#grimdark influence

[joncronshawauthor]

The Impact of The Prince of Thorns on Fantasy Literature

When Mark Lawrence unleashed “The Prince of Thorns” upon the unsuspecting world, it was like dropping a ravenous wolf into a pen of fluffy sheep. Fantasy literature would never be the same. In a genre often adorned with noble quests and honourable heroes, Lawrence’s grimdark tale stormed in with blood, vengeance, and a protagonist who makes Joffrey Baratheon look like a choirboy. Let’s take a…

[laughterbynight]

Watching people in the tags yell at other fans for getting characters wrong while aggressively citing their own head canons as gospel lul

[psalmsofpsychosis]

So, i finished watching Batman (2022). Long story short, it's wonderful. The cinematography and the atmosphere are simply impeccable, it's got one of the best productions i have seen in blockbuster superhero movies in the last decade. The flow of the movie is perfectly executed and choreographed; it's a truly seamless visual experience, eye candy to the bone, and the story is intriguing and lovely and pleasing to the senses too. It's a reasonably well made movie.

It also does quite remind me of my main point of disdain towards live action Batman depictions post-Batman&Robin, which is, i think fellas take Batman way too seriously.

Listen, the guy walks around with fucking pikachu ears on for fucks sake. I dont think that straight up looney tunes comic relief is the right flavour to put in the live action batmanverse blender, even though it has the potential to be incorporated very well, but. There's a certain quality of offbeat, paculiar weirdness to Batman, a quality of almost playful and offputting bizarre wit, there always has been. He's got a fucking sith pikachu mask on. It's very human, very endearing almost. it's an element of imagination and wonder which is something Bruce Wayne has, even when it's corrupted to only include doom and gloom scenarios.

and the comics successfully translate that subtle wit and uncomfortable quality of all the characters, including Batman, by incorporating acidic colors, borderline hallucination-esque imageries, warped character designs, the whole thing feels like the worst acid trip you've ever had in an alley behind a bar and that's how the tone carries. It's how the worldbuilding and the characters feel congruent and authentic. The colors also give Batman a dynamic personhood by depicting his unceremonious humanity as much as they buff him up. There's a fun and gore-ish, psychopathic sincerity to the comics.

and the movies absolutely take that element out and all you get is the most "just some guy" artless character depictions and Batman himself doesn't feel human. he is written way too seriously for a guy who has pikachu ears and wears his underwear on his pants.

And this is by no means a Batman (2022) problem; it's a persisting trend of live action superhero media progressively stripping their stories of heart and soul because executive fellas have cought the "THIS IS A BIG FUCKING DEAL!!!!! EVERYTHING IS SO SERIOUS HERE!!!!!" disease and think giving superhero narratives their color and humanity back somehow makes them less poignant and significant. There's no sense of dynamism and wit to the batman movies, and the tone and atmosphere of Batman (2022) is fucking gorgeous, it's a singular experience, but it feels so out of place with Batman. It feels like Batman's costume belongs to another movie entirely, something more playful and weird.

[cappymightwrite]

I loved your metas that dive into usage of incest as a theme and plot device harnessed by Martin in order to explain the conflict in human heart in regards to Jonsa.

Haha, thanks! 😅 I just can't ignore that it's obviously obviously a literary motif that GRRM is very invested in exploring.

With regards to Jonsa, it's particularly compelling because of the bittersweet, double-edged sword-ness to it... and really, it taps so much into what William Faulkner (who GRRM takes that guiding quote from, himself a writer very into the incest motif) is going on about in his Nobel Prize speech:

[...] the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat. He must learn them again. He must teach himself that the basest of all things is to be afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed – love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.

^ This is why Jonsa really grabs me as a narrative, not just as a ship. It's (potentially) dealing with all these fundamental things: love and honour and pity and pride and compassion and sacrifice. All these universal truths, the truths of the heart. And Jonsa is heart for me (as part of the Starks, the central family), complicated and conflicted, but still beating, still fighting, still prevailing against the odds. It's their Starkness, despite the incest motif, which will set them apart from other pairings like the Lannister twins and past Targs.

I've actually never read Faulkner's speech in full, until now... but this ending is especially striking and, imo, is why, by the series' end, Jonsa (and the Starks) will ultimately offer more hope than despair:

[...] I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet’s, the writer’s, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet’s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.

I don't know about you, but this immediately brings to mind one of my favourite and one of the most uplifting quotes from asoiaf:

That was when Stark said, 'In this world only winter is certain. We may lose our heads, it's true… but what if we prevail?' – ADWD, Davos I

As Faulker notes, it is "the writer's duty to write about these things," and I believe GRRM does this best through the Starks, and especially through Jon and Sansa, even before we get to a potential romance. But in order to have someone endure and then overcome great adversity, you need some obstacles. That's what the incest motif (amongst other things) will function as for Jonsa, imo — it's the conflict of the heart, before they ultimately prevail.

Thanks for the ask! ❄️

[hiveswap]

You know people like to say that vriska caused every plot development in homestuck in some way but like give terezi some credit she is what lead to davesprite's timeline which also influenced rose to go grimdark eventually and then she made sure the trolls find the beta kids to begin with. Then near the end she instructed john on how to go about the retcon.

[voidedjuice]

had a dream i was in a grimdark magical girl yuri setting, so when i woke up i made it real (and bug themed)

bonus details under the cut:

So basically, a small town was secretly holding onto a box containing an evil god, that the local group of magical girls accidentally stumbled on and opened. The thing inside it wasted no time in starting to destroy the world, and for an unknown reason, one of the magical girls even joined forces with it. The rest of the girls managed to beat them, saving the world, but ended up dying from the curse it left on them soon after.

After dying, butterflies girl looped back in time before the box got opened, and decided to keep the box for herself, to make sure its evil influence (box thing yapping at you to let her out) wouldn't get to her beloved friends. Box thing constantly draws in her allies to the town to break her out & tries to convince butterflies girl to please let her out.

Also here's a really rough relationship chart for your interest:

[bladeweaver-if]

Cut the Heavens.

Link to the demo: here

Orphaned at birth beneath the dim light of a new moon, your fate seems sealed.

In a stroke of luck, you are soon adopted by two Masters of the Bladeweavers' Order - an institution of elite warriors and weaponmasters as ancient as the very cities they are based in. When cataclysm strikes, the Order is left scattered and broken, and you are left aimless, without purpose in a hostile world.

In your search for it, what else will you find?

Bladeweaver is a text-based grimdark fantasy interactive fiction game developed in Twine, focusing on your customizable player character, The Bladeweaver, as they grow up and navigate their way through a crumbling world wreathed in esoteric magic, dark secrets and murky morals, loosely inspired by the late medieval/early Renaissance periods, with a heavy touch of fantasy/steampunk influence.

Grow from child to adult, learn unique skills and master a weapon of Empyrean steel, a unique metal with otherworldly properties. Make friends (or perhaps more?) and enemies along the way as societies rise and fall, as alliances strengthen and collapse, and loyalties are strained to their breaking point.

It won't be easy, but you might just soar. On wings of Empyrean.

Bladeweaver is a mature game with heavy themes and content, including but not limited to violence, strong language, possession, mental issues, drug use, kidnapping and abuse. Due to this, the game is only recommended for those over the age of 18.

Feel free to ask me questions about the game or characters if you want!

Customize your character; their gender, physical appearance and relationships with the cast of characters are yours to change. Even the weapon you wield is yours to choose, with a selection of 6 options available.

Grow from a young child into adulthood in the safety of Sola, a floating city enwreathed in ancient magic. Your skills as a warrior are yours to develop.

Embark on a crushing, dangerous voyage across the fictional continent of Phanol, a land of debts and daggers.

Romance one of four characters, and develop intimate platonic bonds with any or all of them. Alternatively, shrug them off completely.

Discover your true purpose as the past and present merge when cataclysm strikes.

You, variable pronouns - The Bladeweaver

Hours after you were born, your parents were slaughtered and, in a sequence of rare acts of kindness, you land in the care of two Bladeweavers: Callen Edros and Sonia Wierszy. The three of you make for an odd family of warriors, living in Sola, one of the twelve Risen Cities of the Gods. The relative peace you know will not last. Your unsung song may yet be the most famous of them all - or the most feared.

A blood-paved road lies ahead of you; a road you may choose to walk proudly, battling inner and outer demons alike.

Or, perhaps you might struggle, paving your own path in a world that will do its damndest to bestow you with the same fate as your long-forgotten forebears.

Will you lose yourself and the principles your adoptive parents instilled in you throughout your childhood? What else will you lose, or gain, on this road?

Main characters:

Callen Edros, he/him - The Lonely Wolf

Tall, bulky and surprisingly quick-footed, Callen is a Bladeweaver Master of the poleaxe, a lethally versatile weapon.

His presence and weapon of choice are contrasted by his cheery, jovial attitude. He's an excellent teacher, and focuses on mastering discipline and one's fundamentals over all else. He is afforded a good deal of fame in the Order, partly due to his noble background - something he rarely speaks of - and is quite popular, even for a Bladeweaver.

Many who know the man would never have a bad word to say about him, but those close with Callen know there's a deep, enduring sadness behind his laughter.

He is one of your two adoptive parents.

Sonia Wierszy, she/her - The Rising Hawk

Leanly muscled and opting for a brutal combat style, Sonia is a Bladeweaver Master of the falchion, a single-edged blade that favours strong chops over quick cuts or stabs.

Loyal, stubborn, brash, and just arrogant enough for some to find it charming, Sonia will often sneer in the face of propriety despite her conflicting love for the finer things in life borne from a childhood in poverty.

Some would even say that her just being as she is, a woman rising through the ranks of an institution rife with men, is a challenge to the Order. Sonia takes glee in pushing boundaries, in proving herself capable and beyond, and expects a similar ambition from those she knows. As a teacher she is exacting, employing unorthodox methods to help find your special skills as a fighter.

It's not difficult for some to wonder if Sonia's coarse exterior is simply a front, obscuring a deep-seated rage and fear, sparked long ago.

She is one of your two adoptive parents.

???, he/him - The Cargo

He will accompany you on your journey across the land.

Four romantic or platonic options to choose from:

Samuel Alban, he/him - The Boy Next Door

Tall and skinny with curly blonde hair, deep blue eyes and a giddy smile, Sam moves to the same street as you with his father when you're both children, hailing from the disrant but powerful Abrian Empire.

He's endlessly good at making new friends and seems to never lose energy.

Sam comes to struggle with knowing exactly what he wants from life, paired with the difficulty he faces from his own nature. Will you be one of many friends to him, or will you catch his eye in a deeper way?

Caitlin Clary, she/her - The Inventor

Tall, broadly-built and muscular, with ginger hair and wide green eyes, Caitlin is a fellow student at the Bladeweavers' Academy, but she takes a much more keen interest in engineering and gadgets. You meet her in your first year, as she struggles with bullying from other students.

As a girl from the southern nation of Vengard, she is not expected to become a fighter, nor is the practice encouraged among her people. She faces ostracization from her countryfolk, despite having her parents' shared blessing to join the Order.

At odds with what her culture expects from her, and feeling isolated in a strange place with only her elder brother for company, Cait is shy and closed off when she comes to Sola. She might appreciate a source of comfort during this tumultuous time.

Lucas del Varro, he/him - The Prodigy

Lightly muscled and average height, the black-haired, grey eyed third child of the prestigious del Varro family transfers to your academy in your third year. He's instantly popular, but seems to shrug off any and all affection, although he's not actively hostile to it.

As a fighter the young man moves like water, all flowing moves and poised grace. He favours counter-attacking, turning an opponent's assault on them in a split-second to win decisively. He is a marvel to watch, and a terror to face in a duel.

Lucas seems to be singularly focused on bettering his own skills under the weight of his father's scrutiny, and only accepts your presence if you prove to be a sufficient challenge to him. Will you step up to the call, or even exceed his expectations?

Talia Maren, she/her - The Bastard

Curvy and considered a great beauty yet sharp beyond her years, tales of Talia's venom and scheming follow her when she arrives in the city. She is the legitimised bastard daughter and heir apparent of Lord Darion Maren, a political titan of the nation of Telfrin.

She is known to be constantly at odds with her so-called family, who quite publicly disagree with her ailing father's choice to claim her as part of his lineage, making her, as his new eldest, heir to his estate. He had sired the girl before meeting his wife, in secret.

With few allies in her own home, she seeks them elsewhere. Talia wishes to claw her way to the top of the social heirarchy, willing to step over anyone who gets in her way.

Are you capable of standing the brunt of her vicious veneer? She can't be all thorns like she's purported to be, can she?

Find out more about each option by clicking on the link in their title.

Current size of demo: 242k words

Genre: Grimdark fantasy

Last Update: 21/09/24 (Chapter 2 additions)

Discord server for game discussion and feedback: here

[meraki-sunset]

having a hard time explaining grimdark and trickster to a friend

think you can help?

they get godtier just fine but the other two keep confusing them because right now they think

grimdark = chaos in anarchy sense, but trickster = chaos in haha funny meme sense

Sure, let me see…

GRIMDARK mode is described by Doc scratch as “going completely off the deep end in every way”.

It turns your skin an unnatural dark gray, and in rose’s case to be surrounded by a dark aura, while jade had a spacey green aura.

It’s basically a black magic power up deeply connected to the horroterrors, a state of mind that comes from letting them influence a broken mind. For Rose, it was the death of her mother, and then trying to reveal the horror terror’s secrets. For Jade, she was heartbroken, but also she got mind controlled into entering the grimdark state by the condesce, who is also connected to the horrorterrors.

As an extra, Hussie described Eridan as also going into grimdark when he began murdering people, tho his case must’ve been more symbolical, as he presented the perfect scenario to become grimdark, the complete loss of hope, waiting for Jack to kill them all (due to his title being prince of hope, ergo Destroyer of hope) added to Feferi breaking their moiraliance talking with Sollux, being the detonator for his broken mind, and him being a Derse player, so his dream self was around the horroterrors and had interacted with them prior, he was also interested in magic like rose, had a wand just like her and sought for answers about, like her. He just lacked the connection to the horroterrors in that crucial moment.

So Grimdark is basically when the horroterrors cause the player's most primal and violent tendencies to be pushed to the forefront

The grimdark is also described a “the fabled blackdeath trance of the woegothics”. So a dark trance that people like Rose and Eridan are inclined to fall victim of (in my opinion)

TRICKSTER mode, in the other hand, is described by Calliope as something that brings out your full potential, that brings all your walls down and puts all your inner thoughts in the outside and all your creative power in your hands. It strips you from all social and mental barrier.

It gives you reality altering Powers, allowing you to jump from place to place, probably dimension hopping, manifest objects and makes you super happy and candy colored to the point of losing grip in reality

The problem is that cherubs are very different from humans. For a cherub, who is supposed to fly around in the endless space protecting/destroying a certain part of the void, and its inhabited planets, feeding of black holes, fighting entities to death to ultimately mate in the shape of a big ass snake, a juju that’s basically drugs that can make you forget every wall you built up floating around space alone, and move forward as a happy missile ready to find a mate sounds good. But humans are social creatures, and cherubs are not. Cherubs don’t answer to anyone and don’t have Friends, they don’t need to follow any social cues. Humans built their relationships carefully, and they have secrets and barriers to protect themselves and others. They hide things like crushes and resentment and problems, because well, for the sake of peace, for the sake of not braking every relationship they have. That’s something that Calliope and Caliborn never fully grasped and understood why the kids came to hate the juju when they woke up

So that’s all I could gather. Essentially they are different kinds of power ups, opposite to one another at their core, BUT in both the person isn’t fully there and is being guided by primal instincts, be it rage/sadness or Hope/happiness and they both have consequences in the user because neither is supposed to be used on humans or even trolls.

[hs-transfusion]

> KANAYA MARYAM

HEMO: Blue (#004182) TROLLTAG: graveArtisan [GA] SIGN: Scorvir, Sign of the Radiant STRIFE: fankind MODUS: Origami LUNAR SWAY: Derse MYTH. ROLE: Witch of Blood LAND: Land of Thorns and Ivory

GA: This Will Be Over With Much Sooner If You Would Just. Stay. Still.

Kanaya is responsible for what LITTLE FASHION INDUSTRY THERE IS on Alternia, using her HIGHBLOOD STATUS to influence the ARTISTIC DIRECTION OF CLOTHING as best she can. She will happily use her MIND-CONTROL ABILITIES to force subjects to model for her for extended periods of time, as she sees it as nothing more than THE BETTERMENT OF AESTHETICS.

Kanaya's VISION THREEFOLD allows her to see both in front of her AND BEHIND HER, as all mothers naturally have eyes on the back of their heads. When she isn't busy with a THREAD AND NEEDLE, she enjoys hosting EXTRAVAGANT PARTIES, reading NOVELS OF THE GRIMDARK VARIETY, and has taken a passing interest in PAINTING. Unfortunately, she's terrible at the latter.

Kanaya's ORIGAMI Fetch Modus requires a blank captchalogue card to be FOLDED INTO a rough approximation of an item she wishes to retrieve.

Kanaya's lusus is classified as the SILKEN CAVERNGRUB; a colossal silkworm that BURROWS THROUGH THE GROUND to eat enough minerals to produce COPIOUS AMOUNTS OF SILK for her charge. Kanaya has strictly trained her lusus to NEVER DIG UNDER HER OWN HVIE for the sake of not ruining her outside garden.

The Land of THORNS AND IVORY is a dreary place, lined with THICK HEDGE MAZES, POSH MANORS and LIFELIKE STATUES OF DEMENTED BEASTS. These statues have a funny habit of DISAPPEARING when left unattended. The land's denizen HERA appears to be TRAPPED beneath a thick brush of thorny roses, seemingly AWAITING RESCUE.

Kanaya's ancestor is known as LADY SERICULT, a rich socialite that strived to ENTERTAIN like nobody else. She was the BEST HOST THERE IS, period. Rumour has it that those she fancied were lured to her personal quarters, BOUND IN SOFT SILK like a spider-web, and kept as PERSONAL PLAYTHINGS, never to be seen again.

[bigsnorp]

Izzy's death was good, actually.

One of the best things about the show is how it plays with genre. There's nods and influences to the stylistic trappings of other genres all the time. Horror with the Kraken, historical drama with the british navy, comedy with Stede, romcom with... half the cast at this point. And Izzy is a grimdark pirate sadboy.

Our flag means DEATH. piracy is brutal, you can devote your entire life to it and it won't repay you at the end. The title isn't just for funsies, it's Chekhov's gun and it's been with us the whole time.

What Izzy did get, though, was a chance to live for a moment in another genre. He got to feel genuine love and friendship. After Ed shot him and he lost his leg, he came to the dramatic conclusion of his pirate arc. He makes the transition to ensemble comedy, he gets to experience belonging and love and all the things he talks about in his final speech.

But Izzy is a grimdark pirate. He knows he's gotten more joy and love than he was ever supposed to get. He could have gotten more, if only he weren't the legendary pirate Israel Hands. But he is. And he knows he is.

[joncronshawauthor]

The Power of Grimdark: How Dark Fantasy is Reshaping the Landscape of Epic Fantasy

The world of epic fantasy has undergone a significant transformation in recent years, with the rise of dark fantasy playing a major role in its development. Grimdark,is a subgenre of fantasy that features a darker, grittier, and more morally ambiguous world than traditional epic fantasy. This new trend has not only attracted new readers to the fantasy genre, but it has also influenced the way…

[lurkinglurkerwholurks]

The WFA comic surpassing other Batman comics is so funny to me because in some way *we* kiiiiind of created part of that shit (legal disclaimer OBVIOUSLY I don't mean this literally, what I'm saying is that the fandom created certain fandom representations of batfam that then translated over to WFA). To be fair, Batfam definitely wasn't always grimdark. The fandom itself did not invent Good Dad Bruce and all the rest, the comics themselves did, buuut it definitely solidified many of the tropes that are seen in WFA and it's quite amazing to see how long it's taken DC to realize what the current audience is looking for in a Batman comic. Even writing fic in my own little corner has made me feel that I have influenced how the characters are seen even if it's in a small way. Your impact has been outsized ofcourse. Either way it's kind of a W? Kinda cool? We can always keep making fan works, so w/e DC wants to do is whatever to me. But it is nice to be recognized in a sense.

I think it's fantastic. Truly. So much of what appears in the series are common fanon tropes that have circulated so much that they genuinely are shared pieces. To me, it in no way feels like being mined for cheap ideas or anything like that. I am fully convinced that CRC Payne is a fanfic writer, on Tumblr or AO3 or FFN or wherever. (CRC if you're out there I love yoooou.) We already know Starbite is on here.

WFA feels like a small, miraculous little hat tip to all the passionate people who have poured their love into this strange family for decades, and I'm grateful for it.

[tagedeszorns]

Work in Progress: Blanchitsu-Sister of Silence

Some Warhammer-nostalgia:

John Blanche is one of the 2D and miniature artists who has had the most lasting impact on the Warhammer aesthetic. Everyone has seen at least one of his paintings (and if not: he's the creator of the famous SoB hairstyle!) and what we now take for granted in fandom as "Grimdark" was largely built by him (whether as artist or art director).

He's been on my radar since the late nineties - his influence on comic artists like Jamie Hewlitt was a big thing for teenage-me.

Over at Mastodon, there are regular miniature painting challenges called #FediPaint in a loose, more or less monthly rhythm. And this time the theme is "Blanchitsu" - in the style of John Blanche (yes, that's a fixed term).

I'm not good enough to participate with my miniatures yet (although the Beastmen would lend themselves very well to this), so I've decided to contribute a tribute to Blanche's 2D work.

So here's a Sister of Silence - or at least the first sketch. It's my style, of course, but I'm trying to incorporate as many classic Blanchitsu elements as possible. And I'm curious to see if I can at least hint at Blanche's extremely iconic colouring!

It's going to be an exciting work.

[cerulean-crow]

I was a creepypasta and mlp grimdark kid- I absolutely loved them and they definitely shaped my interests in horror and gore that I have now! I am not immune to the nostalgia of these infection au’s, and honestly I am thriving. I love reading everyone’s ideas and seeing everyone’s art, and I got inspired to try my own hand at one!

I’ve been calling it the Crystal Heart Contagion. I am not sure how far I’ll take this but it’s fun to draw and think about. I considered going a bit crazy with actual gore, but this was just supposed to be a concept page and I wanted to keep it simple and just flesh out some ideas I had bouncing around in my head. Besides, I actually really like body horror that doesn’t involve a ton of gore- and like that note says, has an air of beauty alongside the disturbing elements.

Again, not sure how far I’ll take this- so I’m just gonna jot down some thoughts and notes! I’ll put ‘em under the cut because I am very wordy <3

Also I try to tag my stuff as best as possible because I know not everyone loves horror and these Mlp horror au’s as much as I do! I don’t want people to interact with my posts if it makes them uncomfortable, so if I miss a tag please let me know.

The Crystal Heart Contagion is transmitted when infected crystals come into contact with one’s bloodstream. The afflicted will experience body pains and stiffness at first, hemophilia, and symptoms like lethargy and migraines. The crystals will begin to form in clusters on the skeletal system, eventually breaking through the skin and, after a long enough period of time, will completely petrify the afflicted in solid crystal.

I imagine that one’s teeth, hooves, and horns are where crystals will begin to break through first. I like the idea of stylizing manes as they crystalize- but that’s exploration for another day!

I am currently thinking of the infection more like a parasite of some kind. Parasitic crystals that feed on magic and rely on living creatures to carry them farther in order to spread themselves.

The infection originally didn’t do much to change one’s personality, they would just get weaker and weaker as they were overtaken by the crystals. It was only when the infection started again, when Equestria was home to many more different species and overflowing with way more magic, that the crystals would begin to mutate at a rapid rate. Those afflicted would begin to show signs of aggression that would have them attacking others, thus leading to further spreading.

Some physical details I like is the eyes hollowing out and resembling geodes! Crystals emerging from the spines, horns becoming crystallized, and crystals forming over teeth and jaw to create fangs are all stuff I would love to flesh out in further detail.

I also love the idea of the chest ripping open to reveal a crystal heart held in a crystallized ribcage! I think I will forever be influenced by the Angel Trap in Saw 3

The idea of this infection is still developing and I’m still doing a lot of research and thinking on the words to describe it. My original thoughts took inspiration from a parasitic infection and rabies. My brain also likes thinking of it like a mold in how it spreads or thinking of the crystals like a coral reef (mostly as a visual inspiration)

The background and timeline is all still a work in progress. I haven’t rewatched the full series in so long and I’m implementing plenty of my own headcanons- so it’s all very vague right now.

The original idea is that the infection started during King Sombra’s reign. He created these parasitic crystals and unleashed them upon Celelstia and Luna’s army with the hopes of dwindling their numbers and expanding the reach of the Crystal Empire further through the Frozen North. When he was sealed away, Celestia and Luna would bring several of the infected back to Equestria for study. They would hide them away deep underground beneath a mountain, where the lack of nutrients in the rock would eventually cause the crystals to stop forming and enter some kind of hibernation.

Celestia would later build Canterlot after the banishment of Nightmare Moon, and she would use the very kingdom itself to block off the caverns and keep them hidden for everyone’s safety.

The Crystal Caverns would become known again during the Canterlot Wedding when Cadance and Twilight escaped from them. However, nothing would ever happen after the fact, and Celestia and Luna would continue to hope that with Sombra sealed away and the crystals dormant for so long, that this infection was truly no more.

When I first got this all in my head, the idea was that Flurry Heart’s Crystalling was what caused the parasitic-crystals to get a kickstart of energy and begin spreading again.

That is the part where the timeline starts getting really wonky. Cause I think I’d want Twilight to be running her school and have the young six around, but that’s in season 8 and the crystalling was in season 6. But I can honestly fudge the timeline however I want, it’s an alternate universe after all.

I think that Celestia sacrifices herself in order to save Luna and help as many people flee Canterlot as possible. This was when I still very early into thinking this au through and a potential story that could be told with it- and with the worldbuilding I’ve been doing over the last few days I don’t entirely know if it still fits. I love the scene in my head that comes from it though- so I decided to keep the sketch of crystallized Celestia in the end.

I love the idea of crystals on her head mimicking sun rays! And her forelegs and wings becoming one so she staggers around like a wyvern. That’s definitely a design I would love to flesh out if I get the time.

I am having fun!

[weepingchoir]

Imperium Sanctus

(...T)he phrase “Grimdark” may suggest the name of some 2000s era Goth club. It’s a recent coinage for an ongoing craze in “gritty” and dark fantasy settings, epitomised and popularised by George RR Martin, becoming the default tone for a whole range of feted fantasy offerings from Joe Abercrombie’s First Law series featuring a dark, brooding protagonist who kills a lot of people — and occasionally feels bad about it — to Mark Lawrence’s Broken Empire Trilogy featuring a dark, brooding protagonist who kills a lot of people — and occasionally feels bad about it.

Like many fantasists with a bone to pick, mister Milbank doesn't actually know when or where "grimdark" was coined. Knowing fuck all has never stopped a critic (indeed, The Critic): Milbank goes on to blame everything from Breaking Bad to The Sopranos, constructing a spurious history of dark fantasy(?) that ultimately singles out author Michael Moorcock as godfather of grimdark.

While Moorcock’s gory, British sorcery is a major influence on today’s grimdark, the inception point of the trend is in fact googleable: it’s been the tagline of gory, British science-fantasy wargame Warhammer 40,000 since its 1993 second edition.

In the grim darkness of the far future, there is only war.

Already this betrays the hopepunk's antimaterialist concerns. It doesn't matter that The Walking Dead and Boardwalk Empire are nothing alike. Taking the historicist tack, it becomes even less likely that they have a connection to 40K. But morality, as an immaterial concern, is a laser beam: it vaporizes material history. Grimdark is a specter on the pages of anything that irritates gentle sensibilities.

For the sake of avoiding googleable gaffes, Alexandra Rowland, author of books named things like A Taste Of Gold And Iron, and coiner of "hopepunk", in a follow-up essay:

There’s no such thing as winning forever. Evil cannot be vanquished, only beaten back for a day or two, and then it trickles back in, like water seeping through the cracks in a dam. Ask it of hopepunk, then: "What's the point?" And the answer is, of course, that the fight itself is the point.

In the noble brightness of the far future, there is only (___)?

Unlike Rowland, Milbank is a nothingpunk: The Critic is a conservative Christian rag pontificating everything from trans-exclusionary rhetoric to the dismantling of higher education. Which begs us to consider how Milbank so easily co-opts shades of Rowland's language to peddle a retvrn to Tolkien, on its face the last thing a fantasy author looking to innovate would want.

The Imperium of Man, the central setting of 40K, is an arch-conservative Great Man cult worshipping the once-Emperor of Mankind. This is the gate leading to the inner sanctum where the Emperor's corpse resides. Catholic readers may have noticed similarities to portrayals of the Archangel Michael fighting the Dragon (1400~, 1498, 1860), as narrated in Revelation 12.

Revelation is the tale of darkness enveloping the world, and the noble, virtuous men who persevere despite persecution and are eventually victorious in heavenly war(!). This is not dissimilar to J.R.R. Tolkien's "fundamentally religious and Catholic work", in which ordinary men persevere against darkness enveloping a world. Rowland and Milbank both champion Tolkien as exemplary, the former in the same breath as Jesus. Yes, of Nazareth.

The Lord Of The Rings is unmistakeably about the War of the Ring. Positing Tolkien's apocalypticism as aspirational fails to rebuff the basic conceit that war is a human constant and even a force for good. If this isn't the aim of a genre purported to concern itself with kindness and "giv[ing] a fuck about the people on the other side of the world", what is?

Aesthetics. Rowland doesn't call for a narrative movement with less conflict, but one that appropriately celebrates those that fall on the right side of conflict. Even just those that deigned to imagine, of slaying the Dragon, "probably drunk in a bar somewhere, I bet it can be done, though." (The writer's original temptation: a medal for thinking the right thing.) Millions of people die in Revelation, magnitudes more than in Game of Thrones, but the virtuous go to heaven forever. The Emperor of Mankind sits on the Golden Throne, Frodo bodily assumpted into the Undying Lands, Jesus curled up into a ball and just rolled away. All manner of things shall be well.

The transition from here to open conservatism is again in aesthetics, and thus stepwise. Having established Tolkien as the only fantasy writer he respects, Milbank derides grimdark as immature wish fulfillment. If you write fantasy at all, it ought to have a clear moral message, else you are devaluing reality by infesting Real (not in the Lacanian sense) conflict with magic missiles. But he's also established that realistic fiction with no clear hero is a faux pas. He wants Breaking Good and, like, The Walking Alive.

This is no surprise: if you were around for the Disco Elysium craze, you might remember this tweet (holy shit it's still up) calling for a game that uses Disco's systems to narrate the story of "a young witch" looking for her neighbor's cat. Take another step and this is the logical conclusion of an aesthetic that prizes upright moral posture: a world where the protagonist has to do nearly nothing to be good. The little village in the Alps and the events of Disco Elysium might be unfolding in the same world. But our little German girl with no problems doesn't have to participate in anything as unsightly as a Pinkerton massacre. Milbank disdains C.S. Lewis without knowing that what he wants is the end of Narnia, irrespective of the events that preceded it: the crowning of the king, who once was good. The Emperor protects!

[dark-fuckprincess]

Now that the Sisters of Battle codex is on the way. And it looks good I'm suddenly very interested in working on my Sisters of Battle army. Going to use a shrunk down version of the guy above for my Paragon Warsuits. Morven Vahl proxy may have a large crucifix or spear or something badass. Idk. In the past I've toyed around with warsuits being cavalry.

Really been wanting to take my Sisters in a grimdark, conversion heavy direction, taking influence from military, gothic, religious, and Blanch type aesthetics. So I'll need to do some physical kitbashing to make these ladies really sing. Rows of skulls on chain, candles, purity seals, rose thorns, wards, holy texts and banners, clusters of wire peaking out from exposed bits of machinery, hell even a Heretic crucified on the armour are all things I think I'll do. This sort of vibe is a big inspiration

Here's an example of something close to the vibe I'm going for. Still not finished but still pretty proud of this one tbh. Though I wish the red was more vibrant >.> but wow. I really like how it came out. Think I ended up painting the windows orange.

Also looking at basing my ladies better. Thinking some specially designed dirt products will make it look more natural, and probably some ready made tile bases that I can fill in with debris.

Here's an example of my basing now. The stonework I spent a long time making out of cardstock kind of blends in, and while this model is better in terms of contrast, a lot of my infantry is somewhat flat and dark so it needs some lightening.

I just hope I won't be chained to my past. I want to create something new.