#i love character comparisons

[shadowbrightshine]

House. In the middle of our house. In the middle of our house, in the middle is a never ending Labyrinth!

House. Oh in the middle of this house, in the middle of our house, in the middle is a ne-verr endinngg Labyrrrintthh!

House? Is it black as night between the stars that all burned out?

House. Or is it yellow in a box that changes stealing your life without a doubt?

Ohh house... in the middle of our house. In the middle of our house. In the middle of our home and lives is a changing hallway!

Climb the stairs and don't fall down or you might fall forever! (Or you'll die why don't you try- and find out?)

Run the maze that tears you away from life with a pointless endeavor! (Tick tock Teddy hope you're ready- don't breakdown or pout!)

You- don't- know- what's- really going onnnn

It changes. It changes. Changes like the dusk and dawn!

Where are we? That's up to me~ the one writing the song!

Two very different people, or are they really so much at all?

Teddy bear and and Johnny Truant both had quite the fall!

Not literally that's a different chapter... but we'll fall soon after!

So when you wander mazes late at night. Or the darkness more pitch than any 12 am could be?

Think about the two poor bastards, one spacial and one stuck with me~

House. In the middle of our house. In the middle of our house. In the middle is my own... de- sign.

(I've been thinking about Johnny Truant and my love for HOL, as well as our good old Ted Spankofski. And so I wrote this poem song. I have no clue how to tell you how to sing it. But I hope you like it! Not gonna tag tinky but its kinda from his perspective?)

[cozylittleartblog]

it is.... a mystery

[divineandmajesticinone]

4 MINUTES (2024) I 1.01 "I'm sorry. My dad wants me to go home now. For dinner."

[jsheios]

doodle

[astrowarr]

“How d’you care so little?” Joel fumes, eyes ablaze as he paces around the shattered glass and splintered wood of his car. It's pretty well decimated, and he's been growling and frothing about it in Gem's ear for an hour now. 

She prods testily at the soft, upturned earth carefully covering their pitfall. “It's not that I don't care,” she huffs, jumping back when the dirt crumbles a little under the toe of her boot. She glances up at Joel, who is practically shaking with rage. He can't keep his eyes off the dumb car. “You know, you really could've fixed it by now.”

Beat of silence. Then, pouting and everything, he grumbles feebly, “Shut up, Gem.” 

There's no heat behind it. If anything, her words seemed to have knocked the wind from his sails of war; he's slumped against the car now, arms crossed as he glares to the side dramatically. God, he sure does put on a show, she thinks with an overwhelming wave of affection. 

It's not that Gem doesn't care. But she can't get this feeling from the four mangrove walls of her stupid barn. She can't even get it from winning. So they can burn down everything she owns, take every last life she has to spare. In the end, none of that is tangible. None of that is what matters. This is a game, and games are meant to be played. That’s what counts for her. Why should she take issue if the universe works as it was so lovingly intended to? 

All she wants to leave behind is a trail of blood and ruin as she puts up a fight. She wants to leave her mark on this world and all the people it holds. She wants to make it hurt, once she's allowed to. She wants to play the game well, exactly how she was made to play it. She cares about that. 

Gem cares, too, about the love she dredges up along the way. She thinks of her hands set to the backdrop of a blood-caked cloak, of long brown hair curling over her fingers as they dig in tight. She thinks of the sharp edge of her sword pressed against pale skin, and the thud of knees hitting the ground. All of that meant something. It still does, she believes, in certain ways. 

“I care,” she says, feeling oddly self-conscious. Maybe it's because she knows Joel now: he can't stop caring. It explodes from every pore in his body, an inescapable curse. It's been his undoing, or so she's heard; he's easy to anger, but if you ask her, he's mostly just… easy to love.

It’s this fact that has her saying quietly, “Just… I gotta pick and choose, you know?”

She's not like Joel. There's only so much room in Gem's chest, and it's permanently occupied with a bleeding, open wound. It takes up a lot of her as she skirts around it, giving its raw, frayed edges a wide berth. Joel has an infected hole in his heart too, but his preferred method of dealing with it is tearing it wider with his bare hands.

“Yeah,” Joel drawls absently, scratching his cheek. “Never been quite good at that, I reckon.”

Gem gets that. It must be hard, holding everything so tight that it rips you apart. The thought of losing that much agency has a venomous, stinging feeling crawling down the center of her back. But… 

“You're doing it right now,” she points out, gesturing vaguely at his poor car. “You could've gone on a rampage, if you wanted.”

He scoffs. “Trust me, I wanted."

“You didn't though.”

Joel blinks. “Guess I didn't.” The answer is simple, but leaden with something that has branches so complex, it nearly consumes his words entirely. Gem can't name the something; she lacks the history she'd need to do so. Even so, his face is remarkably… light? That's a word for it. Maybe he's finally cut the infection from his own wound.

She hums in lieu of response, turning her gaze back to the trap. Whatever is draped over Joel's mind, she hopes it doesn't render him too docile. The game stops for nothing, and it deserves to be played to its fullest, Gem thinks, no matter what's left standing come judgement day. 

[poorly-drawn-mdzs]

Gaslighter? I hardly know her!

[First] Prev <–-> Next

[nattikay]

OC lineup! All the characters that currently exist in this "story"

[goreroll]

This shit hasn't been out of my head for 2 years

I BEG TELL ME THAT I AM NOT THE ONLY ONE WHO NOTICED THIS EXTERNAL SIMILARITY, I'M ALREADY STARTING TO GO CRAZY

[starcurtain]

What do you think about Sunday and Aventurine? and their interaction in 2.1, I know Sunday did what he had to do but I just have a strong dislike for him ever since. He is an interesting character though.

I mentioned on a previous ask that I wanted to talk about narrative foils/character parallels, and that ask mentioned Aventurine being similar to Robin and a little to Sunday. But I thought I'd combine that character foils idea with this post about Sunday because...

Aventurine and Sunday are Near Perfect Character Parallels

(Also sorry to Youtuber Fayato who I screencapped this image from; I literally couldn't find a single other good image of Aventurine and Sunday in the same frame!)

In media, the concept of the narrative foil refers to a character who contrasts another character; by setting the two characters and their plots side by side, the audience is better able to understand the traits of the central character.

And by setting two surprisingly similar characters in opposition to each other, it becomes very clear how even those facing similar circumstances can take diametrically opposed paths in life.

First, let's start with the basics:

Aventurine and Sunday are both characters whose real fathers were never in the picture, and who lost their mothers right in front of their eyes to traumatizing events.

They both experienced the violent deaths ("death" in Sunday's case) of their sisters.

They both were "rescued" by people who intended to use them by growing them ("grooming them" in Sunday's case) into a figure of authority.

They were both told they were "chosen ones" growing up. And yet ultimately this status as the chosen one is in doubt: Aventurine isn't sure if his family's faith is real, while Gopher Wood tells Sunday that Penacony's chosen should have been Robin all along.

They both became self-sacrificial, Aventurine through his obvious willingness to throw his life away, and Sunday through his plan to remain outside the sweet dream to be its keeper while everyone else got to live in "paradise."

They both are trapped by their situations, Sunday by his inability to leave the cage, Aventurine by his inability to accept the life he isn't able to throw away.

They both became the "villain" of their respective patches and both faced "death."

Personality-wise, they both strongly favor being in control, to the point that their scene together is an aggressive power struggle over each other.

This is how the "future" Aventurine describes himself:

Does it sound familiar? It should, since that's exactly how people describe Sunday.

But they also both prioritize their families, and they are equally altruistic at the core while seemingly self-centered on the exterior.

They both, of course, have the blessing of an aeon.

And here's where I'm going to take a massive tangent, but it's important: I do tend to be among those who think there is at least some connection between Ena, the Order, and Gaiathra.

I've heard all sorts of reasons that they can't be two different concepts for the same being, from the whole "Gaiathra is a goddess of trickery and that's not related to order" to the whole "the Order's followers worship with song while Gaiathra's followers specifically don't," but I think something that has been missing from the discussion of Ena and Gaiathra's possible connection is that "Order" as a concept has entirely different definitions depending on which cultural context you approach it from.

The most mainstream modern concept of "Order" is something that is imposed: A power from on high descends to quell the chaos of the mortal world, to "bring order" through guidance to humanity. This is very Abrahamic, very modern Christian, and that is reflected in the imagery surrounding Sunday. Sunday, as a manifestation of the Order's power, believes he will be able to uplift Penacony from the mire, free people from their unfulfilled desires and confusion, and bring about perpetual peace by enforcing his understanding of harmony on the populace trapped in the dream.

Sunday's Order is not the natural state of the world but something that must be carefully cultivated and maintained, a constant battle against the chaotic forces of life and its temptations. This type of "Order" promises an idyllic future, but at the cost of the present freedom of everyone who submits to the law, who must surrender their original fate for a structured sweet dream.

We understand this concept of "Order" because at its core, it's the one that modern societies largely embrace--ruling authorities establish laws that must be followed at all costs, even when they risk the freedoms of individuals, because they ultimately (supposedly) support a greater good. A majority of society adheres to the laws handed down from on-high, and life functions relatively stably.

Yet this conception of "Order" is predicated on the idea that the course of people's lives is decided first and foremost by the people themselves--which is why they can make mistakes, go astray, and need to be shepherded in the first place.

Without imposing structure through authoritarian power, this type of "Order" will crumble away in an instant, because this view assumes that rightness can only created by humanity, and that chaos--not order--is the natural state of existence.

Ena, who holds worlds tidily contained in her hands, who is tangled in puppet strings, who wears a hood like a nun or the Virgin Mary, and who is haloed like a Christian angel, clearly represents this definition of "Order" to a T.

But... this is not how humanity has always defined "Order."

It was not always taken for granted that people had the power of self-determination, and in fact, for many centuries and across many cultures, the concept of "the order of the world" was tied directly to the concept of destiny. Whether a volcano would explode and destroy your entire civilization, whether floods would swallow your city, whether the crops would grow or fail all depended on the pre-made decisions of supernatural powers, who were in turn often personified concepts of the natural world itself. What happened to any given individual, what twists and turns their life would take, whether they would achieve their dreams or not--all these aspects were also predetermined, decided not by the actions of the individual but by fate itself.

Thus, the world and everything in it has a natural order. Things may seem chaotic, they may even seem unbelievably horrible, but all events in existence unfold as they should. We may not understand why, but everything occurs in due course, woven into an endlessly repeating pattern on the fates' loom--spring becomes summer, life becomes death, disasters happen and are healed from, children are born and grow old. If it is your fate to die, you will. If it is your fate to fight and live, you will. To reject this natural order would be as futile as telling the sun not to rise.

The words "order" and "ordained" have the same origin.

Enter Gaiathra. First of all, she is the Star Rail equivalent of a pagan goddess--her worship exists separate of the confirmed existence of aeons, by an uncontacted and non-space-faring race. Even her description, being triple-eyed, evokes other "triple goddess" figures across history, both in modern interpretations (the triple goddess of Neopaganism) and in ancient mythologies (the three fates of Greece, the Tridevi of Hindu culture, etc.).

She is strongly associated with the natural world: The planet of Sigonia is said to be a manifestation of her very body, the rain is her blessing and acknowledgment, and she goes through a yearly cycle of death and rebirth (calling the cycle of the seasons to mind). She is said to be a goddess of both fertility and travel (likely in the sense of nomadic wandering by the time Aventurine was born). Avgin worship of the goddess manifests in the form of sacrificial cyclic knots.

Which might call to mind another pagan culture well-known for their cyclic knots: the Celts, whose famous Celtic knots represent cycles of eternity, unity, and the interconnected nature of life itself.

The Avgin prayer to Gaiathra focuses on elements of a person's life that all might be determined by "fate"--will your blood keep flowing, will your journey be peaceful, will your schemes stay hidden? It hopes that things will be as they should, that the future ahead of you is predetermined to be a good one, and that the cycle of life decided by the goddess will be in one's favor.

But while the Avgin hope for good things, they also strongly espouse embracing the reality of one's life, with suffering and hardships seen as manifestations of fate that should be accepted as facts of life. It is said that any society blessed by the Order ultimately falls--is it not the natural fate of all societies to one day fall? For mankind to return to the dust and be reborn anew?

Whatever will be, will be.

There is a reason--a logic--an order--to everything that happens.

I hope you can see where I'm going with this: While Sunday and Ena represent the concept of "Order" as a result of self-determination, a power "the strong" can wield to overcome the inherent chaos of reality, Aventurine and Gaiathra represent a different, older concept of "Order" (I can't help but see the entirely separate eye lurking behind Ena?): existence is not inherently chaotic but instead is foreordained, following endless orderly cycles life and death, weal and woe, rise and fall.

PHEW! Okay, so all of that to say Aventurine and Sunday make perfect parallels through a mirror darkly, even when it comes to the blessings they've been granted: One imposes order from on high; one continually rolls the dice despite knowing the inevitable outcome.

Both of their stories are entirely intertwined with the concept of fate, whether by opposing it...

Or accepting it.

And even at the end of Penacony, we leave both Sunday and Aventurine in precarious positions. Aventurine, while ostensibly "victorious," faces another roll of the dice immediately after Penacony, when his future as a Stoneheart is called into question. Yet "fate" comes through for him again--his bet, as always, comes true. His future isn't in question--it is the question itself. What's next? He finally wants to live to find out.

Sunday, meanwhile, ends Penacony's arc in a truly difficult place. He's virtually exiled from the only home he's ever known, a flightless bird tossed out of his cage into cold hard reality. He has to find an entirely new way forward and may even be forced to reckon with an entirely new definition of "Order" itself.

The parallels between these two characters are entirely intentional and very, very blatant, and I am exceedingly interested in seeing whether their paths diverge or continue to reflect similar fates moving forward.

So uhhh... that's what I think of Sunday? 😂

[liketheinferno2]

These aren't full ref sheets but I was trying to take some clear pictures of Hephaistos for later art reasons and then got side tracked doing all of the Pandaemonium bosses so here they are in order. Also for anyone following who doesn't play FFXIV and knows it as the catgirl game, enjoy this instead? VISUAL SPOILERS obviously.

Asphodelos

Warder of the Condemned: Erichthonios

Mythic Creation: The Hippokampos

Mythic Creation: The Phoinix

(+ familiars)

Hemitheos: Hesperos

(+ sexy fanfic redesign by Nemjiji)

To be brutally honest I never really liked either of these designs compared to every other Hemitheos we get, I think the really brutal black and red of the Phoinix is weakened by gold accents, but I still am always down for gay vampire surf rock. The Savage version kind of looks like Ultimalius as well if you've played XVI.

Abyssos

Mythic Creation: Proto-Carbuncle

Hrgrhhgrhrgrh

Hemitheos: Hegemone

^ My favourite detail on this is you can see the parasite's outlines in her robes and in her legs, then right through the eye holes on the mask to wrap around the torso. I'm convinced this version of Hegemone is functionally an ant being piloted by a cordyceps infection.

Hemitheos: Agdistis

She's very big

Perfect Imperfection: Hephaistos

I'm probably biased by Abyssos being the first raid I was there for day of release but these really are all fantastic. It's also when the story abandons all pretense of not being (at least partly) about family abuse and is loudly using the body horror and shackle motifs to talk about that. It's great. Hephaistos specifically is constantly bulging and twisting in and out of different forms like a highly unstable chimera and the more I look at these the more I notice parts that just should not be there. He's giving everything.

As for the Savage design It's a hard thing to rate as such but my favourite part is the veins that grow down from the eyeholes in his mask like bloody tears.

Thanks Abyssos I love you

Anabaseios

Mythic Creation: Kokytos

Dæmoniac Dungeon: Pandæmonium

It's really hard to communicate how huge this nasty tumor crab I zoomed out as far as physically possible in the game engine and subsequently ended up at a goofy angle staring up his nose.

Ephemeral Justice: Themis

Best boy. The double ended lance and second pair of arms are fantastic for this character.

Theos: Athena

In.. almost every final fantasy adventure you're fighting the real villain not at the very end but a little beforehand, the big iconic end boss is often more a metaphorical figure representing everything wrong with that first person's ideals. Athena cut out the middle man and became her own JENOVA.

I do like the moth angel, especially the hollow body full of dubious orbs, but with her eyes closed all the time it gives off the impression of this not even being the true body but some kind of anglerfish lure in the shape of a fairy... which might be true because this exists:

I really really love her twitchy anemone feelers and how the moth body ends up grafted to the rest of it waist down.

Anyway there's the gang I did not specifically intend for this to be design reviews I just wanted to have clear photos because when you actually see them in game there's other things to focus on. In hindsight I can appreciate more the theming of each tier and then the series as a whole, but my only (extremely obvious) observation for now is that every character Athena had a personal hold over is decorated in chains somehow and so I should have seen the Hegemone thing coming lmao. Heph and Aggy are still my favourites I don't think that's changing any time soon. I'm also noticing that Anabaseios is now just old enough for random DF parties to fuck up severely and I find that fun so I'm going to go fight the crab mansion now.

[yippee-optimistically]

mods r asleep post humanized 4x

finished catching up on tpot it was peakkkkkk but i am so scared of one. also working on little clay and felt dolls of 4 x and 2

[drama-glob]

Alex Brightman just voices such adorable, precious guys that must be protected at all costs. ^_^<3<3<3

I love that Fizz and Pent both like to use their hands as part of their cute expressions of joy. ^_^<3<3<3

[tweedfrog]

Kicking an even bigger hornets nest than i did with that Viserys post but I think the reason I'm not as angry as other people seem to be with HOTDs adaptational choices and can kind of just enjoy the show (although i have my criticisms) is that after reading and rereading the books i think the adaptation is magnifying underlying weaknesses already present in GRRMs writing.

Like "oh why does the show make Criston Cole half dornish and then cast him as an angry incel conservative". bro. The books have the Arianne Martell nipple chapter. The book with the quote "mens lives have meaning not their deaths" killed off the second most important woman in the country 15 years ago and 80 characters have reflected on how annoying and sickly she was but it was kinda sad that she died I guess. We get like 4 sentences where we find out her brothers cared about her and she laughed at a fart joke.

In all fairness to the HOTD writers room they are nawt adapting flawless source material.

[hanhwrites]

sometimes i sit here and think 'yeah i'm a pretty normal person'. and then i remember that i am fully preparing myself to write a 20-ish page academic paper on how enjolras and grantaire directly relate to achilles and patroclus and that love and passion conquers fear and cynicism

[potatoes-tomatoes]

Instagram ask doodle— someone requested Lola as Barbie!

I think of the deleted exchange she had with lebron in SJ2, where she says “Looney is who [Bugs] is and what he does. I’m not like that.” and I mourn the executive meddling. It was supposed to be satirical, critical and maybe even a lil more cynical and all Looney… but too many mandated rewrites left a sour taste in my mouth, especially when it comes to Lola. She doesn’t really have a place in the world of LT outside of being Bugs’ arm candy and “Basketball”…..Sj2 coulda had that conversation. poor gal

[jilyandbambi]

we talk a lot about Shauna being ruthless and violent and resentful, and not to say she isn't those things but also--

Shauna, who risks burning alive to save Van.

Shauna, who pauses to comfort the reunited Tai & Van after the latter is found safe

Shauna, who consoles and looks after Javi all through season 1 while his older brother is busy being misogynistic and getting fucked

Shauna, who takes on the job of butcher despite not necessarily wanting or enjoying it and never complains or slacks off even when the task becomes traumatizing

Shauna, who tries to get Jackie to eat, to keep going, when everyone else has given up on her by that point.

Shauna, who has to be goaded, essentially given permission before she becomes violent

Shauna, who loved her baby in spite of the stress her pregnancy added to an already precarious situation, who spoke to him and cradled him and futily tried to keep him alive, who buried him away from the others to keep him safe in death

Shauna, who kept her daughter's favorite childhood toy in her car long after she'd outgrown it, to always keep a piece of her close by

Shauna, who sees Tai struggling and invites her to stay over, so that Tai won't be afraid to sleep

Shauna, who goes along with Jeff's boring, milqtoast furniture salesman fantasies because while she doesn't love him the way she did Jackie, she does care about him and wants to make him happy

Shauna, who was the only one of the group to show up to Misty's how to get away with murder seminar and thank Misty for going to the trouble

Shauna, who is soft-spoken where Jackie is loud, conciliatory where Jackie is pushy, helpful where Jackie is lackadaisical, proactive where Jackie sulks.

Shauna, who's not a perfect friend or mother or wife but who's still quietly one of the nicest, most empathetic of the Yellowjackets and yet because she got drafted into being the group's butcher, wrote bitchy journal entries, and did one fucked up thing behind her best friend's back (which she immediately regretted and agonized over) gets rebranded by fandom as caustic, overly-snarky and quick tempered when it takes her 10 episodes to get pissed off enough to raise her voice