#at least it's a complete story

[theribbajack]

"Now, the vow will be honoured, and my Lord brother's soul will return."

Radahn stans keep winning, but I personally am in Miyazaki's walls rn

[vaguely-concerned]

sometimes I think of all the on-the-surface warm, well-meaning but deeply ineffectual advice and attention john gives harrow through harrow the ninth (make some soup and get some sleep! get a hobby! don't be so hard on yourself! self care harrow! as long as I need take no actual responsibility in this relationship whatsoever I would have loved to be your dad!) set up against the stark truth that with his other hand he has been staging her attempted horrific murder again and again and again like a living nightmare on the logic that it will 'put her down or fix her'. and then I find that I wish there is a hell. a special hell where twitch streamers turned necromantic death emperors go

[inkskinned]

it is all chaos and entropy. the thing is that the chaos and entropy make it beautiful and lovely.

yes, it's true that nature and the universe are uncaring and unspecific, and that is terrifying. i have lived through some of the unfairness - i got born like this, with my body caving into itself, with this ironic love of dance when i sometimes can't stand up for longer than 15 minutes. i am a poet with hands that are slowly shutting down - i can't hold a pen some days. recently i found a dead bird on our front porch. she had no visible injuries. she had just died, the way things die sometimes.

it is also true that nature and the universe are uncaring and unspecific, and that is wonderful. the sheer happenstance that makes rain turn into a rainbow. the impossible coincidence of finding your best friend. i have made so many mistakes and i have let myself down and i have harmed other people by accident. nature moves anyway. on the worst day of my life she delivers me an orange juice sunset, as if she is saying try again tomorrow.

how vast and unknowing the universe! how small we are! isn't that lovely. the universe has given us flowers and harp strings and the shape of clouds. how massive our lives are in comparison to a grasshopper. the world so bright, still undiscovered. even after 30 years of being on this earth, i learned about a new type of animal today: the dhole.

chance echoing in my life like a harmony between two people talking. do you think you and i, living in different worlds but connected through the internet - do you think we've ever seen the same butterfly? they migrate thousands of miles. it's possible, right?

how beautiful the ways we fill the vastness of space. i love that when large amounts of people are applauding in a room, they all start clapping at the same time. i love that the ocean reminds us of our mother's heartbeat. i love that out of all the colors, chlorophyll chose green. i love the coincidences. i love the places where science says i don't know, but it just happens.

"the universe doesn't care about you!" oh, i know. that's okay. i care about the universe. i will put my big stupid heart out into it and watch the universe feast on it. it is not painful. it is strange - the more love you pour into the unfeeling world, the more it feels the world loves you in return. i know it's confirmation bias. i think i'm okay if my proof of kindness is just my own body and my own spirit.

i buried the bird from our porch deep in the woods. that same day, an old friend reaches out to me and says i miss you. wherever you go, no matter how bad it gets - you try to do good.

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[g1rlr0b1n]

Yet another commission by the super amazing and talented @ookamihanta!!! Go check out their page to see more art!!! Their commissions are still open so go check that out as well!!! I highly recommend them!!! 🦇

Blood of the Covenant (Preview)

Jon’s neck snapped over to where a silhouetted figure perched silently in a tree above. Had it not been for the scattering of birds, their frantic flapping and squawking, he may have never even noticed the presence up above. The figure crouched, hidden within the dark branches, like a predator observing, waiting to strike its prey. Jon felt a chill run down his spine as realization dawned on him. “just- just make it quick.”

Jon closed his eyes tight and waited for something that never came. Gathering his courage, he slowly opened his eyes and frantically scanned the area around the tree. The figure was nowhere to be seen. His body relaxed slightly, but before he could let out a breath of relief, the figure suddenly emerged from the underbrush, clutching a limp rabbit in his hand. Jon's breath caught in his throat at the sudden appearance and he couldn't help but shudder with fear.

“Tt,” he clicked his tongue and Jon immediately registered the sound as annoyance. He wondered if fear in its prey was becoming a nuisance for this particular vampire, it would have been almost laughable, if he wasn’t scared shitless right now.

Aside from the pounding in his chest, Jon watched on in silence as the creature expertly built a fire with dry twigs and leaves. The orange flames danced and flickered, casting eerie shadows on the surrounding trees. As the sun descended below the horizon, the fire became the only source of light, the sky now painted in shades of deep blue. The heat from the flames grew more intense, warming his skin and filling the air with the scent of burning wood. Jon’s eyes followed every move as the vampire gracefully skinned the rabbit, then with precise movements, drained the blood from the small animal. Jon’s throat tightened as the creature was skewered onto a freshly sharpened stick and placed over the embers. The smell of cooking meat filled the air, making Jon's stomach growl in hunger. The vampire seemed to have quite the sick sense of humor, subjecting him to such torture. Jon squeezed his eyes shut, trying to force his mind off of the pain in his gut.

Suddenly, an unfamiliar voice shattered the silence. "Eat," they commanded.

Confused and disoriented, Jon's eyes snapped open as he tried to make sense of the words. "W-what? Why?" His own voice came out weak and shaky.

“You clearly haven't eaten in a few days,” he stated matter-of-factly, his eyes roaming across him. Jon eagerly reached out, accepting the offering, savoring the succulent meat as it filled his empty stomach. When he finished, he crudely wiped his mouth with the cuff of his sleeve. He was still weary of the other but at least if he dies now, it would be with a full belly. The man continued to stare at Jon intently, never taking his gaze away. After a long silence, he spoke again, his voice low and measured, “how long have you been here?”

“Eighteen days,” he croaked out, feeling small and weak under the man's intense scrutiny.

The other only nodded. “Is that your canteen?”

Jon's heart sank as he nodded and replied, unable to hide the desperation in his voice, "It's empty." The sound of his own almost unfamiliar timbre only served as a reminder of how long it had been since he had last spoken to another human being…or anything close to it.

Without another word, the man snatched the canteen from Jon's hands and disappeared quickly into the dense forest. Minutes dragged on like hours, Jon could do nothing but watch as the moon dragged across the sky until it was directly overhead. With no clear sense of time, he began to wonder if he’d been abandoned once again, left alone in this desolate place with nothing but his thoughts for company.

As the last embers of the fire began to fade, Jon's gaze caught a glint of movement in the corner of his eye. He watched as the lithe figure of the man emerged from the shadows with the canteen in hand. With a quick flick of his wrist, he tossed the canteen at Jon, who winced as it thudded against his chest. “Vampires?”

Jon nodded, “yeah, we took them out but I got inj-”. He flinched, realizing suddenly that he was talking to a vampire about taking out his own kind.

The man seemed disinterested in the murder of his kin and instead chose to focus on something else entirely. “We?”

Jon swallowed the lump forming in his throat, “yeah, the guys I'd been traveling with.”

“They left you here?”

“Well-”

“To die?” he interjected.

“I told them too. I was slowing them down.” Jon’s voice came out smaller than he intended it to.

The man carried on, as though uninterested. “Kryptonian?”

“How did you-?” The man's piercing gaze landed on the prominent "S" adorning Jon's chest. Jon shifted uncomfortably, feeling foolish, “oh. Yeah.” The two sat in tense silence once more, until the question that had been gnawing at Jon could no longer be contained, “why haven't you killed me yet?”

For the first time since the man had appeared, he seemed to be taken off guard. He sat in quiet contemplation, his brow furrowed and eyes distant. After what felt like an eternity, he spoke again. “I knew your father. He was a good friend of my father.”

“Was.” Jon felt his heart drop to the pit of his stomach, “so, he’s dead then.”

“I’m sorry,” his eyes flashed with empathy, just briefly, before returning to their stoic state, “but yes. They both are.”

“It's okay,” Jon tried to reassure himself, though his voice trembled slightly. “I think...I think I already knew.” As the words left his mouth, he felt a sense of finality wash over him, confirming what he had been desperately trying to deny. His father hadn’t come looking for him, he had already known it could only mean one thing. Silence consumed the air once more, until Jon finally spoke, “so, you haven’t killed me because my dad used to be friends with your dad?”

“Is that not enough?” he shrugged.

Jon quickly shook his head, “no, I mean, I’ll take it.”

“Tt. So, don’t die on me Jonathan Kent or this will have been a complete waste of my time.”

Surprise flickered across Jon's face, “you know my name?”

The other man scoffed, “of course, I'm the son of Batman.”

“Batman? ... So then, are you ...Tim?”

“I'm insulted.” The man's expression turned from irritation to hurt, “no, I'm Damian. I'm... I'm the last living son of Batman.” A weight seemed to settle upon him as he spoke these words, as if the realization of his own loneliness had suddenly hit him like a ton of bricks.

“I'm sorry. My... my brother is gone too.” Damian allowed the silence to consume the night, he did not ask Jon any more questions and for that, Jon was grateful.

[infiniteentertainment]

So we saw Tammy Thompson sing the national anthem in the first episode of s4...

Which prompted Robin and Steve to give each other looks because they remembered Robin's coming out moment in the bathroom, where they made fun of Tammy's singing...

Vickie overheard them joking, and Robin took the opportunity to talk to her, saying that she "used to think that Tammy sounded good because I had this massive crush—um, we took a massively hard class together. We were in Mrs. Click's class together," reminding the audience of Robin's explanation that, in the class, she wanted Tammy to look at her, while Tammy only looked at Steve.

So episodes later, in the boat out on Lovers Lake, where Robin looked at Nancy looking at Steve? Yeah. This was a direct callback.

And it's interesting that even though Robin's crush was specifically mentioned when talking to Vickie, it's this scene with Nancy that we see what Robin referenced in action.

But the question is: why do any of this?

Even though Robin said Vickie is the girl of her dreams, we saw Vickie for approximately 3 min of s4, and it's within the last 20 min of the final episode that they had their first actual on-screen conversation. Meanwhile, Robin had been glued to Nancy's side all season. The writers are smart, they could've inserted Vickie into the main group at any point, to give her and Robin a chance to bond, and to develop their relationship. It's been done before with other characters. If anything, it seems like the last thing the writers would want is to give clear preferential treatment to Robin's dynamic with a character who's (supposedly) not meant to be a love interest for her (especially in the season where the actual love interest is first introduced, and the audience has been mentally prepped for Robin to have romantic interactions). I'm not saying Robin can't have platonic female friends, I'm just pointing out interesting writing choices, and the usage of show vs tell.

[fatedroses]

Jullus???

[brainworms-all-night-long]

Nine's funny Halloween costume or genuine development due to his inevitable madness brough on by the Void? Well I'll let you decide :D

[eastbluecrewed]

huge fan of the barrel scene (witness me getting sappy beneath the cut)

i had a small but meaningful personal achievement coincide with reaching the barrel scene on my rewatch, and it got me thinking abt the impact one piece has had on me since i started it eight months ago. i love these guys a lot and they've done an absolute number on my psyche so of course i'm gonna tie them into the good things in my life!! sue me!!!!

when i first watched this scene i didn't realize the deep impact this story and these characters were going to have on me and how i view life, but damn they sure did!!! and so i thought it'd be fitting to do a simple little redraw as tribute to that and to myself.

hell yeah one piece time

[gay-jesus-probably]

Seeing as the Gerudo turned on Ganon, he might not have been that much better of a ruler.

First of all, we literally have no idea, because the only ancient Gerudo that we actually get to interact with is Ganondorf himself, and he has nothing to say about his own people. The ancient Gerudo sage doesn't count btw, she doesn't have a name, we never even see her face, and she has literally nothing to say except repeating the exact same dialogue as the sages for the other races. The narrative does not treat the ancient sages as people; they are four completely interchangable weapons that are owned by the royal family.

And secondly, I don't care how Ganon ruled them; the Gerudo only get one man every century, if their king sucks, they've obviously got their own system of government to fall back on. I have no idea what kind of authority the sages had among their own people, but honestly I'd say if the four of them were in charge of their respective people, then they were just puppet rulers appointed by Rauru, given that all four of them happily agreed that to sell their entire race into servitude the second Zelda asked them. Say what you will about Ganondorf, but I fucking know that if he was told the Gerudo people existed for the sole purpose of serving the glory of Hyrule, he'd drop kick Zelda into the fucking sun.

And don't get me started on the implications of the cultural differences we see between the independent Gerudo and the annexed Gerudo. The background Gerudo characters all have their own models, and we can clearly see that the ones siding with Ganon have their own unique looks - for example, the amazing lady with the mohawk that summons the molduga swarm in that one flashback. And men are never mentioned in these flashbacks at all, which implies that the Gerudo genuinely didn't care about settling down. Ganon even speaks derisively about marriage, implying that it's very rare for Gerudo women to make serious romantic commitments with men. It implies that their culture is more along the same line as their portrayal in OOT - they are a closed culture. Men trying to force their way into their areas are arrested, and mocked for being entitled dumbasses. Outsiders are only welcome if they can prove that they respect the Gerudo as people, and aren't just there to try and pick up chicks. It's never outright said, but OOT also makes it pretty clear that the Gerudo women just aren't interested in marrying outsiders - close relationships occur with other Gerudo, Hylian men are only considered useful for making babies.

Meanwhile the Gerudo we see serving Hyrule are all trying to measure up to Hylian beauty standards, and appeal to their men. Their one goal in life is to meet a man and get married. Men are welcome in their lands, and only kept out of the town itself... and even then, there's a small army of guys trying to force their way into the town anyways, which is brushed off as just haha, boys will be boys. No men allowed isn't even about independence, it's just a silly romantic tradition.

Of course this is just a fictional culture in a game world, but it's still really fucking uncomfortable that the 'evil' Gerudo are the ones that have independence, both politically and socially, and display a unique culture that refuses to tolerate disrespect from outsiders. Meanwhile the 'good' Gerudo are the ones that canonically exist to serve a kingdom where 95% of the population is light skinned (even setting aside the unfortunate implications, just saying one race exists to serve a different one is super fucked up), they have classes on how to be more appealing to Hylian's, and their entire social structure is built around finding a Hylian man to marry, making them all inherently dependent on the goodwill of outsiders. Even their biggest value of 'women only' is treated as a joke; men trying to trespass in BOTW are just shoved back out the door, letting them keep trying all day if they want. The crowds of men plotting to force their way in are laughed off as a joke. Nobody cares that there's a guy running laps around their city walls and trying to trick women into being alone with him. I mean for fucks sake, in TOTK we find that the creepy guy trying to lure women away has taken advantage of a massive disaster to get into the town, and he's still there once things return to normal. You can't kick him out, or alert anyone to his presence. And the Gerudo just tolerate Hylians blatantly ignoring their boundaries. For fucks sake, TOTK even reveals that the seven legendary heroines they've been revering the whole time were actually completely useless and unable to achieve anything... because they needed the eighth hero, a Hylian man to teach them basic tactics and do all the heavy lifting.

TOTK does not respect the Gerudo people in the slightest. It doesn't respect anyone who isn't Hylian or Zonai.

...This got a little off track, but the point I'm trying to make is, no, I don't consider the Gerudo turning on Ganon to mean anything. The entire game does not feel like the real story of what happened, it feels like the propaganda version of history meant to make Hyrule look as good as possible. I genuinely cannot believe that we're being told the real story about the Imprisoning War, because none of it feels real, and we don't get to know any details that might have made Hyrule look even slightly imperfect. We're told that Ganondorf is evil because he hates Hyrule, and he hates Hyrule because he's evil. The Gerudo people followed Ganondorf and saw him as a hero of their people, then suddenly he was their worst enemy. Hyrule is a perfect kingdom that has strong, equal alliances with the other races, but also all of the non-Hylian races exist for the sole purpose of serving Hyrule, and their leaders are expected to swear eternal loyalty and submission to the Hylian royal family. King Rauru and Queen Sonia united all of the races in peace and equality, which is why they're sitting on the world's supply of magical nuclear missiles, and every member of the Hylian royal family is allowed to walk around wearing them as cute accessories, but everyone else only gets them at the last second, and they all need to outright swear to only use that power to benefit Rauru and his descendants.

There's just so many fucked up contradictions, and so many hints of something more nuanced going on... but the story refuses to acknowledge any of it, and just keeps aggressively pushing the narrative that Hyrule is the ultimate good and couldn't possibly do anything wrong. I don't even believe that Ganon was a bad king honestly; we never hear why his people stopped following him. We also never even see if the Gerudo people turned on him at all; all we know is the ancient Gerudo sage wanted him dead, and given that she also happily sold her people into slavery, she's not exactly the most trustworthy source of information. All we know is that Ganondorf was a hero to his people, only one of his citizens is ever shown having an issue with him (and her motives are never explained), and then he lost the war and was sealed away, leaving his people open to be conquered by Zelda and annexed into Hyrule. By the time we see any Gerudo actually opposing Ganon (apart from the ancient sage), it's been ten thousand years since the war, and all anyone knows is the Hylian version of the story.

[babyloniastreasure]

something that kind of bothers me about modern feelings toward the epic of gilgamesh is how it's been COMPLETELY watered down to being "gay". Bear with me as I explain.

this is more of an extreme example, but I see this take all the time (not the yaoi part. the gay lover part). it's boiled down to the fact that it's gay over literally anything else in the epic. Gilgamesh's lament to Urshanabi about Enkidu's loss is overshadowed by the fact that Gilgamesh is mourning his gay lover. Gilgamesh is on a journey because he lost his gay lover. Gilgamesh and Enkidu were gay.

Now I understand that with a modern lens, people tend to lock on to how unabashedly Gilgamesh mourns Enkidu, because it's gay and because it's the oldest written epic in human history. People feel deeply connected to the idea that people like them have been around since the dawn of literature. But placing exclusive focus on the nature of the relationship as gay, rather than why the relationship or its loss was important, erases the story the epic is trying to tell.

The Epic of Gilgamesh is a story about love, yes, but it is not a love story. It's about the fear of death, coping with loss, and desperation to stave off the inevitable. It's about the bonds of friendship, about hardship, coming to terms personal change and losing pieces of yourself as you learn and grow. It is about consequences, arrogance, death, second chances, mourning, yearning, loving and LIVING. The Epic of Gilgamesh is about the entire human experience and one man's struggle to accept it. What does it mean to have lived? What does it mean to have loved, and lost? What does it mean to die, and to be remembered? What does it mean to be human?

It is perfectly okay to find appreciation for the Epic because of Gilgamesh and Enkidu's relationship. But also understand that the world's oldest story is not about two gay men who loved each other. It is a story about being alive.

TLDR;

[gingermintpepper]

In light of my recent Asclepius and Apollo musings, I feel like it's the perfect time to post this, actually.

How do you build a human being? 

Bold question. Foolish question. But a question it is all the same. 

The memory of his father’s consternated expression is still bright behind his eyes, that unusually furrowed brow, the tension in his gentle jaw. He didn’t falter in his setting of Asclepius’ broken shin, hands perpetually steady and sure, but he hesitated for a conspicuously long moment as though reluctant to give an answer. In this body, he resembled Orpheus something fierce. The same flaxen curls of his hair, the same delicate eyelashes that stand stark against the dark brown of his skin. Often Asclepius wondered if his elder brother was nothing but a body built to suit their father’s preferences. The subtle wrinkle of skin around their eyes when they smiled was the same, and the steadiness of their hands, the soothing power of their presence. 

And Orpheus did not bleed like Asclepius did. The blood in Asclepius’ veins were as red as any human’s, any mortal’s, but Orpheus seemed not to bleed at all. Even when he’d suffered the same fall down the crumbling cliff as Asclepius had. Even when his skirts had ripped and jagged stone sliced into his shanks. 

Even so, Orpheus was unmistakably alive. His eyes were rich with grief fresher than any blood spilt from the worst of Asclepius’ wounds, his counsel too, was tempered with the wisdom of a life well lived. So even at the apex of his most perfect, inhuman beauty, Asclepius never once doubted that his brother was a human being. Just that he was more divine construct than flesh and blood. Just that their father had built for himself a son that would not break as easily as all the others. 

His father stayed silent for so long that Asclepius assumed it would be one of the million questions that would go unanswered. Then, just when the last of his bandages had been wrapped - 

“A human body is easy to build,” he’d had that faraway look on his face as he spoke, like he was speaking to the horizon. Or a version of Asclepius that was not quite here. Such things happened from time to time. “Any flesh would do. From men, or animals, or even monsters. Any flesh would do.” Their gazes had locked then, and Asclepius would never forget the flecks of gold which swirled in his father’s blue eyes, the weight of divine words rattling at the boundaries of their mortal apparatus, “But the breath of life, a living soul? That is beyond your means as a mortal man. You ought never seek it.” 

(Asclepius would remember these words when he revives a man for the first time at the age of nineteen. He’s surprised to find that his father is wrong for once. Souls are easy to source when they’re already eager to return to their mound of flesh.) 

[starliteonearth]

I feel like a lot of people miss the larger discussion the show is having about superheroes in relationships, specifically with regular people, and reduce things to a ship war of who is better for Mark and who he should end up with, for whatever reasons you don't like Amber or Eve.

But if you've noticed, especially with episode 3, regular people being in relationships with superheroes generally don't go too well, in this world Kirkman has created. Olga with Red Rush, the man at the support group who was with Green Ghost, even Debbie & Nolan to an extent. Those relationships, and the problems they talk about, are foreshadowing, a preview of what's most likely next for Mark & Amber.

There is an equal possibility that they could work through these issues and have good long relationship (like Superman & Lois), they don't have to end badly. But they will end, sooner or later, and that's where Eve eventually comes in. Kirkman puts Mark & Eve (Superman & Wonder Woman for the comparison) together for a reason. There's a specific thematic purpose behind them, particularly pertaining to the question of "What would you have after 500 years?" As the story goes on and the years pass, this theme becomes clearer. It's just at the moment, the time scope of the show feels very now and present but if they intend to adapt the entire story, it will encompass a very long time. And then, well, it's not too hard to put it together.

[froschli96]

Assassin's Creed Revelations be like

[eugene-da-potato]

Thinking about possible fanfic/au idea, where Paper after the end of second season decides to leave Hotel for a while to develop his own self-identity outside of his life with OJ, and OJ, living without Paper for the first time in almost a decade, realises how codependent with him he actually became and how much of his mental state were tied to Paper being by his side. Both of them learn to live without one another and find their own separated support systems and when Paper eventually comes back (because, still, all of his friends live here, duh) we're both self-sufficient but still appreaciate each other's positive traits and now are able to form functioning healthy relationships...

Yeah I think about them a lot

[meirimerens]

the pathologic Kin is largely fictionalized with a created language that takes from multiple sources to be its own, a cosmogony & spirituality that does not correlate to the faiths (mostly Tengrist & Buddhist) practiced by the peoples it takes inspirations from, has customs, mores and roles invented for the purposes of the game, and even just a style of dress that does not resemble any of these peoples', but it is fascinating looking into specifically to me the sigils and see where they come from... watch this:

P2 Layers glyphs take from the mongolian script:

while the in-game words for Blood, Bones and Nerves are mongolian directly, it is interesting to note that their glyphs do not have a phonetic affiliation to the words (ex. the "Yas" layer of Bones having for glyph the equivalent of the letter F, the "Medrel" layer of Nerves having a glyph the equivalent of the letter È,...)

the leatherworks on the Kayura models', with their uses of angles and extending lines, remind me of the Phags Pa Script (used for Tibetan, Mongolian, Chineses, Uyghur language, and others)

some of the sigils also look either in part or fully inspired by Phags Pa script letters...

some look closer to the mongolian or vagindra (buryat) script

looking at the Herb Brides & their concept art, we can see bodypainting that looks like vertical buryat or mongolian script (oh hi (crossed out: Mark) Phags Pa script):

shaped and reshaped...