeps representing the reversal of the Mary and Sam/ Kelly and Jack relationships because there is no son who’s looking for her, rather she is the mother who’s looking for her (dead) child. Like Sam, she also needs someone who can access another dimension to bring Crowley back but, unlike him, she’s not successful. Now, ngl, this pisses me off to no end, like of course I can understand the real reasons why Crowley couldn’t be brought back, still I kinda hate how it was narratively framed.

When, in "Funeralia", Rowena says that life is unfair she is right but not in the general, pessimistic sense of the phrase: she's right because in-universe some deaths are more important than others and people get back on board depending on whether or not they're still a role to play for them. Rowena's faith in magic is actually justified because magic is the only thing that can help her. And the tragic thing is that it's also what damns her in the process because it's the only form of power she can have access to. There are no angels or cosmic entities looking out for her. She's just... alone.

So, perhaps, it's not that I necessarily hate how her failure to bring Crowley back is described, I just see it as further proof that Rowena is the best example to show how in Supernatural the game is rigged from the beginning and we didn’t even need an interfering and pervy God to realize it. That's all we've been seeing it since S1. All those infinite, booooring talks about being good/evil or doing good/bad actually mean nothing because, at the end of the day, in this show what really matters is how useful you can be, to whom and why (and this is way less booooring, you learn a lot of interesting things about these characters if you go down this road, it's grim but it's more rewarding).

S13 is also when the final connection between Rowena and the Winchesters, Sam to be more precise, is established which is indicative of the fact that she will inevitably die. Before S13 her story was her own, after “Funeralia” it cannot be extricated from Sam’s. To some degree, it’s quite similar to what happened with Crowley and Dean. What’s more, just like Crowley’s powers and shrewdness are what really carry the plot from s6 to s12, magic and spells (and therefore Rowena’s role in the story) will be the key for many plot points from s13 to s15. But there is a big difference.

Both Crowley and Rowena’s sacrifices are described as heroic but, let’s be honest, only Rowena’s was. Crowley’s demise was a clean-up after his own mess at best. It also proved to be unnecessary. Rowena and that awful MBOL’s egg thingy would have managed to confine Lucifer, like, they actually did it. It was Crowley who perverted the spell for reasons that I personally find OOC. I would’ve liked the Crowley vs Lucifer power struggle but not the way it was done in s12 because it felt very nonsensical to me. As in: I can see you need a reason to keep Lucifer around and this is what you’ve come up with but it’s still quite illogical.

At its hidden and secret core S13 is the season of the “let’s reframe the sons’ stories and blame it on the mothers”. Just like Kelly is blamed for Castiel’s ideal vision of Jack and Mary’s "choice" is established as the most important point in the whole show, Rowena-as-Mother must face the same fate: it was her fault if Crowley, Fergus!, ended the way he ended. It’s a naaaaaaaaaaaaaah for me.

This is what we’re told in “Funeralia”:

Rowena: Oh, but it is. Death has something I want. Sam: What’s that? Rowena: My son. After you told me he was gone, how he died, I had an unexpected reaction. We had our differences, but it’s my fault he went down the path he did. I left him. Dean: We’re talking about Crowley-- demon, King of Hell? Rowena: We’re talking about Fergus-- a man abandoned and loveless, tricked by a demon, died in a gutter. He deserved better from the world. From me.

Now, just to be clear: yes, Rowena had the responsibility to do better; yes, she was the absolute worst; yes, she played no small role in her son’s story. However, I personally don’t like all these negative associations between “worlds” and “mothers” as if every fucking thing in the universe is dependent solely on them. How did we end up here? It’s almost as if absent fathers are, like, not THAT bad after all (and the show, as far as I'm concerned, ultimately approves of and absolves absent fathers). So I’m very suspicious of the way motherhood is portrayed specifically in s13 and Rowena’s attempt at redemption well demonstrates that there is reason to be so.

This dialogue in “Funeralia” confirms my gut feeling:

Sam: You know, what happened with Crowley? That wasn’t your fault. Rowena: He never had a chance. Dean: He made his choices, just like we all do. Look, every one of us has done something that we have to live with, that were trying to make up for. Every one of us. Sam: Even without all that extra juice, you’re still the deadliest witch around [Sam's flattering Rowena. He's gonna ask for her help in 3,2,1...]. Rowena: Flatterer. Sam: Yeah, well, we, um... we may need your help [Here we go!]. To save our family. To… hell, to save the world. Dean: You wanna be redeemed? This would be a pretty big step. Rowena: And do you think I still can be? Dean: Yeah, I do.

I mean, not to be rude, but who the fuck cares if Dean Winchester thinks that Rowena can be redeemed? Like, how is Rowena’s redemption (which is strictly connected to her being a bad mother and not, among other things, a zero-regret murderer, which she also happens to be, for instance) connected to saving the Winchester’s family? Don’t get me wrong, I understand that this is SPN and that Sam and Dean’s problems are Apocalypse-level problems (lol, they really did that, when I say that their story is like a cosmogony maybe I’m not that wrong) but, as I’ve said, I cannot help but notice the similarities between Rowena’s arc this season with Mary’s and Jack’s, i.e. you can be redeemed if you either do something useful for the Winchesters or... realize that it's not your "fault" that your sons suffered terribily because "choosing" to deal with Azazel was actually the right choice... for the world. How come fathers saving the world are framed as heroic while mothers actively creating worlds by making hard choices that benefit the greater good need redemption?

So to sum up: while fathers invade S13’s main storyline as solvers, restorers and fixers, mothers are the bones of the story, they carry its weight and its sins but get little if nothing in return: Kelly stays dead, Mary ends up helping out a world that absolves her of her Original Sin but that’s nevertheless a mess (you can never win lol) and Rowena can’t get her son back (but she can save Sam and Dean's family the world!). Looks good, right? Hurray mommy!

[dirt-str1der]

Im super charmed whenever they include tsukasas corpse inside the freezer its so funny to me ... that man is not in cryostasis he is straight up dead

[anne-lida]

Happy Halloween, Kazuya :)

[lordmushroomkat]

Was just thinking about shadowpeach and I remembered a line from a song that fits them so well in the way that it absolutely cuts to the bone.

So anyway here's the lyrics to Elsa's Song by The Amazing Devil so you can think about it with me.

I can hear the cannons calling as though across a dream

And I can smell the smoke of hell in every stitch and seam

And like flowers, the bodies tumble around this muddied lot

I cannot hear them scream, "Forget me not",

Your voice, it carries over the hubbub and the hum

And it paints the sky and circles high like the beating of a drum

You will scream, "I won't forget you, " but I'll cover my cold ears

It cannot be a lie if no one hears

'Cause although you say good day to me, I know I don't belong

And although you hold my hand and say, "I love you, " you are wrong

Because love does not exist here, in this garden, there's no feeling

And you say the words so often that I barely know the meaning

And when all the flowers are rotten and all the cannons shot

I'll scream, but you won't hear, "Forget me not"

And in years to come, you'll wander to the place up on our hill

And then you'll cry to our painted sky, "I loved him then, I love him still!"

And you'll strew some sage and lilies and roses where I rot

Of all the flowers you picked, I knew you would forget

Forget-me-nots

Just. The war with heaven, the loss, the separation, the death, the mourning, the coming back to life but still feeling dead, the distance, the love that was real but hadn't mattered when it needed to, the grief.

I'm gonna cry, I swear to the gods. If someone doesn't make an animatic for this I'm gonna be so upset. It's perfect!! (I guess I could try??? Ugh I have too many projects already, I don't need this!)

[anxiously-sidequesting]

You know what I love more than just heroes and villains going up against each other is when the hero and villain have a certain respect and acknowledgement to the other, have a special relationship or connection with the other, or just a general interest that's between just THOSE TWO GUYS and not anybody else Grandfather Spider Morganthe Schismist Soldier Duncan Grimwater

Like I could easily see the YW teaming up with almost any of those people (see: only GFS and Morganthe the other two are crazy) not out of maliciousness or because they switched sides but because they're just compatible with them in ways where it just makes sense. Like for example the YW fighting back-to-back with Morganthe or having in depth magical discussions with her because we understand her on a level no one else does. Like in a crazy season finale where the Savior of the Spiral would not even Dream of Ever Working With Those Ruffians but when they have to they're like so magical (no pun intended) together because they just click. Like in the original Teen Titans where Deathstroke and Robin were like fighting in Hell together and they were on the SAME WAVELENGTH despite being bitter enemies THAT'S THE SHIT I LIKE. I think maybe that's the reason why I resonate more with these guys than Malistaire because imo it's just so much more interesting and emotional when we get two people on opposite sides of the morale scale able to come together and work so fluently. This is also me saying I want a Schismist Soldier and YW Roommate Sitcom.