#This is a human version of one of my other characters

[myballsitchaurghouchie]

Human versions of Goat, Lamb and Yellow Cat for my DnD au. Getting more and more self indulgent by the minute can you tell i just like characters hanging out

[Image Description in the Alt Text and below the cut]

Image 1: A digital drawing of 3 characters looking towards the viewer as if posing for a picture. The character on the left is tall and stands in the foreground with their hand partially covering the view; they are dark skinned, have long dark dreadlocks as well as a long braided goatee, wear black and dark purple clothing along with a spikey choker, multiple piercings and a necklace with a purple gemstone. The character in the middle is smaller, standing a bit further; they are dark skinned, have medium length loose dreadlocks that turn from dark brown to white, wear a read beanie and shawl over a white turtleneck, and they have a red gemstone as a necklace. The character on the right is lighter skinned, has short blonde hair, a small beard and moustache, and wear a green floral shirt.

Image 2: A digital sketch page showing various drawings of the same previous characters wearing different outfits, all in their own section of the image.

At the top is the tall, dark skinned person with dark dradlocks, called 'Pinhead' Graham, with text in parenthesis saying "Goat". There are small bits of information next to them saying "Usually punk fashion. Absolute dogshit mixing of clothing. Mainly black, rarely has colors (purple, green, yellow). Spikes in every outfit. Clothing often shows off waist shape, occasional baggy outfits. Edgelord looking". There is more text to the side saying "Sides shaved", and "4b hair texture, sometimes has braids or dreadlocks".

The next character is the smaller one with white dreadlocks, called Lemuel, with text in parenthesis saying "Lamb". The text next to them says "3c hair texture, has loose dreadlocks", and the other bits of information say "Warm clothing (sweaters, hoodies, cardigans). Beanie 99% of the time. Often wearing a shawl. Neck never bare (turtleneck, necklaces). Light colors (brown, white, grey) + red (light, muted, rarely dark)".

The third character is the one with short blonde hair, called CJ, with the text in parenthesis saying "Yellow Cat". The information text says "Relaxed clothing. Always layering 2 tops at least. Different textures always. Knee-length pants most of the time. At least 1 item with a pattern. Rarely wears dark colors".

Image 3: A small sketch of the same three characters shoulders up, smilling.

Image 4: A sketch of the three sitting at a table which is covered in papers and dice, whispering to each other.

Image 5: A sketch of the same three characters standing side by side, showcasing their outfits.

CJ is on the left, writing next to them says "they/he/she"; he is wearing a bucket hat, a long sleeved shirt under a short sleeved jacket, knee-length shorts and ankle-high socks.

Graham is in the middle, text next to them says "they/them"; they are the tallest of the three, wearing a bone looking hair clip, a jacket with a fur collar, customized patches and spikes along with a big zipper, and a kilt over another skirt and bagger pants.

Lemuel is the one on the right, text next to them says "they/them"; they are the shortest of the three, wearing a crocheted beanie with horns, a shawl over a big sweater, and pants with a "Christmas-looking pattern".

[vidavalor]

<<I looked up the etymology>>

*blush* You can't say these things to me when we're in public. 😂

<<And so our loops connect again with "Every Day.">>

Very true! The focus on mornings in S2 in the "Everyday" of S2 was also interesting to me. The first few episodes all begin with like "here we are again with Aziraphale trying to deal with his same daily round of these weird, lonely mornings" and The Final 15 is like welcome to the worst Friday morning that has ever existed lol. I guess my point is that the cycle of time is a thing during the week we're watching with things around everyday and the same daily round, etc. and that also shows us Aziraphale's diary.

Dawn is difficult for him because new days are micro-versions of the new dawn he feels stuck in trying to figure out how to start. He faces them alone because part of that new dawn would be figuring out how to make it so he can breakfast with that one, particular demon without them getting killed.

Diary and journal do seem to be quite a bit interconnected with some overlapping roots and connected words tied to daily/the dawn/daybreak, etc.. The PIE root dyeu is it a bit more the sky and heaven than technically God-- I know that, in some minds, those are the same things, but I think there might be a difference in meaning with relation to Good Omens. There's a disconnect between the awesome Voice of God who has been chatting with us and the evilness of the Heaven we've been watching.

There's also plenty of blasphemous wordplay throughout where characters are referring to those they love in different ways using terminology related to God or religious figures. With Crowley and Aziraphale, it's obviously deliciously dirty but, in the more general and innocent and direct paralleling plotline with the kids in S1, it's also just using the most famous palindrome word in the English language:

Dog, backwards, is God. The kid's gonna be alright. 😉

The ties between sky and heaven and the word diary does make Aziraphale choosing that word to call his record of his life on Earth a lot of fun. I've found that the words sky and heaven overlap in their etymologies as well because the sky is basically space but, as we know, space has always been where people thought the angels and the gods and such lived. It's something that makes me smile about Aziraphale writing in Demon's Guide that Baraqiel (Crowley) is the "Angel of The Sky."

It's true on a few levels. It's dry, since Crowley's a fallen angel who, like the other demons, was originally an angel of Heaven. It's also a nod to sky being space-- Crowley as the angel who made the stars. And the sky being an ancient way to refer to heaven... and heaven then becoming human figurative language for paradise? It then also seems to make it something of a C&A version of Gabriel's 'Beezlebub is my Heaven' moment. 😊

So, Aziraphale arrived in Edinburgh with a briefcase we never see him open and a hat that reads, among other things, "PRESS 66" on it, right?

And we might think that these are just Aziraphale's journalist cosplaying accessories but I think there are some hints that there's a bit more going on here than we might think-- all of it very relevant to The Finale.

We think that Aziraphale's arrival in Edinburgh is the first time that we see these things but, in true Good Omens form, the hat and briefcase are both actually glimpsed in a prior scene... rather significantly placed in that earlier scene, even.

Here they are, sitting together, the hat atop the briefcase, both in front of Jimbriel's once Fly-containing box, beside/behind the memory-wiped Muriel, in the scene below:

So, as Muriel is sitting there, not remembering Aziraphale, and as Aziraphale is sitting there, remembering Muriel and thinking all the things about the fact that they don't remember him at all? In the shot between them is the box into which Jim put his memory and brought it to Crowley and Aziraphale for safe keeping. In front of that box? Is Aziraphale's press hat and briefcase, seemingly drawing some connections between the journalist accessories and the memory plots in S2. Hmm...

What this scene also shows is that Aziraphale didn't just magic this stuff up as props when he arrived in Scotland. Even though we didn't see them in the car on the way up, they were there on the passenger seat for him to retrieve upon his arrival. He brought them with him from the shop. He packed them overnight and they were there, all ready to go, prior to Muriel's arrival, which coincided with Crowley coming over and moving the plants out of the car because Aziraphale planned to take it to Scotland. Why does this matter?

Because it might signal that there's more to the briefcase and the hat with its press credentials than we might initially suspect.

I think it would be safe to say that Aziraphale, by this point in the story, would be concerned that his memories were in danger.

He knows he's always been on a collision course with falling and this is all escalating pretty quickly in S2 in the two days prior to Aziraphale packing this press stuff and taking the car. Gabriel was The Supreme Archangel and he couldn't remember who he was and the archangels had shown up to threaten them and say that they're going to be spying on him even more closely, sending another angel to bug them the next day... the memory-wiped Muriel being quite an interesting choice, as that's sending quite a threatening message. Aziraphale also had roped Maggie and Nina into this and he knew he was likely going to have a confrontation with Heaven and Hell coming.

One of the first things he'd be concerned about would be his memories, right? and it's here where we can mention what we later learn about what Heaven can and cannot do regarding those memories... things that are new to us but that Aziraphale likely would have already known and factored into his plan, as we'll see.

Hints are given to this all season via Gabriel but it really becomes overt in this scene here:

This scene proves that Gabriel's memories aren't just in The Fly in S2-- they're also still in his mind. His memories are shown to be in two places at once. Gabriel's memories-- ones even directly related to the trauma he underwent-- actually began to come back before The Fly, in this scene. Gabriel felt safe and like he was talking with someone who could understand in this scene with Crowley so the memories began to come back for him.

The point here is that this scene shows that, when Gabriel "took his memories out" and put them into The Fly, what he was really doing was basically backing them up. He "uploaded" his memories into The Fly for safekeeping so he could retrieve them later, as a way to keep it so that they wouldn't be erased forever, but those same memories are still also on the "hard drive" of his mind. They were just mostly inaccessible to him for almost all of S2 because of trauma.

Before you say well, Gabriel might be a special case because he took his own memories out to avoid Heaven attacking him? Consider that Crowley didn't have a chance to do that-- but he tells Gabriel he knows how Gabriel feels.

Crowley has had the same experiences with his own memories. He's been able to bring some back at different times, without a lot of context, but a lot remains blocked. Crowley saying that he's been able to retrieve some memories means that those memories are still there in his mind, just very painful and difficult to access.

The idea might be that their memory loss is actually trauma-blocking. If Crowley's situation has the same effect as Gabriel's, it suggests that Heaven can't actually take people's memories-- they can only block them.

This would then be suggesting, as a lot in S2 did, that Gabriel didn't develop retrograde amnesia from taking his memories out-- he developed amnesia from the trauma he underwent.

When he felt safe enough to confront some of that trauma, the memories started to come back to him a bit.

What does this have to do with Aziraphale's briefcase, you ask?

It is connected because Gabriel's memory loss being from the trauma of Heaven trying to kill him, not from putting his memories into The Fly, proves that an angel could take his out their memories and not get amnesia from doing so.

Gabriel's story is showing that they could take out their memories whenever they want and still retain those memories also in their minds and be perfectly fine.

It's showing that Aziraphale could have backed up his memories in S2 without experiencing memory loss-- and the press hat and the briefcase are tied to just how he might have done that.

Aziraphale might have taken one look at Gabriel and his memory situation and the archangels circling the shop and thought that it would be a good idea to backup his memories and store them somewhere safe for if this all went pear-shaped.

What's interesting is that then, in a parallel shot to Aziraphale arriving in Edinburgh, we have this later scene when Aziraphale returns to London... note what's missing:

We see him park by the suit shop-- but no suitcase/briefcase this time. No hat. He's also taken off the raincoat. We never see them again for the rest of the season but we see a whole bunch of scenes that hint at where they are and why Aziraphale has left them in that location.

In this moment, we spend a strange amount of time on watching Aziraphale get out of the car and look around, hands-free, pat The Bentley, go for a little walk for a moment...

He talks to Nina, he goes back to the bookshop and greets Crowley and gets an armful of plants. The Bentley is largely the focus of the scene with Nina as well and its moving up in a scene that involves Nina and her bicycle-- another "mad 'American' woman on a bicycle", in parallel to Anathema in S1-- recalls Aziraphale miracling a bike rack onto the boot of The Bentley to transport Anathema's bike back to Jasmine Cottage. The key to getting Anathema and her bike safely home to her cottage was the bike rack Aziraphale made happen; the key to getting him and Crowley safely to the South Downs Cottage might be what Aziraphale stashed in the trunk of the car on his trip.

Here's where we can see that scenes before and around this involving Shax and Crowley show us pretty emphatically where the briefcase and the press hat are not located in the car...

They can't be on the passenger seat as they were on the way to Edinburgh because Shax wouldn't have been able to sit there when she got into the car on the drive back from Edinburgh. They also can't be in the backseat because the scene adjacent to Aziraphale's return to London is he and Crowley loading the plants back into the backseat. Crowley would have handed him his things if they were back there.

So, we have all of these shots of Aziraphale's return that are, among other things, emphasizing that the hat, the raincoat, and the briefcase are all not things he's taking out of The Bentley's trunk upon his return, even if they are his belongings and he brought them with him from the bookshop. He's intentionally leaving them all in the Crowley's car.

Aziraphale definitely did not leave his memories in a briefcase in The Resurrectionist Pub, even though that's the last place we saw the briefcase. How do we know that?

Because let's say that we're right here and Aziraphale did put his memories into the briefcase... either into something else that he then locked into the briefcase or just into the briefcase itself. What's the one problem with this?

He locked them in there for safekeeping, right? So...

He can't just leave the briefcase for Crowley-- he also needs to leave the key to the briefcase, yes? He needs to leave the combination somewhere... but he also has to hide that combination key. The briefcase wouldn't be very safe if just anyone could figure out how to open it, right? It needs to be something only Crowley can understand.

This is why Aziraphale is not a private detective in Edinburgh but a journalist because the key is in the hat.

How does one open the locked briefcase?

Press 66. 😉

The briefcase and the hat go together because the briefcase cannot be opened without the press credentials in the hat which, in very Good Omens and Crowley & Aziraphale form, look like they're one thing but are really another when you consider alternate meanings of words. Aziraphale knows that only Crowley would see Aziraphale's hat atop that briefcase and the 'Press 66' and work out that it's how to open the briefcase.

It would also be very Good Omens to nod to famous film Macguffins and then make them actually important in Good Omens' story. While a "what's in the briefcase?" thing here is very Pulp Fiction, the film that inspired the briefcase in Pulp Fiction is 1955's atomic noir Kiss Me Deadly, which is being referenced all over the place in S2.

The scene where Aziraphale picks Shax up from the side of the road is a homage to Kiss Me Deadly's opening scene, Gabriel's memory issues and his "I am in The Fly" note is similar to part of the central mystery of that film, and Kiss Me Deadly is the origin of the popularization of the word vavoom/va-va-voom.

Like basically every other film referenced in Good Omens, it's also known for innovative use when it comes to language-- particularly, coded cinematic language, in this case. Like North by Northwest, which is referenced in both parts of 1941 so far, Kiss Me Deadly found innovative ways to get around the Hays Code to tell its story. References to The Maltese Falcon in the story are also likely in relation to that story using etymology-based language to queer code aspects of its story, in a similar way to Good Omens, but also that The Maltese Falcon itself is a bit of a MacGuffin. In Good Omens, though, it seems like they're actually winking at those by making Macguffin-alluding things actually important parts of the story.

Anyway, the biggest fan theory about what's in the briefcase in Pulp Fiction is based around the combination to the briefcase being 666 in the film and the idea is that it's Marcellus Wallace's soul, which he sold to the devil. Famously, the audience never sees what's inside the briefcase. We might be saying here that the combination to Aziraphale's briefcase being 66 may be nodding to Pulp Fiction's briefcase a bit and hinting at the Satan in The Final 15 ideas. 66 is also tied to Route 66 and rock 'n roll in America, Buddy Holly, and the paralleling Gabriel & Beez flashback, maybe especially hinting at memory-related things happening with the briefcase.

I won't spoil you on what's in the briefcase in Kiss Me Deadly but let's just say that it goes along with Good Omens pretty well thematically... in a much, much darker way. The film being very bleak noir makes it very different in tone from Good Omens but the fact that the briefcase is actually is relevant to the story in the end of that film might also hint that Aziraphale's disappeared briefcase might wind up being important in The Finale, too.

Adding to this theory is also that another briefcase in The Bentley's trunk/boot was also something shown earlier in S2-- on a very significant night in Crowley & Aziraphale's history:

When Aziraphale is in Edinburgh, we see him intentionally hamming up his newspaper man persona and, in doing so, he takes the briefcase into The Resurrectionist Pub, right? Bit of foreshadowing there as to what will happen to Aziraphale and what will need to happen to bring him back?

Yes, we don't see the briefcase again after this scene but I doubt he left it in the pub because it would be useless to Crowley without the hat, on which Aziraphale has hidden the briefcase combination hidden in plain sight. Aziraphale was seen wearing the hat in one scene set after we last saw the briefcase, proving that both of them and the raincoat are in the trunk of The Bentley:

Aziraphale wore this whole get up to Edinburgh so that, if anyone was watching him, they'd think he was Muriel-like cosplaying a newspaper man. I mean... we know the trench coat is a little Columbo-esque, but why wouldn't he just be a private detective and not a journalist, if the goal was just to play a role to help solve the Gabriel mystery? Because he had to be a old movie-esque journalist so he could have the word press there in the credentials, only for its other meaning for the briefcase combination.

Aziraphale definitely had a whole other list of motivations for being the one to go to Edinburgh. He wanted Crowley to rest in the shop and to talk to Gabriel, he wanted to be the one to go tackle the mystery, and he wanted to work on his 1827 issues by going to the graveyard again... but we might find we can add to that list that he also realized it would be a good opportunity to hide his memories in a briefcase in The Bentley with actions that are right there, in plain sight of anyone who is watching-- including us 😉-- but might not be deemed suspicious.

Parallel-wise, the briefcase and The Bentley are the matchbox and the moving box and PRESS 66 is Aziraphale's equivalent to I AM IN THE FLY... all before Aziraphale and Crowley actually figured out what Gabriel and Beez did to protect Gabriel.

He's pressing on the press hat he's leaving for Mr. Six Shots of Espresso... 😂 The press card is in his hat, like a feather... Crowley's "it'd be a real feather in your cap wing" joke from the foreshadowing "I'll be damned"/"It's not so bad when you get used to it" scene in 1.01...

That demon doesn't know it yet but he's driving around with Aziraphale in the trunk because Aziraphale figured out how to get around the worst case scenario. He knew he was on a collision course with falling and he found a way to potentially dodge the memory loss by stashing his memories for Crowley in The Bentley.

His enthusiasm in Edinburgh is him barely able to contain his amusement at getting one over on anyone watching him who think they know what they're seeing but don't realize what he's actually up to.

No wonder why he was walking on air when he got back to London-- it was mission accomplished. He'd managed to leave Crowley the ability to bring him back, tucked away in the safest spot possible.

The bookseller who, like the others, is a metaphorical book/paper, left their out for Heaven and Hell trying to kill him for Crowley's safekeeping in a briefcase... the thing people use for...

...paperwork. 😂

But wait... there's one other big question, though, yes?

Why didn't Aziraphale tell Crowley this?

There absolutely was enough time and opportunity to tell Crowley he'd backed up his memories and left them in The Bentley's trunk.

The fact that this didn't come up seems wild, right, because they both know that Crowley has been having a steady anxiety attack about Heaven and Hell circling all week. We would think that, if Aziraphale had figured out this plan to circumvent that threat, the first thing he would have done would be to tell Crowley about it, yes?

Except... while I wrote this meta from the perspective of what the end result of Aziraphale's actions with the briefcase might be in The Finale, I don't actually think that was Aziraphale's own motivation for doing what he did.

Aziraphale didn't take out his memories and leave them in the briefcase in The Bentley for Crowley as a backup plan for them to elude a form of death for Aziraphale.

He left them there for Crowley to find and have after Aziraphale was already gone. Why else would Crowley need the combination on the credentials on the hat, right?

If Aziraphale had intended on his memories in the briefcase being a plan to save himself, he would have told Crowley about it so that Crowley would know. Instead, though, it's something of a suicide note. He left them for Crowley to find and have in the future.

I think The Bentley was even warning of this suicide ideation and showing concern upon the return to London for Aziraphale over what he had put in its trunk. The car is worried. [I love Good Omens-- when else am I going to type a sentence like that? 😂]

Aziraphale first parked it in front of Battye [madness] & Palm [to take]. It's a shop reflective of a lot of that depression and suicide ideation happening in Aziraphale's story and leading to his fall that I looked at in The Devil Takes The Hindmost.

The Bentley then drives itself-- and all Aziraphale's Aziraphaleness in the briefcase-- up a few feet. What is The Bentley then aligning Aziraphale with?

Death.

The car parked itself in front of the Give Me Death half of Give Me Coffee or Give Me Death...

... until Aziraphale told it to go back to where he parked it. Then, The Bentley backed up a few feet to Battye & Palm and all the madness that is the rest of the season. The car was foreshadowing the end, parking itself right along where it would be parked the last time we'd see it in S2.

The trunk is aligned with Give Me Death in The Final 15...

...fulfilling the foreshadowing of the end of S1.

[hotvintagepoll]

Giulietta Masina (La Strada, Fortunella, Nights of Cabiria)—To me, she is the DEFINITION of scrungly little guy, always, but especially in La Strada. She is hilarious, adorable and heartbreaking all in one. She was born in a wet cardboard box all alone. She is the slapstick clown woman of my dreams. She gets called an "ugly artichoke" TWICE in that film (not true, very brutal, but quite funny - she's the wife of the director too, might I add). Her face is so brilliant, no one ever emoted like she did. She is Pierrot Hot, simple as. Gif of the exact moment I fell in love with her upon first seeing this film, if you wanna include it: [link]

Alice Pearce (On the Town)— She is timid she is bold she is thirsty she is awkward she is me she is you she is everything. She is Alice Pearce and she was playing Lucy Schmeeler onstage in the Broadway hit ON THE TOWN, and Gene Kelly saw it and immediately knew two things: (1) he wanted to do a movie version and (B) only if Alice Pearce reprised her original role. And both things happened, hallelujah, so now we can enjoy forever her making an allergy-ridden mess of a blind date with Gene Kelly in the most relatable way possible, and if it doesn't scream SCRUNGLE in fifty-foot neon-lit all caps with a brass band fanfare and a side of fireworks, then I'm the New York subway system. *sneezes and laughs maniacally, somehow breaking a table in the process*

This is round 3 of the contest. All other polls in this bracket can be found here. If you’re confused on what a scrungle is, or any of the rules of the contest, click here.

[additional submitted propaganda + scrungly videos under the cut]

Giulietta:

She's Italian, isn't that enough? No? Fine. She also won two Cannes film awards and is best known for her character in La Strada, in which she played a young woman who fell in love with her captor and witnessed the cruelty of humanity, but still never really lost her child-like spirit.

Masina has a wonderful impish, scrungly quality to her that made her perfect for her iconic Sad Clown type roles. She got tons of comparisons to Chaplin (who despite being handsome, certainly *played* scrungles) and goddamn if they aren’t true. Like yes, she’s obviously beautiful when glammed up, but even in promotional photos, Masina always has this weirdo quality to her. I could see her playing a strange little goblin sidekick to Columbo as he solves a murder in Italy. Even in Nights of Cabiria, where she’s ostensibly playing an object of desire, Masina carries herself with a gait usually reserved for old crones and character actors, (which only makes her yearning for happiness more tragic!).

Alice Pearce:

[all-inmoderation]

not enough ppl know about this fic

take me to the answers (i'm the one who's listening) by annnubis

if your favorite character in JJK is either Yuuji or Geto, you have got to read this fic. This story understands those two characters like no other.

It's a canon-divergence, time-travel fix-it AU, in which Yuji, post-shibuya, is thrown back to gojo and geto's schooldays (post hidden inventory arc).

the prose in this fic is so polished and the characters are all given a level of maturity that i found so refreshinggggg. all the other characters are also just as fleshed out, from satoru, shoko, to even Yaga. Yuji's reactions pertaining to Gojo are especially touching. And the way he sees Geto is so characteristically kind.

some excerpts from the fic to entice you guys to read it:

They surround the crater and naturally Satoru gets closer to it than any of them, though he's right behind him. Suguru knows Satoru noticed it, too—something terribly human-shaped, with a soft filthy face and hunched shoulders and scuffed red sneakers.

The first thing Sukuna ever gave me, he thinks in the direction of his teacher sealed terrifyingly away in the dark, was all this blood on his hands.

Sensei or not. It's Satoru Gojo. It seems every version of him contains the fundamentals that set Yuuji just a little bit at ease.

Toji Fushiguro is dead. Suguru lies awake in his bed, reminding himself of this supposedly comforting fact that instead leaves him feeling hollow and restless, laying flat underneath a thin bed sheet staring up at his ceiling fan.

Sorcerers die all the time.

He is not one of the strongest. Not anymore.

Sukuna Ryomen’s vessel is compelling. The unscarred parts of his face look soft as down, but the scars put a warm feeling in Suguru's stomach.

Also, one of my favorite aspects of the fic is how it describes Yuuji's scent/energy. I know the accepted fanon is that Yuuji smells like peaches, but I've always found the idea of that scent to be a bit too sugarysweet and childish(?) to fit Yuuji.

But this:  Rosewater steam, faint and warm and welcoming, and pooling blood and something herbaceous.

now this is what I'm fucking talking abouttttt. That's how you fucking describe a scent, man! The idea of Yuuji's aura being ~rosewater steam~ is just so much more alluring and tantalizing than peaches, imo. ahhhhhh I'm in loveeee.

[year2000electronics]

do u watch the sonic movies just for agent stone and robotnik

i mean... originally i was going to, yeah! the exact moment the first ever trailer dropped (april 30, 2019) i was already enamored with jim carrey robotnik, and ready to accept that even if sonic's design didn't get changed (which, come on, this is hollywood... usually if an adaptation sucks then it sucks til the bitter end. some of us certainly didnt see the redesign coming), this movie would be my cult classic. flop or no flop. ugly or pretty sonic.

i guess because... i saw a lot of myself in the spin jim was putting on the character! eggman had always been the sonic character that fascinated me the most as i played all the mario & sonic crossover games as a kid, but the particular interpretation of this robotnik- flowing black coats with red trim, someone who grew up as a very lonely kid and so now compensates with leaning into the "lone wolf of evil" aesthetic, someone who has a hard time emoting and feels more like machine than a person so compensates with BIG, LOUD THEATRICS, and a BOMBASTIC TONE OF VOICE! i looked at him and i saw me. i know it sounds a little silly and a lot of jimbotnik's traits come from the fact that that's just jim carrey's style of humour and slapstick but he's just always been kinda special to me even from the beginning.

but yknow, then sonic's design gets fixed! exciting! and february 2020 rolls around, the EXCITEMENT is in the AIR. me i was always going to be fine, nothing about rob needed to be fixed, but now people are actually EXCITED for the movie! YAY!! i head into the movie, and robotnik is everything i could have ever wanted and more. he's silly. he's COOL. he has his own DANCE SCENE. but then i keep getting flashbanged by these SCENES where robotnik keeps getting like, really handsy with his little assistant he has? like he's putting his hands in his mouth and telling him to pin himself against the wall? and then this emotionally-constipated MESS of a man shouts "I LOVE THE WAY YOU MAKE THEM???" WHAT? WHAT? WHAT? WAIT WE'RE JUST MOVING ON? ARE WE GONNA GO BACK? NO?! OKAY!!

so obviously im in love with them. with that aspect of the movie. this improvised relationship where both actors asked themselves the question "wait, if robotnik hates humans, why does he keep this one around?" and that question would stick with me for all these 3 movies. it's just so interesting to think about. not to mention how well stone and robotnik just work together as an onscreen duo

but, y'know, then i started really liking the movie's strange, wacky style of storytelling and jokes- i had never seen a cgi animal movie that took the human characters THIS seriously yknow? and by that i mean characters like tom are goofy ofc but it feels like in movies like smurfs they almost want you to not care about the humans, but here, you have stone going from Figurehead for Robotnik's Parade of Black Suits to Guy Who Genuinely Has An Emotional B-Plot In Sonic 3, because of the love fans showed for the character and for how jim carrey and lee majdoub played off each other. even characters like maddie get more in movie 2 because of how tika sumpter said she wanted her character to do more LIKE... LIKE?!

the humour really gets me too, its so strange in a fun way i love. if i was just watching it for rob and stone i wouldnt be watching the knuckles show. ive grown to ADORE the world of the sonic movies, and the actual superpowered animals are cute too! i like their designs, and yknow, this love i have for the sonic movies HAS inspired me to check out more of the games, the shows, the comics, not only to see more of my beloved robotnik (who, yes, i love EVERY version of now. no version of the eggman can escape my love. he is the perfect man) but also to see the other parts of sonic lore because even if it's not like sonic is my fav of all time... i like the storytelling now!!

but stuff like that- my entire lil rant- i think it's why i try not to get gatekeepy when it comes to fandom. because for every series you were there for in the beginning and have an encyclopedic knowledge of, you will have another one where you're only there for a small part or only have a casual enjoyment of. i like to afford other people that kindness because there come times and places when i will be a casual enjoyer of something, and hopefully people will afford that kindness back to me. because even if i do explore other parts of sonic lore and diligently appreciate all parts of the movie, maybe the fact that i'm so robotnik-&-stone centric is still being too much of a casual for some people. maybe i'm only a fairweather fan. even so- even if people think i'm only watching these movies for rob & stone-

i'm having fun!

[yesimwriting]

I absolutely loveddd your piece about iwtv! I feel like the characterisations of louis and armand were spot on, and as someone whose favourite character is armand, I'd love to see where the dynamic between him and reader is going👀

We all know armand loves a challenge *cough* daniel molloy *cough*. Do you think there's some sort of romance that could be simmering underneath his curiosity about reader?

i appreciate the characterization comment! i worked very hard on their voices!!

okay, i accidentally put so much thought into this in relation to armand's characterization/my interpretation of him, so this response is only thoughts on that. however, this did give me an actual idea for a fic in which armand is incredibly cutesy and manipulative to reader after she goes out without louis, so if you're interested in that pls let me know <33

disclaimer: a lot of this is based on how i see (show) armand, but the wonderful thing about media consumption is that people can see the same source material in different ways and i'm not claiming that my thoughts on armand (even in the context of bestie!reader verse) is the only viable way to see him :))

----

this is such an interesting concept and i've been thinking about it a lot.

it's also so cool that you brought up daniel bc i think one of the most important scenes for armand's characterization in the show is the fight in the 70's where armand is much more hurt by louis calling him "boring" than any mentions of his actual trauma.

to me, armand's such an interesting character bc he's an ancient, 514 yr old vampire whose so incredibly impressive, who doesn't need to make anyone look at him, who doesn't need validation, but he wants it, he'd never admit it, but that desire to be looked at and loved is so there.

i think louis, someone who armand really values, deeming reader as someone 'special' is enough to catch armand's attention (similarly to daniel) .

however, armand is being subjected to louis's love and interest in the reader much more consistently/openly than louis's relationship with daniel, which i feel like would only aggravate any subconscious insecurities on armand's end which would make him want reader's attention even more bc what could possibly make louis's 'special' human good enough to not want him??

this is such a side note, but i think it'd add such an interesting layer of tension if technically armand saw reader first. an 'origin story' i've been thinking about is armand and louis going to an art gallery, and armand seeing reader's painting, and then reader, and impulsively placing an anonymous bid for some crazy amount just for louis and reader to run into each other maybe an hour later and become besties.

okay, back to the main analysis--armand can't express his interest in reader too overtly bc louis would clock it immediately, so he'd be subtly manipulative by letting reader stumble dangerous situations just so he can be the hero, also i think he'd talk to reader about art to try to establish a connection/relationship outside of louis.

also once he's down this path he becomes almost overwhelmingly jealous (even though reader isn't with him in any capacity 🧍‍♀️). but bc he doesn't want to alert louis or shatter the carefully curated version of himself he's crafted for reader, he "punishes" her subtly.

his number one, go to way to hurt the reader for dating/upsetting him at all is to use louis against her. armand would plant the idea of reader falling in love with a human boy, settling down, and forgetting about louis to make louis insecure. this tension would eventually come up in front of reader, and reader would have to reassure louis and probably take a break from dating for a little.

armand would also be a little mean/snarky to reader after she goes out with others (romantically or platonically) in a way that makes him look like a concerned companion. you were out all night with some boy...and louis was left pouting in his coffin until sunset...how dare you leave them him? armand doesn't allow your friendship for you to hurt louis.

in this scenario, you might be wondering what armand's end goal is bc reader is much too loyal to be with louis's companion in any capacity, but i feel like this is something he's stumbled into accidentally and now it's a little too late. oh well, he deserves his matching set.

as this progresses, something armand swears is about simply proving that he can win reader over becomes less and less convenient. by that i mean that instead of getting reader wrapped around his finger, he's wrapped around reader's <33.

also, as a side note, i think if everything finally clicked for louis near the end of the interview, when their relationship is falling apart, he'd briefly be more worried for the reader's life than upset...and then maybe after dubai divorce armand threatens reader to hurt louis and louis is like 🧍‍♀️ she tells you she doesn't like your tone of voice and you change it you know damn well you're not touching a hair on her head unless it's to take her to the salon.

also another side note, i lowkey would love to find an excuse for daniel and reader to interact. it'd be a diva off for sure.

[littjara-mirrorlake]

I think Icubate would work better as a phyrexian mechanic if it used creatures instead of artefacts. Like you put down a Human, put a bunch of counters on it, then pay the cost to flip it and it becomes a phyrexian variant of the original creature with that many +1/+1 counters on it. make it into a mechanical representation of your creatures getting compleated.

Oh, interesting!

In short, my personal gripe with Incubate is that 1) it uses +1/+1 counters, which synergize well with proliferate but mix strangely with New Phyrexia's usual poison and -1/-1 counters, and 2) it encourages utilizing big vanilla creatures while the original design philosophy of New Phyrexia was supposed to be transgressive, winning in ways that bend rules and expectations--hence poison and proliferate.

I don't think that Phyrexians should use +1/+1 counters directly, and ONE skirted this creatively with a creature that essentially has Evolve--the Simic mechanic--but with oil counters instead.

I will concede that I do think Transform was an excellent mechanic choice for Phyrexians (and I used it myself in a custom New Phyrexia return set years ago), though it does fall out of lockstep with the type's counter and proliferate focus. I do like the flavor of creatures transforming into Phyrexianized versions like you said, and this could be accomplished through more than transform cards, such as theft that turns creatures into Phyrexians or gives them infect/toxic.

I think the combination of +1/+1 counters and proliferate is best left to the game's other iconic counter-focused transhumanist faction, the Simic Combine. The overlaps between the Simic and New Phyrexia are very heavy at certain points, and Magic story even acknowledged this with the plot point of many Simic guild members becoming glisteners during March of the Machine.

(Though Zegana was not a glistener--she did not actively desire or seek out compleation, as far as we know--her murder was directly motivated by suspicion about her dabbling with Phyrexian biology. Even in-universe characters caught on to the Simic/Phyrexian similarities quickly.)

I will say that I at least like the design of Brimaz a bit more as he encourages using incubate creatures as sacrifice fodder to fuel proliferation and a potential infect gameplan, which does feel very Phyrexian.

[zarvasace]

Pathfinder Chain 2.0

Masterpost

In which the LU boys are interpreted as having lived their lives and adventures in Golarion, as seen in Pathfinder 2e. Post/Mid-Godsrain. Will include art (mostly for character designs) and fic (specifically Febuwhump 2025.)

For some context in case you are unaware: Pathfinder is similar to Dungeons & Dragons, in which characters have numbers and you roll dice. It is generally played with a group of people each with their own character, but here I'm giving them all the numbers and using them as a basis for fic. It is a high-magic setting built on a foundation of Tolkien-inspired fantasy.

First appearance: Jan 8, 2025

Tag: #pathfinder chain (old designs use this tag, as well)

Previous Pathfinder Chain post, with old art.

This post will update as we go. I don't have all the art done yet but plan to before February. I'm working on formulating some sort of framing device and backstories so I'm able to fill as many Febuwhump prompts with this AU as possible—and perhaps some other ideas, depending on how this goes!

My previous Pathfinder Chain was made attempting to model the existing characters in the game as closely as possible, so we saw a lot of rangers and fighters and really only the one spellcaster (two, if we're counting Shadow.) These new character sheets have a different philosophy in mind, one that attempts to put the characters in the existing Pathfinder world and mesh their stories and gods with the lore. By that logic, there are more spellcasters, and I'm attempting to exaggerate the high-magic kitchen-sink god-bothered fantasy feel with these designs and stories. I'm very happy with them so far!! I'm planning to talk about the designs here, mostly, and reveal story details in fics.

In the update from 1.0 to 2.0, some of my decisions about ancestry and class changed, but plenty stayed the same. I've actually created character sheets this time, however, so I'm very excited to talk at length about those. :) For anyone interested in learning more about my choices, asks are open, and so is 2e.aonprd.com, the free, licensed online database of Pathfinder rules. I’m using Free Archetype and they’re all level 5.

Without further ado, may I happily present my second-version Pathfinder Chain, to be updated as I complete details and show you all the art that I'm working on!—

Four

Hyrule

Legend

Sky

Time - human changeling, feybound, warrior muse bard, chronoskimmer

Twilight (art complete)

Warriors

Wild (art complete)

Wind

All boys have been statted, and the ones marked "(art complete)" are likely to come out sooner, as time and inspiration allows.

[sunnova-art]

Guess who got real into ff14 and forgot about everything else for way too long ^^'

[scatterbrainedbot]

redraw of one of my very first tmnt drawings!!

had meant to do it exactly the one year later mark, but i blinked and suddenly april was may was june -- so ended up being more like a year and 1.5 months lol

May 11th, 2024 vs. April 6th, 2023

its so funny seeing them nest to each other now, but i remember when i finished the first version last year, i was so proud to have finally made a proper 'finished' piece.

like, yall, i struggled for years to every be able to create a piece i would ever call close to 'done'. part of that is me being a very knit-picky kinda person, and wanted to continue to tweak everything all of the time forever, but on top of that i also do work slow af, and before last year i didnt really have access to any digital media. and i love traditional mediums, but im defintiely not practiced enough to be able to get the results i was looking for with any sort of speed. like im genuinely not sure i created a single 'finished' work in my life -- not in school, not in work, not even in the free space of silly fandom doodles.

and then this piece happened!

and i knew even then that it was messy and rough af, but it had a background!! and color!! sure, the linework wasnt polished at all but still, for a silly little fanart? it was defined enough to distinguish the separate characters, and read expressions! there was even a little tiny bit of lighting!! i hate lighting!!

seeing the two versions side by side honestly i kinda have to laugh at how Rough the first version looks now. but you know what. im still so so proud of it. the colors are muddy, theres no shift in value; their clothing designs arent at all defined, leos teeth look weird af and theres lines on caseys face that are definitely from me accidentally dragging my fingers across the tablet when i didnt mean to but like. its there! its finished! i did it!

idk. ive never had a piece ive ever wanted to hang on my own fridge before. :)

[evenmyhivemindisempty]

My controversial opinion about Hob Gadling is that I believe he’s absolutely the sort of guy that “puts things behind him”, and tries to wash his hands clean of the things he feels icky about. This is implied pretty well in the show, with him blithely moving from soldiering and robbery to printing, from slaving to… whatever it was he was doing in the 19th century instead. That being said, this is not at all the same as actively trying to atone, or even making a concerted effort to be a better person, and I really wish fandom could tell the difference!

[moeblob]

They're soulmates in every single universe and I miss them at the most random times.

[tomaturtles]

I thought I was gonna be normal about Evangelion but then I got to Kaworu 

[miraclemioart]

mashing together my two teenage years interests for dopamine

[callsthefaithful]

wip. the visceral urge to give every character the cuntiest eyelashes won out 2day

[platypusisnotonfire]

In one hour I'm gonna be 30.

I never thought I would see 20.

I text my brother, "do you feel young or do you feel old?"

we have orbited the sun the same amount of times. We have gone around the sun so many times apart that I'm not sure who either of us are any more. We have gone around the sun so many times together that I know we are only two halves of one person.

I am 4 years old I am 22 I am 17 I am 1000 years old and Oh so tired I am 6 and oh so scared and I need to know what the other half of us makes of the situation that we are experiencing in two different countries but together.

"I've felt old for years." he responds

Me too.

But also

I don't know if I'll ever be older than 7 and figuring out how to make us toast.