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Mystery Inc. but it’s the 1890s

Who had late Victorian Scooby Doo on their 2024 bingo card? Hmm?

The idea came to me when I was thinking about Sherlock Holmes and then remembered the iconic mystery solving gang hehe

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Birthday gift for my dear friend who loves vampires♥ . The whole thing was made in three days, I had too much fun drawing it! I created the cover drawing in the car on the way to the birthday party. So I had no time to scan it :D Well, if you enjoy reading it let me know and I will try to post more (I am making comics for my friend regularly, I am just too ashamed to translate and upload these silly things online x_x ) _____________________________________ Patreon Commissions

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Does everyone know there is now a mod that exists solely to give Gale hayfever?

Because there is now a mod that exists solely to give Gale hayfever.

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It is a little known fact that angels cannot step foot in hell.

Note: this does not mean that angels *don’t* enter the burning depths, only that they cannot touch the floor. You see, the fires that rage below are not regular fire. They do not consume fuel and oxygen and spit out heat. Instead, they chew on reality and drink down order, and the flames that lick up at you are made of chaos-filled void.

This is antithetical to the very substance of angels. If it touches them, at *best* the angels will be spat out as they are forcibly reminded that *they don’t go here*.

At medium, they will be unmade.

At worst, they will be *changed*.

You might think they could avoid this by simply flying through the pit, right? Oh, would that it were so simple. Remember the flames that burn up reality? Hell is an alchemical reaction of exploding space and logic and time and souls. You try flying through a place that is not a place, where up and down can hardly agree on which is which for more than an instant.

But there is a way around this. It was originally discovered by the guardian angel Cambiel. You see, under Cambiel’s protection was a woman named Ruth. Ruth was a shining light who Cambiel cared for greatly.

Ruth, in turn, had a woman she cared for very much. And, sadly, a demon had stolen Ruth’s love away from her.

“Do not follow her,” warned Cambiel, “for if you follow your heart through the gates of perdition, I cannot go with you.”

“Sorry, babe,” replied Ruth, “but I am *very* gay and *very* romantic and that has made me reckless.”

And Cambiel nodded sadly, for all of this was true and good.

But as Ruth walked the lonely, tortured path into the underworld, an idea occurred to Cambiel.

Sure, they couldn’t walk or fly into hell, but maybe they could *ride* there.

Now, a fully grown horse could not hope to navigate the depths beneath the world, for their sense of self-preservation was too strong. An adult horse would flee from the screams of imploding souls and the winding geometry of impossibly winding roads.

But a young horse? With a child’s innocence, with bright young eyes, who had not yet been tricked into believing in its mortality?

That was a mount that could bear an angel (who was, after all, light enough to dance on the head of a pin) into the fearful caverns of the beyond. Honestly, the little horse seemed weirdly enthused about the whole thing. 

And so did Cambiel guide a pair of reckless and romantic (and useless) lesbians out of hell.

When the pair thanked the angel, all they said was this:

“Don’t thank me, thank the little horse. It turns out … foals rush in where angels fear to tread.”

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I literally cannot breathe omfg

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weird pervert cishets are better friends and allies than puritan lgbt people btw. as if it isnt fucking obvious

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I say a lot of stuff on this blog about "play another game" and I really want people to understand what I mean about that. monopolies are bad. DnD has, through marketing and business decisions and luck and capital, dominated the entire hobby in a way that no other creative genre has ever seen before.

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they should invent a being in your twenties in which you do not feel your life is unsalvageable and ruined

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About Gaza Funds

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something i love about the way Genius is handled in the locked tombs series is that no two Geniuses are quite the same.

like, take our primary trio of necromantic prodigies, each of whom, in different circumstances, is referred to as "the greatest necromancer of their generation": harrow, palamedes, and ianthe.

palamedes became so powerful in pursuit of comprehension. he earnestly wanted to understand the material as completely as he possibly could. he was ambitious, yes, but never really for his own sake, only in the hopes of saving dulcie. when palamedes attacks a problem, a puzzle, a goal, all he really hopes to do is understand it. to gather up all the pieces of it and put them together in a way that makes sense. his genuis is founded on a relentless pursuit of the Truth.

harrow needs to be perfect. her life, her raw talent, were bought at such a steep price that she considers it a moral obligation to reach her absolute full potential beyond any reasonable limits. anything short of perfection would be wasting a gift that should never have been given to her in the first place. she is harshly self-critical, relentless, brutal. she martyrs herself on the altar of her own genius.

ianthe does not need to be perfect. she only needs to be the Best. she considers herself almost exclusively in comparison to other people. she loves nothing better than to feel superior. the brains of the operation, the puppet master, enough of a genius for two. so long as she is surpassing her nearest competitor, so long as no one is visibly out-doing her, she knows that she is succeeding.

and all of these mentalities are so beautifully informed by their upbringings. palamedes growing up in the lawyers, archeologists, and librarians house, harrow being taught from a young age that her very existence is a sin, and ianthe being raised in constant comparison to her sister. and each of these startegies produces different types of intelligence, also. different methods of problem-solving, different angles of attack. i love them all so much.

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Mahmoud Darwish, Journal of an Ordinary Grief (يـومـيـات الـحـزن الـعـادي), 1973

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cant explain why but harrow would love the princess bride.

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So i’m just watching youtube, trying to chill out and whenever, when I get a Lego Movie 2 Ad for a video I was watching

do you see that timestamp at the bottom? Yeah, this is apparently 5 hours long.

And at first I was wondering, well is it the entire movie? No…this entire ad is for their newest “everything is awesome” type song. It is called “this song is gonna get stuck inside your head” and I am pretty goddamn sure it is going to repeat that one line over and over until my brain melts

So I am going to see if they really are playing it for 5 hours

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Moo Deng my perfect daughter

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On Barbie

I'd like to share my thoughts on John’s choice to house Alecto in a body that looks like Hollywood Hair Barbie.

To the best of my recollection over the past year, I've seen several people claim that Barbie being a famously unattainable beauty standard for women and arguably a sex symbol was irrelevant to John's decision to make Alecto a Barbie lookalike, and that rather the main impetus for this decision of John’s was his trauma, gender non-conformity, internalized homophobia, and desire to return to the comfort of childhood. This argument posits that John's decision had little or nothing to do with patriarchy, misogyny, objectification of women, or impossible beauty standards placed on women by men.

I empathize with the above position to a certain extent — it's absolutely crucial to remember and consider in our analyses that John is a queer working-class Indigenous man.

But………....................

John is not a real person. He is a character written to advance plot, themes, and political commentary within a carefully crafted story.

If I'm Tamsyn Muir writing John 1:20 in Nona the Ninth, and the point I want to make about my character is specifically and only that he is struggling with self-doubt, trauma, gender non-conformity, internalized homophobia, and yearning for the comfort of home and childhood — and I want to say nothing about patriarchy and misogyny?

I'm not having him make the soul of the earth into a Barbie!

I'd be having him model Alecto after a completely different popular 1990s toy for girls, like a Polly Pocket, or Betty Spaghetti, or a Raggedy Ann doll, or another doll that doesn't carry the same connotations as Barbie. Or, hell, I’d be having John make Alecto look exactly like his mum, or his nan, or female Māori mythological figures from stories he must have heard from his nan in childhood, like Papatūānuku, or the first woman, Hineahuone, who was made from earth.

I'm not smarter or more creative than Tamsyn, and the above ideas are just the alternatives I thought of in five minutes that would have specifically symbolized John's personal trauma and nothing else.

But Tamsyn didn't do that. Tamsyn picked Barbie specifically. I think that's worth taking into consideration.

Let’s examine exactly what John says in John 1:20.

Hollywood Hair Barbie's physical appearance comes first in the list of reasons why she was his favourite, and her other characteristics come last. He lists two physical traits and one non-physical trait of hers. “My favourite was her old Hollywood Hair Barbie,” he murmured. “I loved her little gold outfit and her long yellow hair. She was the best. She got to have all the adventures.”

He discards as an option a model of a woman who doesn't conform to patriarchal, Eurocentric beauty standards specifically because of her appearance: “There was also a Bride’s Dream Midge, but Mum had cut Midge’s hair into this weird mullet.”

He chooses a blonde Barbie body that he can mould into and mentally map onto glamourized versions of women created by men through the ages. “I made you look like a Christmas-tree fairy … I made you look like a Renaissance angel … I made you Adam and Eve … Galatea. Barbie. Frankenstein’s monster with long yellow hair.”

Our famous cultural images of Renaissance angels are all idealized depictions of women made by men — Raphael, Titian, Albrecht Dürer, etc. Frankenstein's monster, a man loathed and discarded by his creator, is a more nuanced comparison... but the only thing John notes is that his version has long yellow hair.

I'm not even getting into the whiteness (or the plastic-ness) of it all, but three of John's comparisons here are specifically coded as white women considered beautiful by Eurocentric standards in the Western cultural imagination (Christmas tree toppers, Renaissance angels, and Barbie), and the others are often depicted as white.

Galatea specifically is such a telling comparison. This myth is the story of a man caging and controlling his idealized, beautiful female creation, which exactly parallels John’s goals with Alecto: “From my blood and bone and vomit I conjured up a beautiful labyrinth to house you in. I was terrified you’d find some way to escape before I was done.”

Given all of this, I genuinely think that John's choice of Barbie as a model for Alecto was intended to position John as a symbol of patriarchy, misogyny, and objectification of women, through both a political and religious lens. Tamsyn is way, way too smart to have not made a careful, considered, intentional choice here.

John didn’t make Alecto into a Māori goddess from his nan’s stories. He didn't make her into a cheerful Raggedy Ann. He made her into a beautiful, blonde Hollywood hair Barbie.