#i hope he does well <3

[ultimate-jester-competition]

Shadow Milk Cookie (Cookie Run) VS Piedmon (Digimon)

[floccinaucinihilipilificationa]

[diamondsheep]

What do you mean >:3 face ?

He got embarrassed bc Sanji keeps annoying him with "not" knowing about that face ( which he does on purpose just to get that same reaction from the Marimo )

[sinnabee]

INGREDIENTS:

2 cups evil boredom

3 teaspoons (heaping) blorbo poison (powder, not liquid)

1 daycare theme (10 hour loop)

1/3 cup brainrot

*1/2 cup distilled back pain

**(un)diagnosed mental illness

*(any kind of pain works, back pain is usually what i have on hand)

**(if you aren’t a fan of the flavor a diagnosis leaves, undiagnosed will work in a pinch! Personally, I like to add a bit of both.)

INSTRUCTIONS:

First, turn on the daycare theme (10 hour loop) and pre-heat the oven to 375 degrees.

Sift together your evil boredom and blorbo poison in a medium sized bowl.

Add in your pain of choice and mix well.

Once thoroughly mixed, it should be looking a little thicker. Some granules from the evil boredom and blorbo poison are fine. (You can always mix further, if you’re worried about it affecting the texture.)

Add your brainrot and beat with a whisk until it’s looking lighter, a little fluffy. (If you aren’t in the mood for fluff, a dash of angst or hurt/comfort can help tone it down. An AU if you really wanna spice it up.)

Realize this is turning out a lot better than you thought it would. Dang. Well, you’re certainly committed now.

Go ahead and get out a glass baking pan. Coat the bottom with non-stick spray. (I tend to favor Y/N brand Nonbinary Spray myself)

Using a baking spatula (one of the rubbery bendy ones), carefully move your mixture from the bowl to the pan. It’s alright if you get some on the sides, the heat should help it settle once it’s in the oven. To get out any air bubbles, tap the pan (carefully!) a few times on the counter.

Place the pan in the oven and set a timer for 15-25 minutes, or take a peek every now and then and see if it’s the right shade of cheerful.

Congratulations!!! You’ve successfully survived evil boredom, despite the hurdles you faced, and made something! (Pretty tasty too, if I might add.) You are still mentally ill, though. But - hey - now you have a little treat! And hopefully, your day’s just a little bit brighter! Enjoy!

[raventrigonsdaughter]

For reference about what i said about Enid's werewolf height the other day, this is how crazy her size is in wednesday's description in the novel and i hope SO MUCH they never change it cause it's both fun and funny as fuck

Example 1:

Example 2:

Example 3:

And now the side by side with my favorite werewolves one of them having until now the title of biggest werewolf

PLEASE NETFLIX THIS IS SO FUCKING FUNNY IT OPENS SO MANY POSSIBILITIES, KEEP IT, like, bring it into the show, also because the novelization as many others more likely than not was based on the show's early development and then still got approved in the end means that despite the weird ass golden retriver we got they were probably really going for a horror inducing werewolf in the finale, in the final side by side specifically if she was on all fours like in the show she would still be around Van Helsing's own height, this is insane, can my fellow werewolf nerds come talk about this we got a gold mine here on teenage show territory and i need more

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[kerryweaverlesbian]

(I'm not including ones he didn't hang out with alone onscreen such as s14 Michael, Hester or Benjamin. I am including Raphael because he spent time with him before his vessel change.)

[spearxwind]

Feels good to be home.

[madbard]

Sanctity

A Killer Sans story.

Every child dreamed of the Angel.

When Sans was young, he had imagined it as a skeleton, beaming with all the radiance of the stolen sun. Each evening, he kneeled beside his father and whispered the poetic words of prophecy, voice faltering at first, then growing steady as the tale of the Angel settled firmly into his skull. Later, he would kneel with his brother while his father vanished into the lab. Each night, he dreamed of the moment when the Angel would tear down the barrier, at last letting the bright and deadly sunshine in.

Everything could be attributed to the Angel. If a monster was successful, it was because they had a place in the prophecy, an important role which would contribute to their eventual freedom. If a monster fell down, it was because they had failed, somehow. They were not the Angel’s chosen and would never be free.

(Did Sans have a place in that prophecy? If he was chosen, then why was he so fragile? Why would it be so difficult for him to make it to that future? Sans had asked his father that one night, after their prayer. Nothing would ever break that silence.)

When Gaster’s final experiment went up in flames, Sans imagined it made a light brighter than the sun. He imagined its light was like the palm of the Angel, taking his father with it – or casting him, finally, into the infinite darkness of the earth. He spread his father’s ashes on the remnants of the lab and then, as an afterthought, on his younger brother’s scarf. He laughed at the funeral, quietly. He shook the chill hands of fear and doubt from his soul. He had faith.

(Some monsters whispered that the prophecy had been interpreted incorrectly. They whispered that the Angel would indeed free them – that their dust would one day mix with the river and thus find its way to the ocean. Sans ignored them as best he could.)

When Sans was young, he had imagined the Angel as a skeleton. But lounging at his post one day in early adulthood, he was surprised to see it take the guise of a child. He was even more surprised when no one else seemed to see it for what it truly was. It turned to him, looked him in the eyes. Then raised a single finger to its lips.

Sans followed the Angel. He watched it navigate through each encounter with kindness and grace. He watched it befriend his brother, the captain of the guard, the royal scientist, and even the king. He watched it destroy the barrier and finally baptize his people in the all-destroying light of the sun. He felt its eyes upon him, and in that moment knew the gaze of something truly unlike himself. Come and see, those eyes said. He saw the prophecy come true.

He stood with his brother in the light of the Angel, the light of the long-awaited sun. For a moment, he thought himself in heaven.

Then he woke in hell.

That first time, he didn’t even see the Angel arrive in Snowdin. His eyelights flickered slowly as he wandered the icy streets in a daze. The air was still, and thick with a scent he refused to recognize. They had escaped, hadn’t they? After years of prayer and service, monsterkind was finally free. His mouth curved around a quiet, desperate prayer. This had to be a dream…

Just outside of Snowdin, he found his brother’s scarf.

Funny, how these things worked. Sans’ first impulse was to find the Angel. Something had gone wrong, certainly – something had gone terribly, terribly wrong. But he had seen the Angel treat his brother with kindness. It would have protected him… right?

Perhaps he already knew…

“Sans.”

Sans spun around, gripping Papyrus’ scarf. The Angel stood behind him, eyes almost as wide as its smile. A silver knife glinted in its grip. His whispered prayer froze as his eyes went dark. He stood still.

“what happened?”

“Nothing much. And everything.” The Angel stepped forward. “Give that to me.”

“where’s papyrus?”

“Free.” The Angel took another step forward, and Sans felt a chill creep up his spine. “You remember being free, don’t you?”

“i…”

“Don’t you want to be free again?” This time, Sans didn’t have time to respond. Its knife had already slashed through his chest.

The second time, Sans woke in the early hours of the morning. He took a shortcut into the woods, stepping onto the abandoned path which led to the hidden door. Even so, he didn’t quite understand. Even so, he didn’t quite believe. Fear made a nest in his ribcage.

This time, the Angel killed him first, separating his head from his shoulders, and Sans woke up back at home.

If a monster fell down, it was because they had failed, somehow. Sans fell again and again. Each time he died, the Angel would say something different, something new. It spoke of the sun’s rays, the way they warmed at first then burned and bleached and ruined. It spoke of the sins of the surface, the suffering of the Underground. It spoke of an endless loop, from which they would never be free. “Better to end it now,” the Angel whispered, wiping blood from its blade as Sans crumpled to the ground.

The loop continued endlessly. Bit by bit, Sans stopped praying.

The loop continued endlessly. He began to fight back.

The loop continued endlessly. The angel’s words changed.

“Do you know the difference between an angel and a god?” the Angel asked once, after Sans dodged its blade. Sweat dripped down his skull, and the air seemed to frost his ribcage as he gasped for breath.

“sorry. i god no idea.” The knife whistled past his ear, and a hushed “angel’s sake” escaped his mouth before he growled and swallowed the word.

“I’ll give you a hint.” It attacked once more, and this time it didn’t miss. It walked over to his dissolving form and whispered to him. “An angel is a servant. A god serves no one.” It stepped back. He died.

This time, the Angel approached him with an altogether different kind of smile.

“But what is a god without an angel?”

Sans said no in every way he could imagine. Loop after loop, death after death. He joked and danced around the question. He sent another attack. At his lowest, he pretended he hadn’t heard.

“Angels live forever.”

“when everyone else is dead?”

“Angels are never alone.”

“i wouldn’t be alone if it wasn’t for you.”

“Angels are powerful. They are beautiful and loved.”

“heh, that’s kind of a loaded comment, isn’t it?”

“Angels know their purpose.”

“what would a lazybones like me want with a purpose?”

“Gods are tireless. I can keep going forever, and nothing will ever change.”

“…”

“You were made to serve me.”

The funny thing about prayer? Repetition makes it meaningless. There is performance to it, certainly. There is what prayer symbolizes, there is the essential power of routine. But once the words become instinctive, the meaning can’t help but diminish. After enough repetition, prayer becomes little more than muscle memory for the weary. And when the weary recite it, how then can they hope to see God?

Sans kneeled in the hallway, bones aching, magic all but spent. Somewhere before this moment lay the memory of the sun, the way he had rested in its blinding light. Even before that, the echoes of evenings spent in prayer with his father, torn carpet barely cushioning his bones. Those memories were lost now, or buried. So many deaths – had there truly been anything before this? Could there ever be anything after? Sans didn’t know. Eventually, he no longer cared.

“and if i said yes?”

It paused and stared at him. A chuckle started low in its throat, stopped just behind its teeth. Sans wished he could feel a twinge of anger or fear at the sound. He just felt tired.

“Just for one round. Just to try something new.”

“somehow i don’t believe you.”

“Somehow, I don’t think that makes a difference.” The god stepped forward, knife glinting in its hand. Sans closed his eyes, waiting for the final blow. Instead, he felt the warm handle slide into his skeletal grip. “Go forth, my angel. Do as your god commands.”

There was a momentary darkness. He woke at the foot of his bed, hands folded. Eyes dark.

When Sans was young, he had imagined the Angel as a skeletal figure. After maturing, he discarded that image as a figment of childhood’s vivid ego. For a moment in time, doesn’t every child worship a god that looks like them?

Sans was not a god. Through the snow, the water and the flame, he became the angel of death. The flash of his knife answered prayers, scattered dust in the river that it may one day reach the ocean. He remained by his god, always. He watched, as if outside himself, as his knife found the faithful and the faithless alike. He watched his brother die.

“That prayer, in his final moments – you know, before he forgave and spared you. Didn’t you teach him that?”

“…”

“Aw, don’t be like that. It’s hypocritical when you’re the one that killed him.”

“shut up.”

“Ooh.” The god smiled and leaned forward. “But it’s new, isn’t it? Isn’t it better?”

“no. no, it isn’t.”

“Hm.” The god nodded. “Do it again.”

The funny thing about prayer? Its meaning is only found through repetition. Sans scoured through the Underground again and again, knife faltering at first, then growing steady as the path of the Angel settled firmly into his skull. He made a sacrament of death, and his god glutted itself on the dust in his path. He became something truly unlike himself – did that now make him holy?

Holy enough, he decided, waking among flowers with his soul burning bright outside his body, a strange tarry fluid dripping from his eyes. Holy enough for this.

It seemed to know what he was planning. At least, it didn’t look surprised when he brandished his weapon. Nor did it fight back. It only spoke. “You know, you were nothing before me. And you will be nothing after.”

How easy, to kill a god. In the end, how stupidly simple. The Angel laughed as he killed his god with its own gleaming knife, and it laughed too, bright blood staining its teeth.

“i killed you.” The Angel giggled. “does that make me god now?” The god lay still. Its chest had stopped moving a long time ago. The Angel finished his prayer anyway. He had to be certain. “actually, nah, not sure i like that… hey, i’ll figure it out.” The Angel rose to his feet, staggered a bit, then bowed his head. “go to hell.”

What is an angel without a god? From then on, the Angel drifted from world to world. He recited prayer as he always did, utterly divorced from meaning. His knife brought whatever his victims chose, and he learned to see the afterlife in their dimming eyes – the reflection of paradise or punishment, a final acknowledgment of the waiting dark. He laughed in the moment before a creature crumpled to dust – something about it made his soul sting, sharply. It made him feel alive.

Sometimes the Angel would glance over his shoulder, searching for his god’s approval. When he caught himself doing this, his posture would stiffen suddenly, and he would cease his prayer. In those rare moments, a victim might escape. In that way, news spread through the multiverse of his arrival – though ‘Angel’ was not the word they used.

Even to the multiverse’s darkest corners, the Angel slowly became known, and this filled certain people with a cool excitement. Gods watched on and wondered where his allegiance might fall. But this Angel had little patience for deities.

“Aren’t you just fantastic!” The Angel paused, then straightened, turning through the snow of decimated universe to face a small, skeletal figure, dressed in a stained scarf and splattered with ink. “A Sans who no longer believes in anything, but still sees himself as the Angel! A Sans for whom death has become prayer, because prayer never led to anything but death. Odd, definitely – I’d guess your creator was feeling pretty ambitious when they made you…” The skeleton tilted their head. “I’m not sure they succeeded.”

“who are you?”

“Ink! God of Creation. You see, I helped make this universe, so… whoa there, let’s not be too hasty!’ The Angel had raised his knife and taken a smooth step forward.

“god, you say?”

“Hm. Maybe I shouldn’t have said – wow, you’re quick!” Ink swung a massive brush through the air and the Angel’s knife skittered across the brushstroke’s obsidian surface. “Look, sloppy or not I think you came from a place of real excitement and love! I’d like to –”

Ink never finished his sentence. Blinking, the Angel darted around the obsidian shield and raised his knife to stab this god in the chest. He managed to spill a vial of red paint, so much like blood that he smirked, believing for a moment that he had already won. Retribution was brutal and swift.

The Angel no longer felt fear. His god had cured him of that, through the endless resets. Still, Ink’s rapid-fire attacks quickly had him on the defensive, constantly dodging and side-stepping to avoid strike after inky dark strike from the god’s strange weapon. Each time he brandished his knife, he was ambushed by a new attack from a new direction, all coinciding on his form as he struggled to fight back, struggled to survive.

Was this the true power of a god? Something cold settled in the Angel’s soul, causing it to fizzle. He began to seriously consider retreat.

But to where?

The Angel tried to step into another world, but Ink was on him the moment his portal closed, taking advantage of the snow’s blinding afterimage to dig a painted blade into his back. It was dark here, and cold – far colder than Snowdin ever had been. Another blow, and the Angel’s soul shuddered again. This time, he felt fear.

Was this it? Was this where he died?

Another blow.

Perhaps this was right. Perhaps this was what he deserved…

Another blow and sparks flew from his soul, igniting terror and pain. This time the Angel screamed. This time, his mouth shaped a word he’d sworn to never say again.

“ANGEL!!!”

Ink lunged forward, but before his final blow could land something warm and strong gripped the Angel’s ankle and dragged him into the infinite darkness of the earth.

When the Angel woke, he imagined for a moment that he was dead. His sockets could not focus because there was nothing to focus on – the world seemed to have vanished into a brilliant white expanse. He lay there, soul burning, weeping black, emotionless tears. A minute? A year? If the figure hadn’t spoken, the Angel might have lain there forever.

“Greetings, little angel. I’ve heard a lot about you.”

The Angel leapt to his feet. Across from him stood a strange, dark figure. At first, he might have guessed that it was a skeleton – but a tarry black fluid not unlike the Angel’s tears covered every bit of the monster’s body, leaving only a single teal light to stare into his sockets. The Angel might not have recognized Ink’s power, but he could feel this monster’s strength – could feel it in the way the very air seemed to bristle against his presence. This was no mortal. This was beyond anything the Angel had seen.

“what have you heard?”

“In general? Ah, little one, that would require some time.” A fluid black tentacle slipped from the creature’s spine and wrapped around the Angel’s shoulders, immobilizing him. The Angel was still. “But you were asking what I had heard about you. So I will oblige. I have heard that you are a harbinger of death. Some have gone so far as to call you an angel, but I know better than that. After all, what is an angel without a god?”

“i already killed my god. i don’t need another.”

“I do not desire your worship. Besides, there is a title which suits me far better than god.”

“what do you want?”

“A fighter. Someone with little respect for the likes of Dream and Ink, who would aid me in destroying my enemies.”

“you want me to kill gods for you? i would do that anyway.”

“Well then, little god-killer. I have a place for you, if you’ll take it.”

“…and if i say no?”

“Then I shall leave you in the first universe that opens up beneath our feet. You will be free to cause whatever destruction you wish. But if you choose to follow me – oh, you will see and experience far greater things than you could ever imagine.”

“somehow i don’t believe you.”

“Very well. You may return to your dreary existence. But you are limited when you fight alone. You will be more powerful at my side.” The figure extended a tarry hand. “I am not like the other gods. I have no need for angels. But you aren’t exactly an angel anymore… are you?”

The god killer stared at the dark figure, stared at his extended, toxic hand. The dead grass beneath his knees felt like torn carpet. He remembered a different hand, a hollow palm. Prayer was simpler then. The words didn’t yet matter, not like his father’s cool hand on his skull, not like his brother’s chirping voice. The angel wasn’t present in that space. It was only them.

His soul flickered.

“no.” Killer rose to his feet, meeting those deadly teal eyelights. Viscous black fluid burned into his hand. “i’m not.”

The prophecy was fulfilled. The Angel was dead. And for the first time, a prayer was granted.

End credits music:

[bleue-flora]

Why I think c!Dream is Autistic - Part 3

[Part 1] - [Part 2] - [Part 3]

Alright, you’re gonna want to probably go read part 1 and 2 first, promise they aren’t too long.

Done? Long time no see buddy. :) Good deal. Now finally, the last reason(s) I think Dream is autistic is because of how it fits narratively.

Who better to frame as the villain than someone who is already on the outside, who is already different, weird, a little off, not like everyone else, obsessive, abrasive, and already setting off subconscious red flags of not fitting the norm. There’s a quote that most have probably heard by Andrew Smith that says, “People fear what they don't understand and hate what they can't conquer.” And does that not say it all? Talk about history repeating itself, real history. This truth is the basis of many real wars. And if communicating and thinking differently weren’t enough to garner dislike, sucess and intelligence are another foundation of hate and as I said in part 1, while not true across the board, high IQ is one way they identify people with ASD (Autism Spectrum Disorder). So who better to frame as the villain than an autistic admin infamous for being one of the best Minecraft players.

Of course, I hear you ask - couldn’t you make the same argument for sociopaths/people with ASPD (Antisocial Personality Disorder) are they not also different than most people to garner inherent fear? The answer is: No, not really. Contrary to popular belief, people with ASPD are not the odd balls out but are more likely to be popular and well liked as they lie and manipulate others to get what they want. In other words, there is a more calculated persona/masking in both ASD and ASPD, but while ASD is just trying to fit in, people with ASPD often have an inherent entitlement to the things they want and are trying to gain power and stand above the crowd not in it. In addition, autistic people tend to be honest, to the point of inappropriate or rude because they are straight forward. In the dsmp, Dream’s default isn’t to lie in fact he tells a lot of truth before often being forced to change his answer [clip]. Unlike people with ASPD who lie because they enjoy the power it gives them and to get what they want.

There is of course empathy to be considered when comparing ASD and ASPD as perhaps the main difference between the two and I think there is a lot of evidence that Dream does have empathy. In fact, I think his moral compass is originally one of the strongest before the dsmp slowly wore away the edges. He returns items after wars, fixes creeper holes and destroyed property, helps people mine or gather materials, fights for the side of who was wronged first, constantly gives out food to feed people… etc. He does a lot of caring things he doesn’t have too. That give him no real advantage, but often even end up putting him in a sticky situation. I mean what better example do we need to prove he has empathy than him rebuilding Tubbo’s house [post]. There was no reason or manipulation or obligation to do that, he did it because he saw that Tubbo was upset. I mean I’ve said it before that we can’t truly prove whether someone does or doesn’t has empathy, but we can look at behavior and I’d argue that his less empathetic acts come much later on his arc and are not consistent across the board like they would be if he truly were a sociopath. Leaving us with the most obvious conclusion then that his logical mind that makes him look like he’s unempathetic and his masking must be because he’s autistic instead, which again aligns well with his high intelligence and obsessive development of skill.

Finally, and perhaps most notably, while a lot of times masking is associated with ADHD it is much more notable and important for an autistic person. Because we are not masking just to cover up our stimming or hyperactivity we are putting on a different face to blend in and be accepted and loved. We are shifting the very parts of ourselves to fit in a circle shaped hole when we’re squares. Which is a skill and habit I don’t find it hard to believe that Dream would use for his villain persona, especially since our (my) masks tend to change too based on environment, whether needing to fit into the family dynamic, student culture or professional world where the social rules change. Which is exactly what we see from Dream as his mask changes depending on who he’s with whether that be Tommy, a large audience, Wilbur, his friends, The Warden, Quackity, Badboyhalo, Techno… etc.

In other words, how fitting would it be if a character with the disorder infamous for masking had a literal mask. One that he literally had to take off to discovery who he was all along. What better example of the dsmp main theme of seeing things from other peoples point of view to gain understanding, than the extreme case of that. What better picture of communication issues than a disorder infamous for social struggle. Like not only does it fit so very well with Dream’s character, not only does it make sense with the symbolism of his mask, and the narrative, but it fits the overall arching dsmp story too, because by being autistic Dream is kind of like the ultimate version of the theme and for him to be a main front runner of the story just truly drives the point home in a beautiful and important manner.

[bakafurai]

Sometimes I think about how Kenji basically said that he likes Rio about as much as his favourite thing in the world...

[sodascollection]

Jouno hated Tecchou. From the first time they had met.

That was it. That’s all there was. Hate mixed with a deep enamoration from the latter.

He was surpringly easy to hate as well. from his insufferable food combinations to his borderline idiotic habits, like staring at Jouno for example. Jouno absolutely loathed the way he could feel Tecchous curious stare follow his hands, or the sway of his cape, or any number of other assorted things his idiotic eyes might’ve gotten fixated on.

Jouno had no reason to be stared at, sure he had plenty to be perceived and even to be feared by criminals. If anything he made his personality fairly obvious and justifiable to stay away from, he gleefully provided plenty of reasons. But none to justifiably recieve a gaze so soft and curious as tecchous.

It burned him a little more each and every time he felt the familiar gaze crawling on his skin.

Jouno hated Tecchou.

Tecchou did not hate Jouno in return.

Jouno never understood why.

Tecchou already knew quite a bit about him, from his background to the meeting that allowed Jouno into the Hunting Dogs. Mostly things shared over drinks that Tecchou never seemed to forget.

All he provided could be used in very effective case against Jouno, and yet all he was ever met with were the feelings of lingering stares as his cape billowed about, or while small white starnds of hair brushed against his cheek in the wind.

He never understood it, perhaps he never would. Annoying..

For now he was content with hating Tecchou for as long as it took for him to hate him back.

[jyminie]

Just finished the trials of Apollo and I NEED TO TALK ABOUT IT

These books were so different to me because they directly revolved around a topic Rick clearly wanted to touch - abuse. Specifically, familial abuse. Personally I think he’d done it gracefully in a way that really sinks in for me now, but I’m not a victim of abuse and don’t pretend to understand the subject.

Regardless, I think the way Rick wrote Apollo, Lester, was absolute perfection. There’s an art to writing a literal god in first person perspective, and have him be one of the most human characters in the entire franchise.

Lester STRUGGLES. And he’s not perfect at all, he doesn’t even begin to understand everything at the start - not the world, not consequences, not the stakes and not the people around him. But fuck he learns, he learns the hard way, the only way, by doing. And it’s not a linear journey either - between book 1 and his more or less lucid identity in book 5, he goes back and forth between learning, and relapsing to his old ways, and learning again, and trusting and understand and rising victorious in all the confusion. He doesn’t shy away from his emotions - he cries a lot, and gets frustrated, and laughs. He learns to feel for other people. But he also learns to heal himself. And he does it by helping others heal, too.

To me, this red thread tying the books together by a common serious subject, made the reading somehow more whole. I can’t explain it, but Apollo slowly verbalising (well, thinking), realising there are similarities between his relationship with Zeus to Meg’s relationship with Nero, was so satisfying. Although I feel like “satisfying” might be a bit of a harsh word. Mostly I felt proud of him. I /felt/ for him, so very much, for so long. He’s likeable because he’s so human, and that includes both his silly and tragic sides, because these coexist within all of us. And I think he as a character encompassed that beautifully.

Reading that last book, expecting a showdown of sorts between Apollo and his father, and receiving a short conversation, an understanding, instead, was amazing. Because that’s Rick’s way of showing us what’s important. No use trying to fix what we can’t, what isn’t our responsibility to fix, what makes us miserable. Humans have this natural ability to rise from their own disasters and forge out of them their own paths in life. And Apollo did just that. It took him time, but that’s how it goes for all of us. And instead of fighting Zeus, he chose happiness. He chose focusing on what’s important, his old hobbies, his friends.

In a way, I’m bittersweet- I wish he didn’t have to stay at Olympus. I wish he could spend as much time as he’d like on earth. But the thing is, a god is what he /is/. But now, he understands for the first time that he gets to pick what kind of god he should be.

And he chose the human kind.

[langernameohnebedeutung]

Something I really find interesting about Don E is that he a) seems relatively squeamish about too much blood and violence happening in front of him considering the line of work he is in, like that's an acting choice that comes up on several occasions b) he also seems really into watching Blaine torment and generally mess with people (especially psychologically) and it makes him so weird.

like, Don in the "zombies tearing up a prison bus" scene:

Drake's gutshot scene

Chief's death

but also:

you even have that scene where he specifically drags Tanner back to Blaine's office in hopes of ganging up on the poor guy

also I'm going to argue that this scene - also an example of this dynamic between them

I don't really have a conclusion to any of this other than -

but also you get scene like the one where they're torturing Gabriel for the utopium recipe where he's clearly having a good time but also is visibly wincing everytime they beat Gabriel -

[acaciapines]

rereading random bits of descendants of olympus (as one does) and. vera <3 still soooo obsessed with how she takes lupa's divinity. like MAN.......there is something to how shes had to scrape and claw her way into every single good thing shes ever had. that she's never just been able to KEEP these things, that she is always always always fighting for them. and so of course she takes divinity. she wants to LIVE. and in this world where the fates themselves are trying to control her, its like--yeah. maybe you do need a gods power to finally get like, at least a year of the life you want. the life you werent supposed to have. forever thinking about vera's one line in her chapter thats like 'of course the fates are losing power. because they'd never let someone like leo into my life.' YELLS. FOREVER.

also have we talked enough about minnie I THINK WE NEED TO TALK ABOUT MINNIE--

[worstloki]

Loki surveilling the skyline of New York from the top of Stark Tower and clocking that his favorite paired set of buildings are gone. sad