#alone with you does that make sense?

[blue-bird1967]

Let me crawl inside your veins I'll build a wall, give you a ball and chain Just let me hold you

Like a hostage

[moon-light-bow]

I don't know how to explain it, but I think it's SO interesting that Fiddleford keeps the photo of Emma-May and Tate visible on top of his desk to "keep him grounded" (whatever THAT means...), while he kept the photo of him and Ford at BMU hidden in his desk (which he brought with him to Gravity Falls for ABSOLUTELY NO REASON).

I mean, the text doesn't outright say that it was hidden, but considering that Ford had to RANSACK Fiddleford's notes to even find it after living with him for MONTHS....

[bacchuschucklefuck]

doing chibi is a good design exercise bc it forces u to think on shapes n essential details, essentially thumbnailing ur designs. its also a terrible design exercise bc it ends up looking cute no matter what

[blizardstar]

Me when Ashton Greymoore is denied honorable and meaningful self-sacrifice, and now must face the reality that they MUST keep living after it’s All Over

[andorerso]

rebelcaptain + the hunger games au

When Jyn Erso was eight years old, her mother died and her father left to become a gamemaker for the Hunger Games. Adopted by Saw Gerrera, her mother's friend, she became Jyn Gerrera and was forbidden from ever revealing her true identity to anyone. Ten years later, it's Jyn's last reaping. Saw, the forgotten victor of the 32nd Hunger Games, had rejected every reward the Empire offered him, preferring to live as a recluse at the edge of the forest in District 12, as opposed to the luxury in the Victors' Village. It's been decades since anyone in the district even recalled that Saw was once a victor himself, but he had made sure to teach Jyn all he knew of self-defense and combat training. It's the only thing she has of him left since his passing two years ago. Now, Jyn just wants to get through her last reaping and survive. But when she hears the name of the young girl she trades with sometimes, Jyn doesn't hesitate to volunteer in her place. She has nothing to lose, except her life, and every reason to believe that with Saw's training, she has a chance at winning the games. A chance that 12-year-old Kerri Andor wouldn't have. Things get a little more complicated when Kerri's brother is picked as the other tribute. Jyn is good at surviving, but Cassian, with his quiet cunning and surprising talent with a bow and arrow, could be a threat. Not to mention that Jyn knows he's the sole provider for his young sister and aging mother; a family who needs him. Who may die without him. Nobody is waiting for Jyn back home. When their mentor's plan to make them seem like star-crossed lovers triples the attention and sponsors they receive, Jyn is forced to play along with the scheme and pretend she has feelings for Cassian. Worst of all? She's not sure where pretending ends and where genuine feelings begin. The gamemakers say they can both go home if they're the last two tributes standing, but Jyn knows better than to believe the pretty promises of the Empire. Soon, she'll have to make a choice. Will she do anything to survive? Or will she let Cassian Andor go home to his family - even at the cost of her own life?

[sweetlullabyebye]

Charles' thing is that he wants to feel alive and that's part of the reason why he decided to never move on to the afterlife right? Meanwhile Edwin thinks Charles will move on and that he'll be alone again because 'he isn't good with people'.

But then when the Night Nurse shows up a second time Charles is ready to go wherever -including Hell- as long as Edwin shouldn't have to go back there, meanwhile Edwin refuses that they be split up, and both are okay with being sent together to the Lost and Found Department to be sorted out later as long as they're together-

[nullwork]

human predictability

[loredrinker]

Solas, Isolation and His Greatest Fear

As a spirit of Wisdom, Solas was connection itself - not physical, but connection to ideas, emotions, and existence. Spirits in the Fade are born from shared thought and feeling; they are communal by nature. Wisdom, in particular, does not just possess knowledge - it listens, gathers, synthesizes, and applies understanding to help others and guide action. This is why Mythal calls to him: she needs not just his knowledge, but his capacity for connection, counsel, and guidance.

But for a spirit turned mortal, life outside the Fade can be isolating when not actively choosing it's original purpose. It's why Solas urges Cole to never lose sight of who he is, to choose compassion as an act of will. By consciously reaffirming his nature, Cole stays anchored to his essence, preserving the purity of his spirit against the distortions of the physical world. Solas knows this because he himself failed to do the same. Over time, he drifted from his original essence, allowing pride, fear, and duty to erode his wisdom.

From the moment Solas chose a physical form, he began severing the natural connection that had once defined him, as did all the Evanuris. Over time, he accumulated knowledge, but lost the practice of true wisdom, because he lost the communal engagement that wisdom depends on. Wisdom’s purpose, at its core, is fulfilled in relation to others - and in isolation, it withers.

Over time, Mythal’s influence, the betrayals of the Evanuris, and the violence and trauma of war taught Solas to rely more on control, strategy, and force - not mutual understanding​. He made decisions at every stage that moved him further from his original nature by choosing actions that prioritized victory, security, and ideology over connection. Isolation for Solas is not just loneliness; it is a spiritual dislocation from his very being.

Solas' greatest fear of dying alone is made poignant in this light. It reflects the deepest terror specific to what he once was: a being whose identity depended on connection​. As a spirit of Wisdom, his existence was validated by being in relation to others - understanding, advising, guiding, providing. Isolation, in contrast, is annihilation. Without connection, he loses not just companionship, but the conditions that once made him whole.

His fear of dying alone is the ultimate expression of this spiritual dislocation. To die alone would mean to vanish without witness, without anyone to recognize or carry the truth of who he was. It would be the final confirmation that his existence, once built on connection, ended severed and forgotten - the antithesis of everything he was born from.

No where is this more revealed than in the dialogue with Varric where he describes dwarves as "the severed arm of a once mighty hero, lying in a pool of blood. Undirected." Solas is saying that whatever vitality, whatever purpose the dwarves once had, is gone forever - they do not dream, they have no connection to the Fade, and therefore no participation in the greater flow of memory, spirit, or shared existence.

This metaphor reveals how Solas conceptualizes disconnection: a spiritual death. A severed arm may twitch and move, but it no longer truly lives. It is isolated, amputated from the body that gave it purpose. He does not fear physical death, he commits to the din'anshiral after all, his fear is being the severed bloody arm: existing in fragments, lost from the shared dreaming, without meaning, without recognition or connection​.

For Solas, to die alone, isolated, would be the final confirmation that his existence ended in that severance. It would mean he had failed not just his mission, but the nature of what he once was.

Inquisition: Fragile Restoration

Despite his cynicism and caution, Solas builds relationships during his time in the Inquisition. Dialogue and banter across Inquisition confirm this. Even with an Inquisitor who disapproves of him, Solas’ reactions show he cares - disappointment and sorrow leak through when the Inquisitor betrays principles Solas values. Aside from the Inquisitor, Veilguard confirms that his time with the Inquisition left an imprint. Dialogue with Rook shows that Solas remembers, regrets, and cherishes aspects of that time​. He confesses (through a letter and direct conversations about some companions) that these bonds mattered to him. He was not as detached as he wanted to believe.

Inquisition represents a brief, fragile restoration of Solas’ original self - a being tied to others, building meaning through connection, guidance, and shared struggle. For the first time since the collapse of the ancient world, he steps back into a community, forms bonds, and allows others to matter to him, offering him a glimpse of what it would mean to live whole again, to exist not as a severed limb but as part of something larger, vibrant, and real.

And because he walks away from it - because he sacrifices it in the name of his duty - I think the fear of dying alone only grows sharper for him here on out. Why?

He proves to himself that even when real connection is within reach, he will destroy it for the sake of his mission, reinforcing his internal narrative that he will always be alone - not because the world forces it on him, but because he cannot hold onto connection without crushing it himself. He now knows that even when salvation is offered, even when the bonds are real, he is the one who lets them go. And if he can't choose connection when it stands right in front of him, how can he hope to avoid facing the end alone?

Veilguard and the Consequences of Isolation

Being forcibly bound to the Veil in the non-atonement endings doesn’t just physically isolate Solas - it symbolically completes his severance from who he once was.

When Solas describes the dwarves as the severed arm of a once-great hero, appearing to live but fundamentally lost - the worst/fight endings force him into exactly that state.

In one ending, he still clings to his pride, calling himself a god.

In another, he collapses into bitter self-loathing, calling himself a fool.

Either way, it shows how far he has fallen: whether in arrogance or despair, he has lost the balance, the clarity, and the communal being that Wisdom once represented.

The non-atonement endings aren't just "bad" outcomes for Solas - they are the final realization of his worst nightmare: not death, but survival in a form hollow and broken that he becomes a shadow of the spirit, and man, he once was.

Atonement: Restoring Connection

The significance of the atonement ending in Veilguard cannot be overstated. When Rook reintroduces Morrigan, carrying Mythal’s essence, and the Inquisitor (his vhenan or friend) back into Solas' life at a critical moment, it is not only tactical but a symbolic act.

Rook interrupts the cycle of isolation that Solas has been trapped within for millennia at the perfect time - when he is his most spent, his most exhausted, his most off balance. They do not force Solas into submission through violence or deceit, instead, they bring witnesses - two of the few beings left who understand Solas. It is an act of restoring connection at the precipice of total severance.

It is Rook at their most unpredictable, their most radical - a deliberate act of compassion in a moment where all history pointed toward violence.

Morrigan/Mythal represents the beginning of Solas’s long journey: the spirit who first called him into the physical world, the one who sparked his original departure from his pure, communal self. She is the first bond he formed, his longest and the first to be broken.

The Inquisitor represents the possibility of renewal: a mortal connection that survived knowledge, betrayal, and grief. Whether as a beloved or a friend, they carry Solas’ truth - the full complexity of his mistakes and his heart - without turning away.

Rook represents the force of free will, unpredictability, and change. They are the living proof that fate is not fixed, that even the most rigid paths can be broken open by compassion and choice. In bringing Mythal and the Inquisitor back to him, Rook shows Solas that salvation does not come from control or grand design, but from trusting in the unpredictable, living bonds between people.

In this ending Rook, Morrigan and the Inquisitor give Solas the one thing he could not reclaim on his own: the restoration of his place in the greater whole - purpose. They force him to confront that he is not, and never was, alone.

Solas’ original fear - the spiritual annihilation of being severed, forgotten, fragmented - is at last answered. He is seen and known as he takes his first steps on the path of facing the terrible cost of his decisions and actions.

Choosing atonement - binding himself to the Veil willingly - is not a defeat, nor is it an absolution of his sins. It is the beginning of change, a reclamation and restoration of his original self: the spirit of Wisdom, whose existence was rooted in advising and connecting through communion with others. He still is a prideful man, but in surrendering control and anchoring the Veil with his own life, he begins to untangle pride from purpose.

It is the moment when Solas, for the first time since he sundered the world, chooses connection. And he does not have to face it alone. Whether he walks into the Fade by himself or with his vhenan at his side, the symbolism remains unchanged: Solas knows, at last, that he is not severed. He leaves not as a fragment, but as someone with renewed purpose.

And how beautifully symbolic that the path before him will center on healing an even more painful severance, that after connection was offered to him at his lowest moment, he will now find a way to offer connection back to the Titans and their dreams.

[pronouns-d-ace]

I have viridescent PV x SM stuck in my head after seeing your art and now I have come to ask if you perhaps have any headcanons of them,,,,

I guess this one goes more on the angsty side haha, but what If I said that SMilk can't help but feel guilty every time ViriPV gives him kisses, praises and treats him like if he was the most precious person he's ever seen.

Like, SMilk looooves to get compliments and constant reminders of how great he is, but with Viri PV is different because his adoration is so naive and blind to everything SMilk did to og PV. SMilk haaaateees being so weak with him and indulging in his love because he knows the love potion effect will wear off and Viri PV will finally realize what the beast of deceit is like and leave him for good

[addisong]

And what if I wrote the Circle’s story in a way that mirrored Lucifer’s fall from heaven and the angels he took with him? What if I included the fact that Lucifer and Morgenstern both share the same meaning 'morning star'? What if I wrote Valentine's and every one else's spiral out of control; a figurative fall from heaven? What if I gave the Circle of Raziel the proper portrayal they deserve? Full of all the chaos and heartbreak and emotion damage one would expect? What then?

[madamescarlette]

Idk how to say that I carry around my friends' conversations with me everywhere like an ember glowing in my heart constantly without sounding like a crazy person.

[buwheal]

Hello spamton! It’s fun to see how other people draw you and such, it makes me wonder how you would draw yourself! Self portrait please, if you wanna!

[caeslxys]

Something I think is extremely interesting thematically when it comes to connecting what Downfall and the ideas it tackled to the overarching narrative of campaign three is that the things Downfall made a point to showcase of Aeor—Cassida, Hallis, the visual of an aeormaton proposing to her partner, the specific and intentional decision to shed light on a far from insignificant amount of the population being civilians or refugees—is that it plays in perfect parallel across from what is happening (and, really, has been happening) to the ruidusborn on Exandria in present.

Bear with me for a moment. Aeor is ultimately a city that was collectively punished for the decisions of its leadership. We could (and, judging by the amount of discourse around this particular topic already, probably will) argue about what the Gods’ motivation for all of this was—whether it be that they could not, in the end, bear to kill their siblings or that they were terrified at the prospect of mortality—for me it is a very healthy dose of both—but for this I am much more interested in the latter. They were scared. That, really, is the driving force behind both this arc and their role in c3 as a whole.

Why I point this out is: It is far more interesting to me, especially as we go back to Bells Hells this week, to dissect the Gods and their decisions not purely on sympathetic motivation alone but as beings in the highest seat of power in the highest social class in Exandria.

So, having established that the Gods (in relation to mortals) are more a higher social class than anything we could compare to our real life understanding of divinity and that Aeor was eviscerated largely because of their fear—what is the difference between those innocents in Aeor caught in the trappings of their autocratic government leadership and a divine war on the ground, and those of the ruidusborn being manipulated both by Ludinus and by the very thing that inspired such visceral fear in the Gods to start with. I would argue very little.

I think of Cassida, doing what she genuinely thought was right and good and would save people, her son, and the object of her worship—and how that did not matter enough to any of them to spare her because of the fear they held at the very concept of mortality. I think of Liliana and Imogen, one of which we know begged for the gods to help her or send her a sign for years on years, and how every single one of their largest struggles could have been avoided had the gods loved them, their supposed children, as much as they feared what they could be. I think of how the thing that did save Imogen, in the end, was a woman who herself existed in direct defiance of the gods will. I think of that young boy, sixteen years old, that Laudna exalted on Ruidus.

I think it’s completely fair to judge Aeor’s overall society as deeply corrupt—it was!—but its leadership and police force are not a reflection of every one of its citizens. Similarly, it is fair to judge the Ruby Vanguard as corrupt—it is!—but its multiple heads of leadership and even the god-eater further are not a reflection of every one of its members.

Notably, and what I think the Hells will latch onto, this did not matter to the Gods. It did not matter that Cassida was trying to help. She was still too much of a risk. Will it matter, what Imogen does? Will it matter, if that young boy is in the blast radius when they decide to take no further chances?

I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?

I obviously do not think the Gods should die or be eaten or what have you, and I certainly don’t agree with Ludinus (though I find him much more compelling than just a variation of hubris wizard), but when talking about the Gods in Aeor and in present it isn’t really at all about their motivation or their family. It can’t be. Too many people, including our active protagonists, lives have been effected for it to be as cut and dry as “they’re family”. These are your children. They are your family, too.

[milkoise]

if nishiki had successfully shot kiryu in the forest in 0 what do we think the chances are of nishiki just killing himself right there

[jackattack20writes]

As much as I love the reading of Bleach’s ending as a tragedy, one thing’s always bugged me about it and it’s why Renji has a happy ending. Like out of the core cast (in my eyes this is Ichigo, Rukia, Orihime, Chad, Uryuu, Renji & maybe Byakuya, just cause they’re most consistently prominent in the arcs) he!s the only one that doesn’t have the easy argument that he’s settled or unhappy with the epilogue, like Ichigo & Rukia you can argue their with people that aren’t who they love, Uryuu is a doctor and alone while his friends celebrate, Chad is using his fists for profit, Orihime is still at the bakery and never got to live the dreams she had (also she was probably kicked out of home at post high school because her aunt housing her was dependant on her grades) and Byakuya is tied with Rukia being unhappy.

But Renji is seemingly the happiest he’s ever been, he’s married the woman he’s spent over 80 years crushing on and he has a kid with her. But then it hit me the other day that’s exactly why his ending is one of the worst out of the characters I’ve mentioned. When Renji actually gains some detail as a character we find out he has one major goal in life, surpass Byakuya and save Rukia from the Kuchiki’s (slight paraphrasing). But Renji never manages any of it. He fails to both save Rukia and defeat Byakuya in the Soul Society arc, firstly because he’s too scared to try to go against them and then because he’s too weak (both these goals are also largely dropped here and Renji just kind of floats along as one of Ichigo’s multiple rivals and has no more character growth or change) but Ichigo achieves both of these goals rather easily in comparison. Ichigo unlocks Bankai ridiculously faster than Renji does and then defeats Byakuya and saves Rukia.

Meaning there’s nothing left for Renji to do. Sure he could continue trying to conquer Byakuya, but he never seems to reach his level (especially going by the fact Renji’s still his vice captain in the epilogue.) Byakuya is still the star Renji can’t reach. Same with Rukia, sure he marries her but she’s still Rukia Kuchiki. Hell she’s even a captain now while Renji is still a vice captain, not only is Rukia still as far from him as she was in the soul society arc she’s even further away, he’s just the stray dog barking at the moon he called himself back in the soul society arc. But then just like his goals if you compare it to Ichigo, ichigo does it. Ichigo’s symbolism is the rain is dried by the white moon, the moon is reachable by Ichigo, we’re shown one of Byakuya’s central beliefs of who he is loyalty to Ichigo. But Renji is trapped on earth seperate, never truly reaching the star or the moon.

And with how we’re shown Renji thinks about himself he’d never let himself forget it. Every member of his immediate family other than his daughter is someone he’s separated himself from in his mind and since we never get shown anything to indicate that changes, Occam’s razor suggests it doesn’t. Somthat’s renji’s tragedy in the ending. His entire life is reminding him every goal he ever set he not only failed but someone else achieved. That’s the tragedy of Renji’s ending and really is the final nail in the coffin that no one is truly happy or anything past content in Bleach’s ending.

[duckyfann9871]

I want to be a vampire too: rant

played 2 routes of ikemen vampire so far. I love the game, but both times I have wished that there was an option to join them as a vampire at the end.

I don't understand why becoming a vampire is posed so negatively in the game, but whenever it comes up in the routes it's coded like it's a terrible option that MC doesn't want to do.

Well, au contraire! If I had a chance to become a sexy vampire in a mansion full of other sexy vampires I would take it ... especially if the person I was in love with was also a vampire. If both are vampires doesn't that mean more time you get to be together??

TLDR I want to become a vampire at the end of my romance and I haven't had my way yet,