#also this isn’t hate

[the-witchhunter]

So Lucifer Morningstar, the fourth of the fallen, (retired) ruler of hell, the Devil himself, is a character in DC comics, appearing in the Sandman comics, his own solo run and various other comics

He is absurdly powerful

The thing is, Lucifer still has access to his Divine power, unlike other fallen angels, and is actually more powerful than other angels

What does this mean?

Lucifer was the guy that shaped the matter to create the stars, an ability he still has

Enter one Danny Fenton

“Omg(oh my ghost) I’m a HUGE FAN of your work”

Just Danny fangirling over the literal Devil because of stars and space

[voltaical-art]

im in agony. a little self indulgent but I think wyll deserves to be told he's loved and have a small breakdown about it

[rystiel]

shipping chart thoughts

(billford always happens and they always break up. ford was obsessed when bill was his muse, then bill is obsessed after they’re no longer together and he realizes what he lost) (this dynamic is just canon, really)

(fiddauthor is always present at some point but in one route they end up together after canon events, and in another route fidd moves on) (it’s possible that they had a thing in college but consider it “typical college experimentation” because it’s the 70s and denial is strong. they still go through canon events)

(fiddlestan only happens during the fiddlestan route. otherwise canon events stay the same and they barely actually interact with each other. in the fiddlestan route they work together in the 80s and grow old together)

(billstan isn’t really romantic but it is a one-sided obsession. bill just can’t stop obsessing over the stans… for very different reasons…) (dare i say an unrequited kismesis dynamic?)

(ford and stan are brothers. that’s it. leave them out of the shipping dynamics.)

(fiddlebill isn’t really included here but i feel like the only way this would happen is if bill was possessing ford and wanted to fuck with fidd by using his crush on ford against him) (this one’s basically only possible if it’s fiddauthor-adjacent)

[casually-eat-my-soul]

You’d know what be really fucking funny, okay so stick with me but you all know that general idea that stiles has a spark and his spark works on his belief / willpower yes? Yes? Good

Now imagine the saying of “kissing it better” + plus stiles spark.

It’s starts with his mother — whom stiles claimed was magic, but everyone truly believes that their mother is magic. Stiles doesn’t really take it super seriously until after Scott gets bitten and deaton calls stiles a spark — but that’s besides the point.

Anytime stiles got hurt via bump, bruises and cuts, as any rambunctious child would - his mother would help him dry his tears and clean the wound before “kissing it better”.

So stiles just grows up assuming that kissing a wound will make it heal faster. And for all intents and purposes it does, unbeknownst to him because of his and his mother’s magic. But he doesn’t really think to much about it because he’s 1. Not around a lot of injuries and 2. not going around kissing people to help heal them.

Well until Derek fucking hale drops half dead in front of his jeep from a gunshot.

Derek doesn’t know enough about humans to argue with stiles, but he’s still not a hundred percent sure. Especially after he got kissed by him and it healed a gunshot??? That was poisoned with wolfsbane??? He gets ever more confused after he overhears a mother in the grocery store consoling her child by telling them that mom will “kiss it better”.

Peter calls Derek an idiot but never actually confirms or denies anything. Scott isn’t any help because he grew up around stiles and just acclimated to it over time. Sheriff Stilinski just sips his coffee in silence.

[secretagentsagainstwhatever]

Nine would have never “Rose Tyler I….” he’d of said i love you and he’d of said it with chest

[sweetmapple]

Mostly Hiring manager, but HR manager and PR manager too

[guardianspirits13]

Bouncing off all of the fanfics where the Dead Boys are brought back to life again for a period of time to suggest that their thoughts on it are the opposite of what you’d anticipate based on their perception of the living while they’re ghosts. Charles sorely misses living while a ghost, despite all the awful, awful things he was subjected to. Edwin, despite 70+ years in Hell, is perfectly content as a ghost and finds the living distasteful to a degree.

But, when they get hit by an “aliving” spell, that’s not how it goes down at all.

Edwin has not been in a human body for over a century- and even then only got sixteen years of it- so he forgets how much he was missing as a ghost. Actually being able to feel things- the warmth of human touch, the breeze through his hair, the texture of worn book pages. The smell of petrichor after rain, a warm cup of sweet tea. Even just sleeping and having the ability to give his overactive mind a break. He’s forgotten how many good things there were about being alive.

Charles, as expected, is thrilled to be alive again and his first few days on solid ground are a whirlwind, but his energy is short lived. He frequently sleeps over 12 hours a night, and can’t bring himself to get out from under the covers for another hour longer. His appetite fades quickly, and he finds that foods he’s been craving for 35 years just don’t taste the same. Initially he chalks it up to his mind and body readjusting to human life (despite Edwin having none of the same issues), and continues enjoying what he can. But eventually, it becomes clear that something is very very wrong. His right arm that he shattered at age 14 (and didn’t get properly treated for days) begins to ache again. Sudden touches are no longer a gentle spectral sensation, but an unexpected pressure that he shrinks away from. His body feels heavy, and his energy drains quickly if he has any to begin with.

It turns out that over three decades of repressed physical and emotional trauma took its toll on him, and he had naïvely forgotten-or perhaps willfully omitted- the struggle that was his life when he wasn’t out kissing girls and pretending like his father didn’t exist.

Edwin feels a sense of freedom in being human again, away from all the supernatural trauma he has endured, while for Charles it is more of a burden than he ever recalled it being.

[maddymoreau]

Thinking about how Diavolo’s feelings transcend time and how in the Nightbringer UR+ card Demon Lord’s Castle Tour this conversation happens.

When asked, “Do you wish to see your father?”

Diavolo responds:

“I suppose I do . . .” isn’t the typical reaction to how a child would feel about wanting to see their parent. Especially when said parent has essentially been in a coma for a year.

Along with how Diavolo describe his father.

It makes more sense why when you learn in Lesson 56 how Diavolo was treated by him growing up.

Diavolo can tell when others are lying but is unable to understand his father’s intentions.

Diavolo mentions that he lived a very sheltered life growing up. That from a young age his father never allowed him a chance to talk to anyone outside the castle.

His childhood friend was Mephistopheles. A demon literally RAISED to be his friend. Putting a barrier between the two because Mephistopheles would put Diavolo on a pedestal.

The isolating childhood he experienced riddled with his strict father constantly scolding him.

Despite everything MC is so important to him he wants to see his father again so we can meet.

[visenyaism]

sometimes being coworkers who hate each other is one of the most profound forms of human connection. you know me well you can’t stand my shit and where does that lead us. still stuck in the same room together. still knowing me. we could kill god together.

[myokk]

WHAT IS UP WITH THE HOGWARTS LEGACY FANDOM?????????????

I am so fucking fed up with this fandom & honestly it makes me lose any desire to post anything here anymore.

So many people here look at EVERYTHING as a damn competition and it’s NOT. It should be a place for people to brainrot together, talk about theories, and enjoy seeing what other people draw and write etc. Have I sometimes felt insecure bc I don’t get as many notes as other people?! Yes of course…but I always focus on the connections and the lovely people I’ve met and like talking to bc that’s why I post in the first place. I didn’t spend 4 months posting my fic to 10 kudos and 1 comment with basically no feedback bc I care about popularity😆😆

I’ve never been part of a fandom before this one but honestly everything feels so immature here, especially lately. Is it NORMAL to send hate to people who interpret the characters differently than you?! Or send hate to people who ship something you don’t like???? Is it NORMAL to start a confessions blog that’s for people to vague post about others & give everyone reading it anxiety??? (And NO, it’s not “leveling the playing field” wtf). Is it NORMAL to be so close minded, that you’re always trying to start shit with other people?!!??

It is SO FUCKING EXHAUSTING & honestly I try my hardest to NOT feed into any negativity and I’ve never posted the hate I’ve gotten because quite frankly, it’s ridiculous.

I genuinely love seeing what all of you post and always try to comment when I have the mental energy, because I love having a sense of community and you’re all very talented.

[doctorwhommm]

I hsve an idea. Could u draw rose and ianto as besties

absOLUTELY I CAN

they’re chatting shit (lovingly) about their tall, long-coat-wearing, time-travelling, death-cheating, alien boyfriends who have spikey hair

[biboomerangboi]

The thing I love about Fabian as a character is that he is currently living the life that people write Sad Steve Harrington fics about but we will never get to see the intense angst scenes in those fics because he’s being played by the worlds most committed to the bit comedian so instead of ever unpacking any of that he eats animals organs raw.

[canine-economy]

On Swansea’s (often understated) role in Mouthwashing

I say this as a big swansea fan but I don’t rlly understand why ppl are acting like he’s not also complicit in what happened to Anya? AUs where “Anya tells Swansea” and he jumps to violently defend her don’t make sense to me because canonically she does tell him, as he admits to Jimmy. But swansea represents another way of interacting with the capitalist heteropatriarchy that ALSO harms victims: holistic jadedness and resignation.

Swansea is across the board unkind to the Tulpar crew. We can’t forget that he calls anya a “so-called nurse”

and says this to Jimmy, which (if unintentionally) reiterates Jimmy’s own warped perception of Anya’s usefulness and competence. This allows Jimmy to feel justified in his imagination of the nurse’s inferiority. Swansea’s clear lack of respect for Jimmy does less to hurt Jimmy than his lack of respect for Anya harms Anya, because at the end of the day, Swansea’s attitude is contextualized by the violent culture it exists in and he does nothing to reconcile with that when Jimmy becomes the captain. His resignation can thus be weaponized even by Jimmy, a man who Swansea disrespects but whose power he doesn’t try to meaningfully jeopardize, because his across-the-board disdain punches people already marginalized by the environment twice as hard as it does those with power.

Swansea doesn’t position himself as an ally, he positions himself as willfully uninvolved in everything, an observer to the shitshow ride to hell. Just because he dislikes Jimmy doesn’t mean he aligns with Anya. He makes it clear that he’s not on her side, either. After a life of doing what he felt was expected of him, Swansea on the Tulpar looks out for Swansea and Swansea’s comfort. In trying to situate himself outside of the politics of it all as an older white man, he simply allows them to play out. The toxic culture keeps existing, playing out in the microcosm that is this freighter, and Swansea in all his experience recognizes that shit has hit the fan and elects to coast through it, even explicitly numbing himself to it by breaking his sobriety. It is, of course, hard to force yourself to be sober—to see clearly. But had Swansea forced himself to get involved sooner, he might have set a precedent for Daisuke to recognize Jimmy’s abuse, which could have saved Daisuke’s life as well as created a safe space for Anya. But Swansea’s inaction forces both victims to confront an abuser on their own, unable to reap benefits from his privilege and experience.

Jimmy is clearly intimidated by swansea in a way he is not by Anya, Daisuke, or a post-crash Curly (Swansea, for example, physically manifests as an aggressor in Jimmy’s “responsibility sequences”, and Jimmy ties Swansea up to avoid what he sees as the real possibility of pushback that he doesn’t conceive of Anya being able to do). Swansea has a power he does not act on or with until it is far, far too late. In fact, he acknowledges in his final monologue that he was dissatisfied with the discomfort with opening his eyes and living an exemplary “good man”s life. The best days of his life are ones in which he’s belligerently drunk—days in which he didn’t have to hold himself accountable. He regrets the life he spent performing for higher-ups and we watch him reject it by scorning Captain Jimmy, but he also doesn’t want to be held responsible for helping other people when it’s their turn to endure the expectations and violence from similar (if not the same) higher powers. Tragically, he possesses the hindsight to recognize that how he acted on the Tulpar consequently wasn’t what Daisuke needed out of a role model, leading to Daisuke becoming a victim. His hands-off approach to emotional engagement with his young male intern (another symptom of patriarchal gender norms) may have been to avoid Daisuke turning out miserable and jaded like himself, but it doesn’t actually indicate to an already-confused Daisuke what the dangers of that attitude are. Swansea never admits his own shortcomings in a tangible way which, had they come from a man with experience and prestige like himself, may have shifted that culture that failed Anya. She comes to him with the story not because he has situated himself as any earnest friend, but likely out of desperation on a ship Jimmy now controls.

When we allow “the machine” (Swansea’s own words) to beat us down to the point that we don’t find it productive to challenge unjust power dynamics, we become complicit. I think too many people get hung up on his disdain for Jimmy and Jimmy’s fear of Swansea as a marker of allyship with Anya, but the truth is that Swansea. Is a bad ally. He’s hardly one at all. His long stint in the demanding capitalist environment molded a perfectly complicit result out of him, as it aspires to do, even if Swansea bitterly recognizes that. Jimmy’s overt violence from a position of power is a different and much more brutal approach to abuse enabled by people who have been left too tired and bitter to care that he does it. A man who could’ve intimidated and even threatened Jimmy is too resigned to try until there is literally nobody but himself left to fight for, which is an attitude carefully cultivated among the lower rungs of hierarchies to keep the top safe. Swansea in particular seems very unhappy with the capitalistic, patriarchal expectations laid out for him as a father, husband, and laborer. This becomes particularly resonant when you realize the symbolism of his role as mechanic: a job that can be deeply unpersonal, tasked with keeping the ship (the machine, if you will) itself going while other roles are more focused on managing the humans inside of it (e.g. nurse, captain). His decision to just stop trying and spare himself the grief instead of questioning why those expectations exist and how they would hurt the others onboard only delays him being directly targeted by Jimmy and doesn’t interrupt the latter’s violence.

Not a single man in mouthwashing is innocent in Anya’s victimhood. This is a statement tentatively uninclusive of Daisuke, because I think the game very deliberately positions him outside of manhood through his youth and thus struggling with the concept of “fitting in” to the patriarchy. Curly, Jimmy, and Swansea all represent different failures that ultimately perpetuate Anya’s suffering and force her to defend herself and finally take her life into her own hands. A holistic analysis of rape culture in MW necessarily engages with all three of them. Only not being a friend and ally to rapists and other male abusers isn’t enough, and Swansea proves it.

[hahaweevil]

Guys

GUYS

[lobstermigration]

Nooooooooo don’t turn me into a tamagotchi!!

free to use as icons or whatever!

[w45t3-m3]

I thought rereading my old childhood comic was funny until I got addicted

Now I’ve become like super obsessed with them n I want to create my own blog for them, yay.

Soooooo uhhhh I’ll prob make a separate post explaining this world a bit cus I’ve changed something’s around mainly concerning personalities (I’m doing cuphead n Felix justice) n relationships. Story wise it’s gonna follow the same beats just with a little bit more progression.

I also don’t know whether I want to start the comic from the beginning or continue where it last left off yk. Idk if anyone cares tho