#death’s dichotomy

[bookwormscififan]

Yancy and Murdock from the fic I wrote last night

Blame @iamvegorott for giving me these drawing ideas XD

[lazylittledragon]

hi i'm unw el l

[hotdogmchiggin]

Sbubby Eef Freef

drew some focking guys. Look at them. Look at them. Look at them.

BONUS. I thought it’d be really really funny if they were in the dark.

[alchemicaladarna]

So I just wanted to take a moment to highlight baghera's reaction to the letters today. I say letters not death, because she doesn't even know qBad died, and nobody really knows because even Pomme and Dapper thought he's still alive somewhere ;-;

BUT ANYWAYS, when q!Baghera first read the letter that was addressed to her, you can see how shocked and worried she is. Like there's this panic on her face that's just hard to describe. The letter doesn't give any information on qBad's fate, so all she knows is Dapper and Pomme must be taken care of for some reason.

QBad told her he's dying a week ago, but qBaghera probably thought they had more time to fix it. I mean, how could she have known how much worse it's truly gotten since she barely saw the development of the infection even before they were sent to Purgatory?

So she frantically warps to his house and tries to find any more information. This is the first time we get to see the Halo house after qBad's death. The long hallways are big, empty, and silent. And there's this sense of haunting uneasiness because qBaghera is basically in a ghost town. She is walking around the house, not knowing it's the last place qBad has been before he died at least 100 blocks further away into the flower fields. But she continues her search anyways.

Where is he? What did that idiot do? Did he exile himself? He spoke like an old cat going away before his death.

And then she read the letter qBad wrote for Pomme and Dapper, and the dread sinks in further because of how final it sounds. But it can't be true, right? He's not dead, he just exiled himself far away. There's still a chance to save and find him right? But there was nothing qBaghera could do at the moment, because she barely has the information to piece together a conclusion from everything that's been occuring for the past half of a year.

There's still a chance to save him, she just needs more information from Pomme. You can see how she reassures herself and pushes down the dreaded possibility that he's dead. She can't afford to think about qBad, one of her closest friends, dying/dead because there will be nothing she can do at that point.

If qBaghera assumes the worst, it would mean it was already too late- she just came back from Purgatory, but if qbad really did die, what else can she do but despair?

[puppetmaster13u]

Prompt 165

Danny is rather bemused but honestly with how his life is, this might as well happen. Apparently he has seven more siblings now, and a whole second dysfunctional family. And apparently he, Ellie and Jordan are the babies of the family. So. 

Could Clockwork have mentioned that one of his variants had children before? Maybe, but this gets him out of becoming ghost king at the age of fourteen, which is a baby to the Realms anyway. 

Well, hopefully their new siblings will be fine with them… 

[helbrides]

political thriller where padme and dooku are besties/toxic mentor-mentee/weird grandpa-adopted kid in a leo mcgarry + josh lyman style. padme accepts dooku’s offer in a sudden move because she’s sick of the chancellor and finds anakin fascinating but unnerving. dooku is all like “oh my evil plan is working” but they both slowly realize that they’re fucked once dooku and padme realize the scale of palpatine’s ambitions. dooku as a way for padme to express rebellion against the chancellor and the failing republic by sneaking secrets and helping the CIS. padme as a way for dooku to have a second chance and the hopefulness of the youth. leftist infighting. kotor influences and the understanding of the failures of the jedi in being tied so intimately w the senate. “we will watch your career with great interest.” is this anything???

[zxal]

since when have we been so different?

[snaplight-anxiety]

couple who are both “promise to never put me before the world” types but one is “promise you will choose not to save me” and the other is “promise you’ll kill me”

[benevolent-black-hole]

mitski / julien baker

[bunnieswithknives]

*kills you to death*

[aliusfrater]

sam as a character that breaks the 'us vs them' dichotomy of hunting with the conditions of his monstrosity is not only something that is deeply inherent to the narrative's exploration of the familial dynamics that sam disrupts, both metaphorically (in terms of hunting as a metaphor for the cycle of abuse) and literally but it's also something that is deeply internalised by every character that bears witness to the same conditions of sam's monstrosity that the audience does but most importantly both dean and sam himself.

there are a lot of aspects to the way that dean approaches sam's involvement within his own agency/independence as well as The Family Business that mirror or directly correlate with sam's monstrosity and when it's worth condemnation vs not but by far the most interesting aspect of this to me is the fact that there is an inherent separation between the idea of sam, sammy, that is not monstrous but is capable of becoming so and the sam that is unknowably monstrous and is capable of corrupting/encroaching on/preying on the sammy isn't/is not yet monstrous. like this idea is mostly explored within dean's idea of sam and monstrosity, either separately or together, but there are a few moments within which sam demonstrates a subconscious awareness of this separation, and subjects himself to it as well, and most of them are within 4.21 and explored as the fact that the Sam—corrupted and monstrous—that Sammy—othered regardless—is to be protected from is ultimately someone that sammy cannot escape. it is in him and evil ('them') and giving into it means freedom or an entire 'acceptance' (the usage of his monstrosity—"maybe there's no escape. after all, how can you run from what's inside you?" / "don't let anyone or anything get in your way."—something he's explicitly expressed since 4.04) of himself.

there will always be an 'us vs them'. it is vital to supernatural. and regardless of the fact that sam exists to break the dichotomy, the dynamic of the structure is one that demands you fit into it and ultimately, i think this manifests within the ideas of sam's monstrosity, more than it does around it, while he perpetually struggles to fit into his role under 'us' so much so that his struggle becomes a vital part of his role. it becomes a non-role that's present in examples of the dynamics of his and dean's relationship as well as the patriarchal structure that i've talked about previously

[bookwormscififan]

I’m working on the final fics of this year

I wanna acknowledge the ships I started really writing this year by exploring how they’ll celebrate the new year’s fireworks

And there’s a picture to go with each fic

So prepare for 6 fics coming tomorrow

[allyourfearsarecomingtrue]

in our anxiety to combat the tiktokification of autism, some of us have gone too far and are lovaasposting

[feelingtheaster99]

Imagine being completely indifferent, and dare I say, pleased that a unicorn you summoned has speared it’s horn through your daughter’s chest, but seconds later, completely start bawling or the fact that you think you don’t have magic???

[fullmetal-scar-simping]

Regarding the last reblog:

Scar's death in the 2003 Fullmetal Alchemist anime is narratively poignant, characterized to perfection, and builds on the themes that were core to him and the show beautifully.

While watching Brotherhood, all I could think, particularly during the Scar vs Bradley showdown "If this fucking story kills Scar it will be complete unmitigating trash." Because a show that has already royally failed its themes regarding genocide, racism, and imperialism tossing the one named genocide victim six feet under would be narratively bankrupt.

But as we all know, in mangahood Scar lives. Worse, more disastrous writing averted! But the cost is that of recuperating him as an agent of his own people's full colonization. So I circle back to fma 03 and have an even greater appreciation in the way a character death, when written with a respect for the story's themes, who the character was, and what pillars of the overarching story this character holds up, can truly enhance all of these facets of a narrative.

And like I've mused before, there is a meta-narrative formed by the contrast between fma 03 and mangahood. That it is more true to the character, more noble, to die as the radical who frees a people from an invading armada than it is to survive for the express purpose of becoming a cog in that very same machine.

I have never been mad at fma 03 for having my fave die in triumph and reclamation of a lost familial connection. But I have been frustrated at the disrespected version of my fave possibly facing death, and deeply disappointed at his survival being little more than a narrative tool to declare the virtues of a 'cleansed' military in the epilogue.

It's not about whether your fave lives or dies: its about the purpose it all serves to the stories and themes.

[joybivision]

darian backstory: ugh MORE villages infested with deathroot this is getting so tedious 🙄 maybe ill at least get to go to the hold today :)

devin backstory: