#but it is a really interesting contrast imo

[ardenrosegarden]

Heracles not being able to touch his wife and children after killing them and having his father bury them in his place versus Theseus being instructed to hold his dying son and bury him himself. Lots to think about.

[juaneloriginal]

This is the story of a woman named Mariella

TW: BLOOD AND MISSING ARMS

aaaand a couple doodls

ignorance is bliss

@blackkatdraws

[dumbstupidfandomblog]

I finally got to watch Castlevania: Nocturne season 2 and I'm fucking devastated

[shmreduplication]

i keep trying to reword this in different ways, lemme try bullet points

royal fiction is extremely concerned with who is next in line for the throne. It's on everyone's minds all the time and all the characters assume it's on everyone elses' minds all the time

Hamlet is v interesting because Ham seems to be the only person operating under the normal royal fiction mindset. He went from the king's son and heir to the king's stepson and heir-until-the-king-has-biological-offspring (presumably Gertrude hasn't had menopause yet) which is an extremely dangerous position to be in and nobody is worried for his life

Spare*, the prince henry memoir, is a really good contrast to royal fiction and a total flip from Hamlet. Everyone around Henry is aware of what being the spare in the modern age means and assumes he's as preoccupied with wanting to be the heir as everyone always is in royal fiction. Meanwhile Henry thinks his only job as spare has been the same job as all spares before him, just to stay alive

*i've posted about this book before and there are always notes about how it's ok for him to have been manipulated his whole life and have every mistake leaked to the press because he grew up as a literal prince, fuck off with that shit. Kids should be raised with love and kindness and respect regardless of the family they were born into

[snowstories]

The problem with BOTW is that it's obnoxiously popular in the LOZ fandom to the detriment of other games but also unfortunately it's genuinely really really fun to write fanfic for.

[mihotose]

its interesting, love live is constantly trying to subvert itself. in school idol project honoka wants to save otonokizaka in part because her mother also went there; its family tradition and she wants yukiho to go too. sunshine of course subverts μ's story by near following the same path and yet aqours *fail* to save uranohoshi due to their circumstances. nijigasaki subverts this formula by not needing to save their school thats modern school and not in any danger at all. superstar subverts the formula really oddly imo, with yuigaoka having just *opened* and yet for some reason is also having money problems that might lead to its closure again (idk). i would think that with a newly opened school superstar would go for something brand new: there is no tradition to look back to, liella must forge their own path starting completely from nothing. but instead yuigaoka does actually have a history from before it was yuigaoka, so. now hasunosora has an Abundance of history. its heavily based upon tradition, and the idea of preservation for the future, passing down songs and outfits and making sure the thread from their senpai remains intact for their future kouhai, and consequently the school's emphasis upon tradition leads to clashes with modernity

[yourstormthlaylirahh]

.

[aletheialed]

@ my tgaa mutuals, what do you all think would drive barok van zieks to villainy. like what would break his moral code and sense of justice. what would he be willing to break it for. asking for a friend

[thydungeongal]

Neoclassical Geek Revival is a really weird game. While the name would make one think it's some crusty OSR game that is mostly just remixing old ideas that could not be further from the truth. It's a strange game that is in many ways very old school but is more than a simple heartbreaker (mostly because in contrast to the archetypal heartbreakers this game is clearly written with an awareness of movements and games within the hobby besides just D&D).

First of all, it's a game that is particularly interested in its own weird dice and number tricks. Dice can explode. Sometimes you're specifically looking for the maximum of a given die (for an example: if a character is out of combat for maximum of d6 rounds, marked as ?d6, it means it's checked every round by rolling a d6 and on a 6 they are no longer out). There is a dice chain where dice can "increase" or "decrease" in strength, like a d10 becoming a d12 or a d8 becoming a d6. You can INVERT dice, so a d4 becomes a d12 or a d10 becomes a d6. Besides a normal linear progression, some rules utilize a cumulative progression of 1, 3, 6, 10, 15, etc.

Then you start getting into the specifics and things are once again weird: there are classes but instead of picking one class and sticking to it you basically build your character by allocating pieces into the different classes. Level 1 characters start with three pieces of pie. You COULD allocate all three into Warrior, to make a pretty straightforward fighty type, or you might want to mix it up by adding a single piece of Bard into two pieces of Warrior for something not unlike a warlord, kinda. The number of pieces you allocate to a class also ends up affecting a specific modifier, used in a wide variety of conflicts. Warrior adds to Combat, Rogue affects Stealth, Mystic affects Occult, Bard affects Presence, and any pieces allocated to Fool (basically the class that represents someone who survives adventures based on pure luck instead of skill) affect Faith.

This is where you get one of the things that sets the game apart from most OSR games: many old school games are often based around the idea of singleton mechanics and procedures to cover specific situations. NGR rejects this in favor of a single conflict system that then gets applied to situations besides combat! It is literally what some people think of when they hear mechanics for social interaction, i.e. dealing 1d6 rhetorical damage to an opponent's argument to get them to relent, but applied to multiple different situations.

Interestingly, the game does not have hit points: all damage accrues against stats. In an argument "social damage" (called Influence) accrues against a character's Will, and once it exceeds it the character has lost the argument. But characters have a pool called Luck (which you can increase by allocating pieces to Fool) which can be used 1:1 to mitigate damage of all kinds. The game even has tricks for FORCING opponents to spend Luck, as a means to chip at their defences before targeting them with something that REALLY hurts (like insulting an opponent in a physical conflict).

The game also has no list of spells, instead just giving players the systems for making their own spells. Same with monsters in fact.

And sometimes you just get hit with a rule that makes you think "why has no other game ever done this." Like the rule for giving experience in dungeon crawl focused campaigns where each new room explored after the first is worth 10 cumulative XP. So if characters end up exploring five new rooms they get 100 XP (after the first one, 1+2+3+4 times 10).

Anyway it's a neat game, worth looking at and mining ideas from imo.

[fuckyeahisawthat]

Dune: Prophecy episode 1 thoughts, tried to keep it vague to avoid major spoilers:

Wow there is a lot of exposition. Like a LOT of exposition, especially in the first 10-15 minutes when we're not invested in any of the characters yet. I hope this is a first episode problem.

Ah they went the coward's route and used "Great Machine War" instead of "Butlerian Jihad."

There's an interesting "history is written by the victors" thread there right from the beginning that I hope they pull on some more.

I love how they did the Voice, which appears early in the episode, because both the actor's performance and the sound design of it are slightly different from the films. It really feels/sounds like the character using it is straining to access a new and unfamiliar power, in contrast to the effortless, overwhelming assertion of control it comes across as in the films.

Salusa Secundus looks so green and lush in comparison to how it looks at the time of the films.

I realize this is probably an unfair complaint for something made on a TV budget (even an HBO TV budget), but imo the production design doesn't quite measure up to the films. I think the best work is on the props. The key to the genetic index room, the little slides that Valya and Tula are looking at with students' info on them, the Emperor's projection table--those all look great and have that feeling of "future filtered through the past" that I think is key to the Dune aesthetic. Many of the location exteriors are gorgeous, too. Some of the interior sets are quite striking and others are underwhelming. The costumes are...mid imo; there are some beautiful elements and others that look too identifiably modern. Including Princess Ynez's red gown unfortunately which looks like a department store prom dress. I realize it's a high bar--the films were really really good at making everything look both futuristic and ancient, layered and textured--but you do notice the difference.

So! Many! Women! Pretty racially diverse casting too. But also omg so many characters and I already forget half their names. I'm gonna need Dune: Facebook for the next episode.

Emily Watson and Olivia Williams are already very compelling, even if you don't quite know their characters' full agendas yet. Heckin ready for some Machiavellian women scheming.

Love some of the more fucked up shit that just slides by and the information it gives you about the world. Adult (? idk maybe she's supposed to be in her late teens) woman getting engaged to a 9-year-old. Practicing Truthsaying on prisoners, some of whom have fresh bruises on their faces.

Arrakis is...the same. This one is honestly fucking me up. I know time scales in Dune are absurd and really kind of incomprehensible in comparison to real Earth history but can you imagine your home being passed around various imperialist powers for resource extraction for ten thousand years?? FOUR HUNDRED GENERATIONS. 80 years of Harkonnen rule seems like nothing. We're talking about whole eras of colonial control and resistance here. Like damn. No wonder so many Fremen have come to believe that only a messiah can save them. Imagine being someone like Chani and feeling the legacy of not decades or even centuries but millennia of struggle on your shoulders. It is gonna take me a while to fully absorb this one. Holy fuck.

Travis Fimmel's character has an...ability that we haven't seen in the Dune universe before and I'm super curious to see where they're gonna go with that.

Overall it feels like this episode was mostly setup but there's a lot of potential? Like there are a lot of potential threads that could develop into something cool and twisty and interesting. I'm not sure where any of it is going yet but I'm ready to find out.

[bandtrees]

the thing about curly is that it feels like a copout to describe him as "too nice" but i think that really is the situation with him. i feel when talking about him as a leader there's a lot of talk about the anya and jimmy stuff but i feel not a lot about the parts that show his passiveness causing problems before then.

most notably, that he let daisuke aboard a ship not made for five people, and that he told the others about the layoffs before he was meant to. both very well-intentioned, interpersonally Nice things to do, that were welcome as a friend who cares about the crew, but less so as an authority figure who's supposed to have a spine about those sorts of things.

he's not really thinking about the repercussions for revealing this information, or the impact it'll have on his crew's mental states in the months they have left for their last haul, because in his eyes - and this is something he tells both anya and jimmy - they'll Get Through It Together. curly is someone who reassures the people around him a lot in his dialogue. he cares a lot about people but does, in fact, care too much, and when it comes down to it, he can't do much except care.

an important thing to note with the anya situation (specifically in contrast to the "curly only cared about jimmy" take i see around) is that curly does reassure her, and i think did genuinely believe what he was saying when he told her everything was going to be okay and that they'd figure it out together. it's just that he also told those things to jimmy, and when you're a person as passive as curly, if you don't put your foot down people are going to weasel in and use that as an opening.

curly was a good friend, but not a good leader. there's only so much that reassurances without tangible action can do for someone in the state anya was in. he likely let daisuke board because he felt for and liked him, disregarding the fact it was literally unsafe for him to do so because of the pod situation. he told the crew they were getting laid off because it felt right for him to do so, he acted as a "friend" and not as a "leader".

and this is really cool contrast to jimmy, imo, who has no sense of compassion and is quick to take impulsive, ruthless decisions he expects praise for by sole virtue of being hard. jimmy would rather mouthwash someone's open wounds and force another to commit cannibalism than mercy-kill them - because someone dying under his care means he failed, and he can't have that, and so he will drag out their suffering for as long as humanly possible. he can't actually face the consequences of his actions.

both of them have this mantra of "i can fix it" without actually fixing much of anything - however i think curly differs in that he's a compassionate person who doesn't mind being on the same level as his crew (for better or worse), meanwhile jimmy can never shake the title of "captain" and the inflated sense of importance it gives him and that he projects onto curly. curly cares but doesn't act, jimmy acts but doesn't care.

BUT - i think a really interesting thing here too is how they act in the immediate danger of the crash. jimmy hides with his hands on his head, catatonic, while curly rushes in to try and salvage the ship even when it'll endanger him. jimmy is unable to face the gravity of what he did, while curly - even if he's not a good captain socially - is willing to put himself in danger to fix it. it gives the impression that while curly can't raise a hand against other people, he's willing to go down with his ship and put others before himself.

and putting others before himself is his entire relationship with jimmy, no? curly's dialogue with his crewmates is very reassuring, with a generous "we'll fix it together" attitude (see his patience with daisuke in the foam scene, and how he offers to do jimmy's psych eval when anya doesn't want to (compared to how jimmy would likely handle those situations, as we see when he yells at anya when asked to do tasks for her)) - BUT i would argue it's even moreso apparent with jimmy.

curly's povs, in my mind, offer the views on characters we don't see from jimmy's perspective, as jimmy cherrypicks scenes to paint anya as incompetent, daisuke as stupid and spoiled, swansea as mean and unstable - with curly, we see anya is gossipy and likes to joke around, daisuke is willing to fix problems by himself even if he struggles, et cetera. and with curly, we see, in how he talks to and about jimmy, he's very... concerned for him? and walks on eggshells around him.

^^^ after jimmy has pivoted a conversation curly was having about his life to be about his insecurities, and curly takes the bait and reassures him.

in general, he seems wary of jimmy as someone who will blow up if not reassured.

and he talks to, and about him, like he's taken on this quasi-therapist "responsible" role for him. he has this very... mental health-centered way of talking to jimmy - we'll fix it together, one day at a time, hey i believe in you, etc. which gives me the impression of, and this happens very often, a very trusting and overly-empathetic guy who's been roped into a relationship with someone whose safety and actions have been made his responsibility.

(i obviously don't mean this to woobify curly, or to diminish the game's commentary on rape culture, but rather to express that there's more to curly's behavior around jimmy than "shitty men cover for eachother".)

and i think one of the ultimate tragedies of curly's character is that, in the end, what jimmy projects on him -

-was true. this is how curly thought, before he was forced to come to terms, via experiencing jimmy's abuse of him, witnessing anya's suicide and the others' bodies, that jimmy was a monster who was never going to care about curly the way curly cared about him.

but, because jimmy views curly, now disabled, as a complete blank slate because he physically cannot speak for himself, jimmy continues to project upon him the dynamic that did exist between them - no matter the horrors he puts curly through, because if curly let him get away with it then, he'd let him get away with it now, right?

and when curly didn't put his foot down when it mattered, he now no longer can - and so jimmy's words, as long as he's as unable to speak for himself as he was back then, will be in his mouth forever.

:(

[theriverbeyond]

it is soooooo interesting to compare the way the Fifth and Sixth engage with the necrocav dynamic because like, on first look (and especially compared to Everyone Else) they both seen so devoid of Issues and Problems and Violence. Contrast them with, like, the Third and Eighth houses, which are two of the most explicitly exploitative but also (IMO) the most honest necrocav relationships in the entire series -- they're (literally) exploitative, (literally) consumptive, (literally) violent, built on unquestioning devotion that demands blood. Pal and Cam and Abigail and Magnus seem almost idyllic in comparison, and YET!! their relationships are no less shaped by the Empire's cult of violent and required devotion, they are just less honest about it.

Like, the micro-level dynamic between Abigail and Magnus is as sweet and simple as they come, but there's no extricating their intimate relationship from the setting of violence in which that relationship is trapped in i.e. the cavalier as meat, the cavalier as a battery and the human body as something to be consumed and exploited.

And both Houses KNOW their relationships are built on violence. Both the Fifth (and Palamedes) seem visibly uncomfortable with the power dynamic inherent to the necrocav existance! Abigail and Magnus address this by attempting to perceive their dynamic as a marriage first and necrocav second, but their rejection of the necrocav framework is almost wholly aesthetic. They exist within and directly benefit from the bloody gears of the Empire without complaint, and even Abigail's critiques of the God/Empire seem to be purely academic in nature, more curious intrigue than any kind of genuine dissatisfaction with the status quo. And Magnus is by his own admission not a duelist nor any kind of fighter, but as a cavalier he takes up the sword, follows Abigail to Canaan House, and they both die together in the laboratory.

Compare this to the Sixth house, where instead of rejecting the paradigm at all Pal and Cam seem to have taken the stance of "through the power of love we can make necrocav healthy, actually", but again this is dishonest -- no amount of romanticization of necrocav consumption allows their relationship to actually BE non-exploitative, and the lie of equality haunts them to its natural end point i.e. their ultimate surrender to the Lyctoral process via their mutual death in flame.

And their relationship is especially interesting because of how Cam has thrown herself into the position of "cavalier" with complete abandon, leaving Pal unwilling to truly extricate himself from the role he has been assigned despite his clear discomfort with that level of devotion. See: "I can't bear this, I'm eating your life", "I never had rights to [your soul]" -- but, you know, he didn't HAVE to become the Master Warden, he didn't HAVE to accept Cam's devotion, he didn't HAVE to choose her as his cavalier. He chose to bear this, and he chooses to accept her ceding rights to her soul. I mean he does explode himself to prevent her from throwing herself on a spike to force his ascension but like, that didn't really stick, did it? Pal wants to escape the societal hierarchy he was born into, Cam says "no", and he accepts that answer, again and again and again.

"There was no alternative" / "We had the choice to stop"

[moghedien]

haven't seen the movie yet, but what always got me in the musical version of No One Mourns (by OG Broadway cast to be exact - it's the one I heard the most songs in) is how Glinda's voice goes very high and she seems to sing "no one mourns!" and then "no one!" and it's clear she's having some really intense not so festive emotions unlike the choire, and then you learn the whole story, listen to it again and go "ah; she's mourning and can't show or tell anyone about it and has to play her part"

a theater youtuber I watch sometimes pointed out in his Wicked review that once you've seen Wicked once, its always good to really watch Glinda in No One Mourns the Wicked because whoever is playing her has to make some choices in how they portray her in this moment. Like how good of an actor they think Glinda is, how much she would slip up and show her true feelings versus also not making it too obvious for people who are seeing it for the first time. Its always soooo interesting to see how Glinda is done in this moment, and I specifically looked out for how Ariana did it when I went rewatch the movie and its sooo good imo. Honestly I pretty much immediately stopped thinking of her as Ariana Grande and started just thinking of her as Glinda because of how well she pulled off No One Mourns the Wicked and when she specifically slipped up and let her emotions show

and if we're talking about Glinda's voice, one of the only times we hear her hit those really high notes again (and actually in the obc recording, the highest notes she hits at all) is in Thank Goodness, where the fact that she's lying to the people of Oz and putting on a front is obvious even first time around and kind of the point of the song. Its also the song where she is bluntly saying "this is bad. this isn't what I wanted. I've crossed so many lines without even realizing it and I'm putting on this fake happy face and lying because this is what I've been made into"

and contrast that with, say, For Good, where Glinda is singing the low parts of the song. When we see her at her worst and lying and putting on a fake persona, she's hitting the whistle tones and being very showy, but at her truest and most honest moment where she's getting this one final moment with Elphaba, the only person alive who knows her and loves her and wants her to be Galinda from Shiz and not Glinda the Good, she's singing the low parts of the song.

probably means something

[randomness-is-my-order]

another thing that always struck me about jiang cheng and wei wuxian’s relationship is how little jc actually seems to understand wwx and where he was coming from and this is not just an empathy problem (though that is entirely present, too) but also the lack of effort to truly open up to wei wuxian’s pov and seek it from the source himself.

this is possibly the randomest example i can give but during their chat in the burial mounds, jc comments on the situation with the food and whether crops would even grow in the burial mounds and whether people could even live there and it’s just...even if he’s not sure about wwx spending months in the burial mounds, he KNOWS wwx lived in the streets in his early childhood and nothing gives people the mentality of “survival before all else” than that but jc had either never bothered to learn about wwx’s past before he came to lotus pier in all the years he’d known him or he did know and never bothered to contexualise things so he didn’t have to wonder whether a comfortable lifestyle was truly a valid concern for wwx. here’s the passage if anyone wants to read the exact phrasing:

Jiang Cheng was incredulous. “You’re planting things on a mountain made of corpses? Will anything that grows even be edible?” “Trust me. Anything is edible when you’re hungry enough.” “Do you really plan on settling here for the long-term?” Jiang Cheng asked. “Can people even live in a hellish place like this?” “I lived here for three months before,” Wei Wuxian stated.

now, ik jc’s headspace at the time was focussed on detracting wwx’s resolve to live in the burial mounds but my point is moreso that jc actually did not comprehend who wwx was as a person in the books, ever. he literally never came close. and this isn’t even about the missing information like the golden core transplant or the true circumstances of wwx’s three months disappearance. it’s jiang cheng thinking wwx always wanted to show off, linking his actions to a hero complex, thinking wwx was needlessly arrogant, not understanding why wwx would stick his neck out for the wens. it’s the way jiang cheng rarely, if ever, gave wei wuxian any grace in his reading of his actions–always looking at wei wuxian through a lens that was inherently unfavourable and thereby, never allowed him to truly view wwx for who he is.

in contrast, wei wuxian always understood jiang cheng in a way i don’t think jc knew he did. the way he knew where jc’s cutting words originated from, the way he could read jc’s insecurities, the way he could empathise with his grief and anger, even after everything went to absolute hell between the two. i’m not claiming wei wuxian understood jiang cheng like no other or had some uniquely profound insight into his mindset but there is enough content in the books that makes it clear that wei wuxian saw jiang cheng for the person that he was and gave him more grace (than he deserved, imo) and that this understanding was not at all present in jiang cheng’s perspective of wei wuxian.

which brings me to another observation: jiang cheng may or may not have loved wei wuxian but he sure as hell never respected him. because when you respect someone (and i’d argue there is no real love without respect), you try to get to know the person, try to see their side of things, try to assemble your opinion of them after informing yourself about their life. jiang cheng, for me, never exhibited the interest to go even slightly out of his way and gain a better understanding of wwx. wei wuxian wasn’t someone he wanted to spend that kind of time on – be it because jc had internalised the social hierarchy separating them, had never liked wwx for being better than him in various fields or because he was simply not the kind of person who would be emotionally even a little generous in his relationships. it doesn’t matter.

the point for me is that this give-and-take was never balanced. it was always wei wuxian over-extending his internal resources while jc never realised or refused to. some say their relationship only became worse/toxic after the wen remnants were rescued but the seeds were there since their childhoods. their circumstances exacerbated the issue tenfold, yes, most definitely, but that issue was always present and would blow up their relationship sooner or later, as long as jiang cheng didn’t have substantial growth. jiang cheng continuing to live was worth the sacrifice for wei wuxian (be it from a source of affection, obligation, duty, anything) but staying by wei wuxian’s side after the shift to burial mounds was not worth the trouble for jiang cheng. and yes their personalities have alot to do with their individual decisions in these pressing matters but i’m sure that were it jiang yanli who had taken wei wuxian’s spot, jiang cheng’s actions would be far different but do the switch with jiang cheng, and wei wuxian would still make the same choice. because jiang cheng’s relationship with wei wuxian was undeniably unbalanced to begin with. he never did consider wwx his equal and so, never tried to put in the same effort that wwx did. it’s as simple as that.

[candy-heart-brew]

I've seen some fans theorize that the lyrics to "Bug-a-Bye and Goodnight" tie into Frank's developing relationship with Eddie, potentially foreshadowing a grisly end for a favorite mailman. The lyrics are incredibly emotional and poor Frank sounds like he's fighting back tears during this entire record, making it feel like there's something more going on under the surface. While it's entirely possible that this is meant to foreshadow Frank and Eddie eventually being separated, I think the song's symbolism could be pointing to a different direction...

I touched a bit on this in a different post but to summarize: the attitude that Frank displays during "Bug-a-Bye and Goodnight" is completely at odds to his reaction to Eddie at the party. During BaBaG he's sad but resigned to fate, he knows that hibernation is inevitable but takes a bit of comfort in the knowledge that it's only temporary and that his loneliness will only last through winter. So, he does his best to power through, keep his personal feelings out of it, and assure his little friends that he'll be alright.

By contrast, his reaction to Eddie's behavior at the party is one of panic and confusion. He doesn't understand what's happening to Eddie or why he's suddenly gone unresponsive, he just knows that he isn't acting like himself at all and he can't accept that. He refuses to leave Eddie alone even after being ignored, continuing to push until he gets a response, at which point he immediately realizes something is wrong and tries to push further, only stopping when Eddie leaves. At this point in the story they don't appear to be especially close but Frank's terrified reaction speaks volumes about his true feelings for Eddie. And if this is how he reacts to him being quieter than usual, I can't imagine that he'd be much calmer or more composed in the event of losing Eddie altogether. IMO, he's far more likely to get angry and demand answers rather than wax poetic. So while "Bug-a-Bye and Goodnight" could potentially foreshadow Eddie's fate, Frank's subdued reaction makes me question that interpretation. I do think there's a deeper meaning to BaBaG, that Frank is singing about something other than bugs, just not Eddie. But then who? Well, as we found out in this last update, bugs are not the only creatures in the neighborhood that hibernate...

Think about it for a moment- Julie is going to be gone for months, leaving Frank all alone without his best friend. Who's going to invite him to games now? Who's going to listen to him about his interests and laugh at his jokes? Who's going to bake gelatin monstrosities with him? Julie is practically his other half so to lose her for months on end must be very difficult for him! He knows that she can't help it and he doesn't blame her but that hardly makes it any easier. All he can really do now is just push that sadness down, wish her goodnight, and wait for her to return.

Under this interpretation, certain lyrics in BaBaG take on a different meaning to me. Lines like "I know it's for the best, I can't keep you," or "I'll be the first to tell you, you just can't stay," could imply an oncoming rift between the two of them. The recent updates have implied that Frank and Julie were written to be a couple and were perceived as such in-universe. We don't yet know how the two of them felt about that but we do know that they were very close to the point of doing basically everything together! But now Frank is falling in love with someone else, someone who may very well come to eclipse Julie in terms of importance to him. No matter how much he loves her, no matter how much they might want to stay together, there are some things you just can't fight and this play-relationship they have can't last forever...

But that's just my interpretation!

[reds-skull]

CW FLASHING IN THE VIDEO (3rd from the bottom)

This is it. 3 months in the works, the comic (and video) are finally done.

A little over a year ago, I uploaded the first work in Revenant AU, Ghost's origin comic. I never thought I'd write a whole series for this, but I'm so glad I did. I got a whole new hobby out of it, haha.

I already began working on part 2, but this for me marks the start of it. I'm really excited to get back into this world!

Under the cut there are some comments on the comic I thought some people might be interested in (don't wanna make this post longer than it already is lol). I will upload the frames from the video separately, with comments on it there.

Bottom line is, thank you for letting me just go wild with this :)

Okay, I'm mostly gonna talk about the part where Fate shows Makarov the 141+Farah. Makarov doesn't see the Fate of people as literal images, he often has to interpret odd symbolism in the flashes he gets from the Weave of Fate.

I decided to go for a style I saw in a collection of calling cards in MW3, mainly from this one:

You can really see it in the faces and pitch-black cel shading.

I'll be going in order of appearance, starting with Farah.

Obviously, each of the "flashes" shows the Reaping of each person, Farah being crushed under rubble. Behind her is a helo of green gas, which symbolizes the Russian experimental gas. The motifs around her are more interesting imo - they're taken from the Urzik flag (and yeah apparently it's "Urzik" and not "Urzikstani"... according to the wiki at least). Wings, plants (feels to me like a pomegranate and some sort of crop, but I couldn't find what it is specifically), and a moon, upside down.

I'm skipping ahead a bit, but I've had the idea to make a drawing of Gaz in the Hanged Man pose since I started the AU basically. I tried sketching it once, and it went bad so I gave up lol. But I decided to come back to that here, and add some sort of tarot connection to all of them. I know practically nothing about tarot, googled the meanings of each, they fit well enough, I called it a day lol.

So Farah is the Moon, upside down.

Price is next, showing him taking control of the brain of someone. I didn't use the flag of the UK for the 141 (it'd be kinda boring...), instead I took the Taskforce 141 logo, and broke it down to different elements.

I took the laurels for Price, both framing his illustration and sitting above his head like a crown. I decided he will be the Emperor.

Next up is Gaz, the Hanged Man of course. Gaz gets both the wings and the stars (I changed mine to 4-pointed because... I like them better). Pretty clear why, both symbols relate to the sky. The illustrations kinda follow a rough day cycle, if that makes sense. Farah being night, with the moon. Price with his golden and purple color palette, twilight. Gaz being sunrise, and Ghost and Soap, day. This is why Gaz has a sun behind him.

Ghost was fun because he's the only inhuman one out of the group. I'll let you think what that implies, that even in Fate's Weave, Ghost is an outlier... Ghost gets the skull, and the card "Death". That one was easy, but what I did add is blood flowing down the skulls, like tear tracks...

Soap, the problem child, gave me the most issues as always. For once, it wasn't his fucking face, it was the flames behind him, and overall contrast and readability issues. Soap's illustration is probably packed with the most "hidden" details, though they're obvious if you've read the fic and Konchar's side story. The headless man behind Soap is Konchar himself, holding 4 chains with dog tags on them. The 4 soldiers from Soap's squad, who he killed before Soap was Reaped. Soap's pose is from the moment he came to his senses, after getting shot in the head and destroying a large part of Verdansk. He has 4 swords, pointing at him and downwards, so his card is 4 of Swords, upside down.

Between Soap and Ghost is a circle and a triangle. I'll explain that in the post concerning the video, since that's where I got that from.

If you read all of this, thank you so much! There will be another post for you to read in a moment lol