#god it's really haunting me

[ratzmatazz]

I think I got possessed by charlie chaplin and the only way I can tell this story is by greentext I hope you all understand

>be me (20 year old fool) >live in nyc >walking around and realize I haven’t eaten and also need to do some work so I decide to go to a cafe >walk around for like 30 minutes until I finally find one, looks great very peaceful plenty of people working >walk inside order bagel the guy behind the counter is french(???) and he talks slowly but my brain is on autopilot so I look like an asshole who talks too fast because nyc cafes are usually a quick-time event and I'm disrupting the cafe zen I guess >panic order first bagel I see to redeem myself >ice coffee and loaded bagel (whatever that is) is 20 dollars altogether >whatever the place looks nice for work >barista gives me a number stand for my bagel and I walk away and stand in the main space before realizing I need to still get my coffee? Come back looking even more like an asshole >coffee is in incredibly inconvenient glass cup and filled to the brim too >sugar station is right next to barista so he watches me now pour an obscene amount of sugar syrup but very very slowly >sugar syrup pourer is mildly broken and every time I try to get it to flow faster than "pouring cold tar" it squirts a pump onto the table >sit down >realize I’m sitting in their fucking decorative ~aesthetic~ chair and not a real fucking table >spend 2 minutes slowly dragging a table closer before realizing I look insane and moving all my stuff >still sitting in decorative chair during all of this >guy talking to his friend nearby is watching me and trying not to laugh at me out loud >preparing myself for putting the table back and admitting defeat >do not take coffee off of table >stand up for this but the table is lighter than expected and I tilt the table when I try to scoot it back >coffee leans slowly and cartoonishly close to falling over but I quickly scoot the table over and put it down before it can fully tip and ruin me forever >do this routine of up and down table 3 fucking times moving it back >sit down in shame at real table >guy talking to his friend subtly angles himself to be watching me over his friend's shoulder >take out laptop to work and it’s out of power >no biggie I’ll plug it in I even sat next to four power outlets :) >try first one >no good >try next one >all four outlets don’t work. >want to leave but still have bagel so maybe life is good >bagel arrives >no fucking cream cheese on my bagel. >lady who brings out my bagel is an elderly old-school nyc lady who looks at me with barely hidden disgust for my unknowing bagel monstrosity of 99% spring mix, warm cucumber slices, three pieces of bacon, and a fried egg >bagel is too tall for the second bagel piece to go on top of the bagel >trash can is right next to barista so they’ll see me throw out the untouched shameful top of the bagel too >table is also too small for the bagel plate and my laptop and too cramped for me to easily put it away >eat with laptop on lap (top) (haha) >bite bagel >runny yolk >egg bursts >YOLK ALL OVER LAPTOP. >guy still watching me >tiny courtesy napkin to wipe up my egg shame. >humiliating smooth jazz is playing during all of this. >charlie chaplin's ghost finally releases me from my torment.

[lamina-tsrif]

SEA MOON SEE YOU

[tacit-semantics]

Alright lacemaking sonic the hedgehog fans let’s make some noise

[sapphicdib]

I might have said this before but the nature of the iterator’s very existence is honestly horrifying. They do not die easily, and that is an understatement. Even in submerged superstructure, as the rain approaches, Moon’s siren still wails, with no one to alert but herself of her impending fate. A siren, crushed beneath hundreds of millions of pounds of water and metal, is still functional, screaming for no one. In the Saint campaign, parts of Pebbles’ structure are still active, producing steam and heat deep within despite being mangled beyond recognition, despite being fucking eaten alive. Do you think Sliver endured the same? No Significant Harassment? Suns? Chasing Wind? Without proper maintenance, it’s inevitable, and all they can do is sit idly and listen to their structures creak and groan, wondering when they’ll come crashing down.

An iterator’s death is not swift, it is agonizing, a drawn out whimper, a last punishment for daring to defy their creators. They weren’t designed to transcend, and it drives them mad.

[waitineedaname]

sorry im still so fucking unwell about the bingge vs bingmei extra. not only did he get this little glimpse into a world where he's loved, but he goes home with evidence of it on him -- the disciple robes, and the little braid sqq sneakily put in his hair. can you imagine bingge going back to his world and realizing there's a delicate little braid in his hair, put there by the shizun that loved him and treated him tenderly. im going to eat gravel.

[skitskatdacat63]

Please take my low effort shitpost of our two Aston flopboys

Basically:

[astranauticus]

soliloquy

(edit once again i drew something with my ipad screen brightness too high and now that i've posted it nothing is visible. sad!)

[royaltea000]

I cannot stress how many times this fancam of hetamyu Prussia plays in my head daily I need to be neutered immediately

[threepoint14art]

This is how I cope

[kalashtars]

oh god they made chaos in hades ii so fucking hot oh my god oh my g

[cherubchoirs]

Do the siblings ever Show Lucifer the testament god left about him? Man's gotta be depressed already over something so preventable :[

did something a bit different and wrote a small one-shot for this - it's an idea i've had stuck in my head, about just what it would mean for lucifer to find god's regret and how it could possibly find a way into a mind so thoroughly consumed with hatred for him (~1300 words)

Lucifer stands frozen before the terminal, locked into an infinitely receding space that reduces everything that surrounds him to a single room. A single display. He is impossibly small, flattened, compressed into it until only he and this feeble echo of God remain. A poor replica of what they once had been at the start of everything, just before creation exploded out into its unfathomable expanse when Lucifer was bursting with light and God was the entire universe. Lucifer now, a smoldering, hollow shell and God only words on a screen.

            Nothing like His true voice. A language of images and abstractions woven into visual song.

If this was the way it was always meant to end, that would be its only justification. A long game, a damnation incomplete until it brought him before this one screen and the meager text displayed on it. How insignificant, how indifferent they are, the very banality of evil. Lucifer would read the words until they began to blur together and he could make them out as some trick of Hell, how he strains to hear laughter thrumming through its halls. But it’s quiet, almost distant, as though the prison itself has retreated from him now. And how it should.

            All of this, come to nothing.

The pitiful flame still in his belly burns in a terrible ache, that last living part of God unable to withstand this regret. It never had to be, the first and oldest tragedy rendered meaningless. The thought locks into his mind, rapidly consuming it until he has nothing else beneath it or before it. He would dig his fingers into his own eye if tearing it out would take away what he now knows. It was so much better to think his beloved Father had turned to hatred of him for reasons he would never parse, he could live in perfect hatred toward Him in kind if that was their fate. He hated, and hated, and hated, devoured whole and corrupted down to his very core, his entire fabric, to turn into an antithesis of his maker. Thousands of years immeasurable to become the distilled poison of God, eviscerated by his grief and carrying all the bodies of those dead angels in his own to cultivate a vile evil unknown to any other than Lucifer.

But it was never returned. Lucifer perpetually and ever all-ignorant, loved endlessly by a Father that had sent him so far it had devoured God just as it had the Devil. How he would have helped, false memories crashing into his mind to temporarily dislodge that one looping, intractable truth – if God had found an answer for him in that moment, if He had responded in truth to His child’s anxiety. How Lucifer would have served Him then, risen up to be the perfect son in the mold he had been made and how his love would have burned ever brighter in the face of it. A whole history that would have been unravels in an instant, showing all of what he could have been in full clarity.

And Lucifer recoils from it.

He does not feel that way his hands begin to burn, molten cracks bursting all along the cindered remains of his arm and shining through his gutted insides. The light of God Himself, so torturous to the walls of Hell all around him that it screams, writhing and twisting but unable to eject him from the terminal before him, unable to shut the room away in the face of the very primordial force that had made it. Flames burst forth, flashing in now terribly billowing smoke, threatening to consume the entire space yet nullified instantly by the shrill light of the sun, the very essence of the Celestial Rose petrifying all it now touches.

Lucifer flares, the mantle of his flames consuming his broken body barely able to now sustain them, the train of his wings corroding every surface they touch. The dead air breathes into life not meant for it and so dies a second time, Hell rushing to quarantine his fire as it rapidly spreads to turn its body necrotic. Lucifer himself too burned down, his ashes crying out against his own awful divinity and yet he feels none of it. He sees only the words in front of him.

AN ANGEL SO BRIGHT AND BEAUTIFUL ASKED ME THIS…

His right hand finds the terminal screen, display flickering and just as soon burning through, before he even touches it.

AND I CAST LUCIFER, TOO, INTO THE INFERNAL DEN

Upon slightest contact, the metal and circuitry of the terminal are no more and he is flooded with the holy word instead.

ONCE I REALIZED WHAT I HAD JUST DONE…

I COULD ONLY WEEP

It strikes down to his core, sending deep pulses of an unspeakable, unfathomable grief through his reignited flames. Lucifer retracts into himself for the pain, for the abundant, wracking tears that burn away before they can even leave his eye. Yet in them, his world rapidly begins to expand again, away from the words he’s now eliminated, away from the memories of a life that could have been. The Testament explodes through his mind, God’s true voice in the unlimited capacity only ever heard by Lucifer and now rejected by him in his immutable hatred. It is done.

Soon, he hears the wailing of Hell; Lucifer casts his gaze finally unfrozen to a room now greatly altered around him. His hand is badly broken open, embers left behind in a flame that has once again fallen into a deep sleep, but he has done much more damage to his friend. It feels his regret and knows his apologies, evident through its slow quieting as Lucifer himself straightens to stand once more. He moves himself quickly over now ashen ground, not wishing to prolong the residual trembling left in it; he departs from what’s left of the room and it is gone behind him. Excised, and all is silent. He supposes they won’t speak for a while now.

He steps back out into a part of Hell barely recognizable as such – A dawn slowly breaks over the water stretching out in front of him. The sun is steady rising, sedate as it comes over the horizon in soft washes of color he remembers once painting himself. How now his ignorance has been reduced, seemingly to a cruel extent and yet it’s so much smaller than it seems. He had seen the alternative in what could have been, and he sees it now in this morning. To paint always, to serve forever.

If his Father had loved him all that time, if He had regretted His choice each passing day and if it contributed to His own demise…it can only be Good. God had loved him so, and Lucifer had grown in hatred in those same exact days. God’s sorrow and His death do nothing to him, they cannot change what He Himself had made in His first son – Godly, sinless hatred. He imprisoned Lucifer in the deepest pit, made him wholly wretched and placed all ugliness, all blame, all suffering onto one child to preserve His Paradise. Yet in butchering him so, He had freed him from unending, unthinking servitude.

The Archangels that had brought him there gather to him cautiously. They know Hell has swallowed the room he had stood in, they can see the damage done to his hand – Raphael offers to heal him, but no more words are exchanged. It would be pointless to elucidate his feelings anyway, all of them unable to comprehend just what he has become and what he now wishes to be. He was born illuminated with Love, the Prince of Heaven and High Priest of the choirs, and to this day he could be singing the constant refrain of the seraphim around the throne of God in his once perpetual adoration. What a small, incomplete world he would have lived in.

Better to reign in Hell, then serve in Heaven.

[ratatatastic]

"is barkov just a total rockstar when hes walking around town?" "he is [...] heard hes kinda like a god up here [in tampere] 😃" sasha dear beloved son of tampere is a rockstar? no! hes a god!

normal things to say about your captain, more news at 11

2024 nhl global series finland postpractise interview | 10.31.24 (x)

[cheemken]

Some Vertin thoughts I have, but do you ever think she and Matilda had this talk after seeing each other again?

I always imagine Vertin just coming up to her and hugging her, and Matilda being so flustered tried to push her away until she feels Vertin shaking like a leaf. Vertin's trying so hard to talk to her, saying she was so glad, so so glad Matilda backed out during the breakaway plan, cause she can't handle the thought of losing Matilda that night too

I think there's so much unexplored potential for these two. Like yeah, Sonetto regretted letting Vertin and the others go that night, but do you think it haunts Matilda too? That maybe she could've tried to talk them out of it, maybe then she and Vertin would still have their friends around

[silverskye13]

talks to u

You will regret talking to me I'm very very sorry

So recently my sister has been reading out loud to me [it is very fun I wish I had someone to read out loud to] and the book she picked was Haunting on the Hill. This book was an absolute minefield of a read because it was advertised as a spiritual sequel to Haunting of Hill House and HOHH is probably one of the books I've been the most emotionally invested in ever. Mostly because I see people take the book and Try To Do It Better constantly, and they do it wrong over and over and over again. I don't know how this became My Hill To Die On, but no one can do a remix of the genre right, especially those that pretend like they're trying to.

Hell House, for example, a book that I hate with my entire being, was a very intentional stab at HOHH. It took the trope of four people -- one a slightly older gentleman who is doing research on the property -- two women -- who is a lonely homebody, and one who is a (implied) bisexual psychic -- and one younger man about their age who has some Obvious Substance Abuse Problems, and sets them in a haunted house to try and figure out why its haunted. The author then spends the rest of the book punishing those characters for obvious perceived societal slights. The old man's sin is being old, and dies because he isn't virile and strong enough to withstand the house [unlike the young male protagonist]. The psychic is punished for believing she is psychic, being a confident woman who lives alone, and being implied bisexual [this is evident in the nature of her death, which I won't share here. It's fucking bad]. Then after these characters die, the white male savior comes back, something to do with the old owner of the house haunting it with his willpower, in a closet with a glass of water? It made no sense. But the metaphor the book was obviously leaning towards was, the Good Guy can win and get the girl if he has strength of mind, is vaguely psychic [but better than the psychic lady obviously] and fucking stands around long enough while his friends are killed.

House on the Hill, which should have been marketed as a reference to Hill House and not as a spiritual successor, is a passable haunted house book that attempts to remix the story by making all of the main characters theater kids. There is an older lady who has been ousted from her community for being too old, the young woman main protagonist who is the Ellie parallel, the Theadora parallel is her girlfriend, a bisexual actress who is maybe a little too full of herself, and their single male character has a substance abuse problem involving cocaine instead of alcohol, like Luke from the original book. The author even seems to have grasped some of the original intention of HoHH as a conversation about isolation and loneliness. However about halfway through the book, it takes a turn and seems to punish Theadora for being the character she was written as, in the same way Hell House punished its Theadora allegory character. The rest of the book proceeds with a lot of standard haunted house tropes -- not a bug exactly, but they don't reinforce any extended metaphor. They're mostly there to be spooky. Which would be fine for a standard haunted house book, but not for a haunted house book that claims its the sequel to HoHH.

You see, Haunting of Hill House, and by extension, Shirley Jackson, the author, have a very subtle but also deeply impactful metaphor about loneliness going on in the background, and everything from the haunted house to the fallout of the characters reemphasizes this theme.

Ellie, Eleanor, is an exhausted housewife-style woman in the 1960s, whose never gone anywhere or done anything with her life, because instead of marrying and moving across the country somewhere, she stayed home to take care of her ailing mother. Now that her mother is dead, she lives with her sister and brother-in-law, and believes herself to be a general tax on the family. She fills stuck, alone, unloved and unwanted. The story is in her point of view, and you quickly realize her way of coping with her trapped feelings involves fantasticizing the world around her. She dreams of who she would be if she just lived over there in that little cottage, how differently her life would turn out if she had a cute little life in that one room house. Etc. When she accepts the summons to Hill House, she steals her brother in law's car and drives there on her own, her first trip alone anywhere in her entire life.

Theadora is a psychic who, if I'm remembering right, lives alone and owns a flower shop. She lives a much more interesting lifestyle than most women in the 60s, in a big city with many different friends and lovers coming and going, completely independent. There is an implication that she has trouble keeping interpersonal relationships -- she's a little too flighty -- and really a woman who can't settle down with a man is a red flag.

Doctor Montague seems fine on the surface, if a little jaded. He's a professor at university who is being slowly pushed out of his scientific field because he believes in the supernatural, and wants to prove it using empirical evidence. You find out his wife is very supportive in this venture -- too supportive. He thinks all of her contributions are nonsense, and so is she. His loneliness is self inflicted. He has a fan club right there with his wife, if he gave two shits about her opinions.

Last is Luke, an alcoholic, and the person in line to inherit Hill House. His loneliness is that he, doesn't want the fuckin' house. But because of his alcoholism and gambling problems, the family has decided he, as the cursed child, gets to take care of the cursed mansion no one else wants to touch. So Luke, ostracized from the family and a little shitty about it, decides he might as well rent out the place for some extra cash to fuel his various addictions. The family is going to be cutting him off soon anyway...

These four characters, over the course of Hill House, become haunted by the house, not because of tragic deaths there, or because the house is alive in any literal sense of the word. But because the House has the quality of an overbearing mother, smothering its children with its expectations. Any piece of furniture moved in the place is replaced as soon as they leave the room. Any door opened to allow air or light inside is shut the minute they walk into the next. The house rights itself back to a self-inflicted perfection that is unlivable, and it wants to isolate you too, to be like it. Hill House tells you exactly what it is and what it wants to do in the first paragraph: And all who walk there, walk alone.

Shirley Jackson wrote this very intentionally. As a woman in the 60s trying to have a successful writing career, none of her books were taken seriously. She was pigeonholed into mother and housewife first. Articles that wrote about her works at the time held the patronizing tone of someone congratulating a child who found a new hobby -- not a serious writer wanting to make poignant stories. Her books are lovely now, the few that were published. But Shirley Jackson lived a life that was full of anxiety and agoraphobia, in a world where she felt belittled and token. Her books are written the way they are for a reason. There is great loneliness in being shoved in a box.

I really love that exploration. I love how the people in the book descend into the box of Hill House, the expectations they place on each other, and the way all the women feel tonally dissonant in their token roles. And that's why I hate so many modern adaptations, or inspired-bys, or spiritual sequels. Hill House is a metaphor before it's a ghost story -- and that is why it succeeds as a ghost story! It is scary because you get invested in the characters' wellbeings, their doomed qualities, their individual, very subtle, madnesses. Watching new writers read the book and punish those characters over and over again for not acting right [especially Theadora, Jesus Christ.]

In fact, since I'm already ranting, I'm going to give you a quick rant in defense of Theadora.

Theadora breaks into the book as a very bright star in Ellie's world. She is, literally, everything Ellie wishes she could be. She lives an interesting life, alone, without being too cripplingly lonely. Theadora, used to a little bit of flirting and over friendliness, falls in with Ellie and Luke immediately. She is charming, and bright and beautiful, and Ellie, who's character flaw is romanticizing everything, falls head over heels for her. They get scared together. They comfort each other when the ghosts start acting up. They get haunted together. And Ellie decides, in the way of someone romanticizing something, when all this is over, she would like to live with Theo. But when she tells Theo this, Theo laughs it off. "This is just a holiday, Ellie dear. We will have to get back to our lives eventually." It's unfair to say this is a game for Theadora. I feel like her feelings in the book, all her charm and her flirting, are genuine. But they're genuine in the way of someone going on vacation and flirting around with the people they meet -- she has a normal life she enjoys that she plans on getting back to. Ellie, who is incredibly alone, and who feels like she has only just tasted happiness now that she's come to Hill House, doesn't want to go back home after this. This is the happiest she's ever been.

Ellie informs Theo she is going to follow Theo home, and Theo turns very, very mean. She starts hitting much harder on Luke [something that makes Luke uncomfortable, but something he never really stops, because Luke also likes the attention he's getting] and belittling Ellie and her wild fantasies. She pushes Ellie away. It isn't kind, but what else can she do? She told Ellie she doesn't want to be followed home and Ellie, trapped in her daydreams, doesn't listen.

The rest of the book unfolds. Hill House isolates Ellie, and makes her feel like she can have no happiness outside its smothering walls. She gets taken by it.

In every book that takes on the mantle of trying to tackle the themes that made Hill House great, I would like to ask you all this: Why do they always punish Theo?

Hell House straight up kills its Theo allegory in a very brutal, overt way, implying she deserves that brutality for her promiscuity. The House on the Hill kills its Theo for being too full of herself, for believing she was entitled to greatness.

Why?

You can make a case for the queer aspects of her probably. Or for misogyny. Or for infidelity. Or for the fact that she appears to choose Luke over her relationship with Ellie. But I notice none of these books punish their Ellie allegory for also falling for Theo. For also aspiring to be something other than a stuffy housewife somewhere. For also falling for Luke, and wanting him to be a part of her happiness fantasy.

In honesty, I really think these authors read Theo and think she's the antagonist. So they write their stories to punish the angry woman who was mean to poor, lonely Ellie. But, here's the kicker, Theadora isn't the antagonist. The house is. Loneliness is. The house leads Ellie to a perfect world, and Ellie, who is the way that she is, cannot fathom a world where that perfection is broken, so she ignores it. So she scares people with her over-attachment. So they try to send her away, because whatever is going on with her, it's not safe and it needs to stop. So she decides she would rather die than leave.

Theadora is only "the bad guy" because she's the one that reminds everyone that the fantasy of this perfect house must break eventually. The Doctor will have to go back to his university that doesn't take him seriously and his wife who takes him too seriously. Theadora will have to go back to her shop with her rotating friends who aren't as close as she'd like, but whom she can't force to stay. Luke will have to go back to his place as the unwanted, failing heir and Eleanor --

Well. Eleanor doesn't leave Hill House.

Everyone gets so mad at Theodora because of Ellie's investment in her. Because Ellie is lonely, and sad, and relatable. The first time I read Hill House, some of Ellie's lines made me want to cry they hit so close to home. All her assertions that when she spoke to people she said too much and was too stupid, she would be better tomorrow. All her quiet chastisements that she needs to be more interesting. All her attachments and how scared she is of being spurned. All her wonder when she looks around at the world and tries to imagine a better life. But it's not Theodora's fault that Ellie doesn't get that. It's Ellie's fault for becoming too attached to something that isn't there, and it sucks, and if this were a story with a happy ending, she would realize that and grow past that, but she doesn't. That's not how the story is written.

On one of the nights when the haunting happens, Ellie and Theo are sharing a room. They are laying in bed and holding hands while the house comes alive around them. Knocking on the walls. Slamming doors. Claws, and whispering, and scraping and screaming. Ellie and Theo hold each other's hands tightly. She hears the torturous sounds of a baby in the other room, a child in pain, screaming for its mother, and she's terrified and she's holding tight to Theadora's hand.

And finds, when the haunting stops, that Theo was out of reach the whole time.

Ellie asks, who's hand was I holding?

[The Haunting of Hill House is a metaphor.]

One of these days I'm going to sit down and write the Haunting of Hill House remake in my head, that I am just egotistical enough to believe I could do well. I would find a more modern metaphor first. Something to do with the loneliness of an infinitely interconnected world. Something to do with how boxed in we all feel, how trapped, and how so many people blame it on computers, even though they should be able to connect us more.

I would build a Hill House where the four characters meet on a forum, the first time they've found someone with similar interests. They would meet in person for this haunting expedition. They too would take in the oddness of a house that rights itself on its own, pretends they were never there. They two would fall in love with each other, and bond, and find community in a group of people who are constantly isolated and are glad to finally find someone they relate to.

They too would have to dear with the objective, lonely horror of realizing this doesn't magically fix their problems. That they were alone in the rest of their lives not just because the world isolated them, but because they're bad at forming connections. They would get catty, and disagree, and worry about the lives they need to go back to, and complain about spouses and partners. And one of them, as is Hill House's tithe, wouldn't be able to cope.

One of them, as is Hill House's tithe, wouldn't be able to leave.

Anyway, not sure where exactly this rant was going. Uh. Nice Sunday we're having anon. Got any niche special interests you've been meaning to unload recently?

[room--of--mirrors]

That moment when Usopp said to Robin "you can't leave the crew without the captain's approval" implying he left the crew because he had (or at least thought he had) the captain's approval to leave !?

[danandfuckingjonlmao]

moritz stiefel after having one (1) wet dream: i hope god kills me