#i mean canon wise this is very much used

[omarwolaeth]

thinking 'bout how the lads interact with what the bracelets represent, especially in their decks

[arolesbianism]

Having a rain world oc moment. Dysfunctional family of the year award, they were so toxic that one of them found a way to kill themselves in a world where that was supposed to be physically impossible

[otaku553]

Ok so I have been stewing this crossover au in my brain nonstop for the past few days and. I am nothing if not committed to the bit, so. Volume cover redraws :)

Here are the originals:

If you want to read more about my one piece spy x family crossover, keep reading!

So the idea is simple! Crossover reincarnation au where ASL is reborn in Spy x Family. They’re each born separately and none of them are born with the same names as their previous lives, and with no way of finding each other, they each find their own thing to do in the world.

Sabo, too used to the dangers of being a spy, eventually finds a cause to devote himself to again, in preventing war from engulfing the country he was reborn in. Ace, drawn to fire as he was in his previous life, used arson as a means to rob rich people for sustenance and survival, and is eventually scouted and hired by Garden as a fire specialist and assassin. And Luffy, though born in perhaps the poorest condition, grows up happily and takes whatever part time jobs he wants to do.

The thing about Sabo is that, as much as he seems like a young man of good repute and high standing within society, everyone in WISE knows that he is a massive nuisance. Nobody knew in the beginning how a child less than half the age of most of their veteran agents could have the same skills and knowledge in their profession. Sabo was— and still is— hyper competent, and by the time WISE figured out just how much of a menace to society he was, it was too late.

Ace forgot for the first few years of his new life that he wasn’t made of fire, and consequently, received multiple accidental burns. This did not deter him, however, from growing up to be a very skilled arsonist, well-practiced in every which way to start a dumpster fire or house fire. As a teenage he would use this often to draw attention as he robbed rich people blind. When he was caught, he was given an ultimatum by Garden: join them and receive payment for starting fires and causing problems under contract, or face the government and authorities for his crimes. Begrudgingly, he joined Garden, but eventually comes to appreciate that he can make substantial money in his element.

Luffy is Luffy. No telepathy or experimentation, no fancy schools, no gimmicks or secret identities. But he has still lived an extremely colorful life in this world, full of fascinating and kind individuals who have helped him grow up healthy and relatively happy. He goes where he is free, and he takes whatever part time jobs he wants in order to make the minimum he needs to survive.

Ace and Sabo find each other first, in their late teens, and neither of them realize that the other remembers their previous life, but both refuse to separate. (Sabo thinks Ace doesn’t remember, because Ace didn’t recognize him. Ace never saw Sabo grow up past 10, however, so he doesn’t recognize older Sabo immediately. By the time he does realize who exactly Sabo is, Sabo has backtracked and pretends to know Ace from a dream, or from somewhere else.)

Sabo’s attachment to Ace, predictably, causes problems between Sabo and WISE, but by then, Sabo is indispensable to the organization, and they make an exception for Sabo to be able to remain with Ace, so long as Ace never finds out what Sabo’s actual job is. Ace, on the other hand, hides his job because he doesn’t want his brother, who he has just found and who does not know Ace well enough yet, to know that he makes a living from killing people.

And they find Luffy sometime afterwards, prior to the beginning of the Spy x Family canon. Luffy figures out, not long after moving in with his brothers, both of his brothers’ secret occupations and the fact that both of them remember their past memories. He thinks it is common knowledge, however, and so he never brings it up.

[xxsabitoxx]

My Personal Hashira 🍆 Size Ranking

Warning: if it ain’t obvious, this contains smut lmao — therefore Muichiro is 100% not included in this. We’re talking about 🍆, length, girth, all the fun stuff. So if PPs make you uncomfortable keep on scrolling babes </3

A/N: these low key stress me out cause I feel like people can get pretty defensive over these types of Headcanons. Especially if my own thought differs from yours. Regardless, these are just my personal takes/HCs. My word is not law so do not be upset if my HC does not match yours / don’t feel the need to change how you HC these things to fit my POV. This is why I refrain from describing size in my fics, I want y’all to imagine it in a way that you like lololol

Lastly, idgaf if you see some of this as unrealistic, these are fake, fictional drawings of men, if I wanna give Gyomei a 44ft long 🍆, I can and will (I didn’t but you get the point.) Anyways enjoy my personal thoughts on this matter

1. Himejima Gyomei

Is anyone fucking shocked that this 7’2 (220cm) man is packing the biggest schlong among the male Hashira?

I mean let’s be logical real quick, his dick is as big as the rest of him. This man’s dick is dragging on the floor.

Soft: 11.2

Hard: 12.3

Call it unrealistic idgaf this man is LONG

Girthy too, he’s fucking beefy all over

This man’s dick will feel like he’s shoving his wrist up in there ong bro

It curves downward slightly when hard, I mean shit that thing is heavy, it stands no chance against gravity

2. Uzui Tengen

Again, the man is 6’6 (198cm).

Height comes into play when it comes to our two tank Hashira

Therefore none of you should be surprised that they are the top two

Soft: 9

Hard: 10.3

Your guts are getting rearranged, he knows the length he has but often underestimates how far he can go…

He’s long but doesn’t have a crazy girth to him, which thank fuck it doesn’t take as much prep to take him

He’s pretty straight when hard and manages to flex it and keep it up (he totally does dick tricks & you can’t convince me otherwise)

3. Tomioka Giyu

I’m standing by my “big dick Giyu” head canon. I just know this man is packing a weapon down there

What’s crazy is he wasn’t even aware of how good he had it until he overheard other corps members chatting

Soft: 6.3

Hard: 7.4

He’s got a decent girth and as weird as it may sound, it’s pretty, like really pretty to look at

When hard, it curves upwards and stands at attention which makes him a bit embarrassed

He knows how to use it, because of that he’s pretty confident in that aspect which is wild for him

He will also rearrange your guts unintentionally (or intentionally hehe)

4. Shinazugawa Sanemi

I don’t wanna hear one PEEP from any of you that Sanemi should be above Giyu.

My man is forth on the list but that ain’t mean shit, he’s still got a lot going on down there

Soft: 6

Hard: 7

He’s girthy, will tear you up girth, needs thirty minutes of prep minimum because of how wildly he fucks girth

He sticks straight out, no curve in sight and honestly looks like he defies gravity.

He’s like Tengen, can do dick tricks. But unlike Tengen he doesn’t make that known / show you lmao.

He’ll break your back, he may even hurt you (fully unintentional) if he gets too into it. That thing is fr a weapon

5. Rengoku Kyojuro

He’s fifth on the list but trust me he’s not lacking

He’s second smallest, but he’s not small, if you get what I mean. It’s kinda like how we rank the Hashira weakest to strongest but regardless they are still the strongest in the corps… that make sense?

Soft: 5.8

Hard: 6.8

He curves upwards, very prominent veins running along his shaft (heh, shaft)

Girth wise, he’s about normal. Not too intimidating but def offers you a good stretch, forgoing prep is real bold tbh

He’s a quick learner so he quickly masters how to fuck you

He will strive to go as far as your body will let him, so expect to be bruised / sore

6. Iguro Obanai

My king. He may be “smallest” among the Hashira men, but that doesn’t mean shit.

He’s not self conscious of his dick, he knows how to use it. He’s also pretty content with it’s size

Soft: 5.6

Hard: 6.5

See? You can’t come for me cause he ain’t even SMALL

Obanai’s dick is pretty, too. It curves upwards slightly, since he’s pretty pale, his veins are prominent

He’s got an average girth, he doesn’t need to prep you forever to get you ready. Which works in his favor cause he likes to “punish” you with no prep & going in raw

He can and will abuse your cunt, he’s not satisfied until you genuinely can’t walk without limping for a few days

[flawseer]

#18 - "Fire"

Smaugust 2024

The last few submissions have been mostly visual, but today I want to do something more text-based. I'm always looking for opportunities to ramble ad nauseam about my headcanons and thoughts, but am usually hesitant if I don't think I can make a subject interesting or particularly insightful.

A few months back I was playing with the thought of publishing a speculative analysis on Pyrrhian dragon breath weapons, and how they might differ between tribes. I got up to the conceptualization stage, but then @sidyashchiy-na-plakhe came out with a better and more put-together version of what I was thinking about and touched on some similar points, so I filed those plans away to not step on any toes. If you're enjoying this type of deliberation, I recommend that you check out his take, as it is very thoughtfully put together with some cool visuals.

But, seeing as I have no other ideas for this prompt, and since it's been a while since then, I'm going to air out my scrapped draft here. I guess this is a mixture between canon information and headcanons, with a bias toward the latter.

General Information

Each of the seven Pyrrhian tribes is capable of using a kind of orally-discharged means of attack. For the purpose of this deliberation, I am going to refer to all of these as "breath weapons", even though not all of them are activated via exhalation. It will make things easier to talk about.

There are three general factors to each type of breath weapon, those being potency, range, and start-up time. In the case of fire breath--the most ubiquitous type of breath weapon on the continent--these would roughly correlate to the temperature of the flames, how far they can travel from the source while maintaining their shape and intensity, and for how long the fire must be stoked inside of the user before it can be expelled.

How developed these factors are differs for every dragon, but the two biggest determining modifiers are constitution and age. Being physically fit will make your breath weapon more efficient--and thus stronger--because you have better control over your breathing after exertion. As a dragon advances in age, the three factors all increase proportionally. A Mudwing hatchling can produce a puff of flame very quickly, but it will barely heat up the surrounding air. An elder meanwhile might take several minutes to get their fire going, but when they do, the result will be fearsome and devastating.

Fire is the most common element on the continent, with four of the seven tribes being able to command it. I will go through those first and then follow up with the other variants .

Nightwing fire is a dark purple in color, due to a slight variation in the gas component that fuels the flames.

The flames have no particularly outstanding properties strength-wise, but they emit comparatively little light, meaning they don't stand out as much against the night sky. This makes them ideal for low-profile ambushing, but very unsuitable as signal flares.

If a Nightwing ignites an object, the flames will gradually lose this characteristic as they will begin to consume the air around them and turn into ordinary, orange fire.

Nightwing flames are sometimes colloquially referred to as "Moonfire".

Sandwing fire is, on average, the least powerful among all the fire-breathing dragons. In terms of potency and range, flames emitted by a Sandwing of 20 years will be roughly equivalent to those of a twelve-year-old from the other fire-breathing tribes.

Their unique advantage is that Sandwings can produce these flames extremely quickly, usually within seconds. If readying fire takes a dragon 30 seconds, an equivalent Sandwing can do it in 5.

While for most other dragons the use of their breath weapon is a deliberate and calculated affair, the severely reduced start-up time allows Sandwings to "shoot from the hip" without having to commit to the action, making them less predictable in combat.

A popular Sandwing combat technique is to open a fight by blowing a quick plume of weak fire into an opponent's face and then using the resulting distraction to strike with their venomous tails.

Skywings command the strongest and purest variation of fire among all tribes. Their flames come out very straight and can maintain their shape over vast distances.

They can "cook" their fire by holding it inside themselves for longer than necessary. While this becomes unpleasant or even painful if done for long, it will increase the temperature and purity of the resulting flames far beyond what any of the other tribes are capable of.

Flames emitted after doing this for long enough will come out with an intense blue color that can cut through stone.

For dragons afflicted with firescales, all of the fire they breathe will be like this, as their bodies are already channeling flames at all times to fuel the burning scales.

Because Skywing fire is so intense, it is at times difficult to control. Skywings who become emotional will often start smoking from their nostrils involuntarily.

Mudwing fire, sometimes referred to as "moody fire", is very temperamental. Its strength will vary widely based on a number of different factors, not all of them fully understood, making it appear random at times.

The most commonly understood factor that influences a Mudwing's fire is the ambient temperature. Mudwings will struggle to produce flames in environments that are too cold (close to freezing weather, very cold water, etc.). This can be partially mitigated by ingesting hot stews, soups, or beverages before fire usage.

A factor that isn't as well documented is that the Mudwing's fire breath and their uncanny healing factor are fueled by the same source. This means a Mudwing's fire will be strongest when they are healthy, and begin to diminish if they become injured, as their body will divert resources away from the breath weapon to prioritize keeping itself alive, functioning, and mobile.

Mudwings hatched from blood eggs have a tendency to develop poor breath weapons, as their super-charged healing factor--while potent enough to outpace most damage sustained from fire--is even more resource-hungry than that of a regular Mudwing.

Icewings don't breathe fire. Instead, they are able to exhale a stream of frost magic. There is nothing I can think of to scientifically explain all the properties of frostbreath as they are presented in canon, especially with regards to Queen Battlewinner. Ice that makes you lava-proof? Nah, this is straight-up magic. All Icewings are born with a small piece of magic and this is how it expresses itself.

Contrary to popular belief, frostbreath is not stronger than firebreath. In terms of general characteristics, Icewings and Nightwings are actually roughly equivalent.

What makes frostbreath more overtly lethal than fire breath is the magical component. When frostbreath comes in contact with living tissue, it will form ice crystals on and inside the surface. All flesh in contact with these crystals will gradually turn necrotic. This process is very painful.

The crystals are very persistent and it requires sustained exposure to intense heat to melt them. The best way to accomplish this is via prolonged bath in warm water (close to boiling). This method, if applied quickly after the injury, will usually result in recovery after a few hours of bathing.

Getting hit while in a situation with no access to warm water is very dangerous and potentially lethal. If treatment does not begin soon after, the crystals will begin to spread, killing more tissue and making recovery increasingly less likely, especially once the injury spreads to internal organs.

It is not uncommon for soldiers who get hit by frost breath and are caught out in the open with no treatment options to cut off the afflicted body part to minimize tissue loss.

Icewings are more resistant to frostbreath than other dragons, but not fully immune. They can succumb to the same injuries.

If an Icewing suffers an intense burn, particularly in and around the face, they become completely unable to exhale frost until the burn begins to heal.

Rainwings do not have a breath weapon. Instead, they produce an acidic venom within their bodies, which can be administered through biting, or launched at targets through a pair of collapsible, hollow fangs.

The gland that produces this venom needs sunlight to develop properly. Once the Rainwing has been exposed to sufficient sunlight, venom production will begin, and may even continue without further exposure, but it is recommended to sunbathe for at least 5 hours a week to keep the gland healthy and the venom potent.

The venom is strongly corrosive and able to dissolve most organic materials like wood, plant matter, and flesh. It is potent enough that, if it enters another creature's blood stream directly (via bite, an open wound, or the eyes), that creature will die within seconds.

The venom's lethality will rapidly decrease once it separates from the user. If it hits surface tissue and has to burn through layers flesh, it will usually lose too much of its toxicity before it reaches the blood stream (though it will still function as acid and be excruciatingly painful).

Rainwings are immune to their own venom, but not the venom of other Rainwings. Mixing a sample of venom with the venom of a close blood relative will cancel out the destructive properties of both.

Seawings are amphibious dragons who prefer to live in water, but can also go on land and exist there in relative comfort for a decent while. Their body contains an organ that stores water, from which it periodically draws to keep the Seawing's skin from drying out.

When under duress, a Seawing can forcefully expel the contents of this organ through their mouth as a pressurized jet of water. While this is not very destructive, it can momentarily stun aggressors and allow the Seawing to retreat to the safety of a nearby lake or river.

If the blast is held inside and charged up similar to the fire breath of other tribes, the Seawing is able to draw from their body heat to increase the water's temperature to scalding degrees.

[indigovigilance]

A Nightingale Sang in 1941

This is my inaugural meta (yay!) Eventually I will learn how to add gifs and whatnot to make this more interesting but today, I give you a wall of text.

I need to give credit where credit is due to three existing metas that I’m drawing upon heavily here:

A speculative continuation of the 1941 story, which includes an almost-kiss while “A Nightingale Sang in Berkeley Square” plays on the gramophone,

A behavioral analysis of Aziraphale during the S2E6 finale (will find ref later if possible)

A meta-analysis of the way in which “coffee” is used as a symbolic equivalent for liberty and freedom of choice, a running theme of this show (will find ref later if possible)

I’m going to expand upon meta #2 and #3 and explain why I think there is are very compelling reasons to believe that #1 will be canonized.

At the end of S1E6, an instrumental version of “A Nightingale Sang in Berkeley Square” plays diegetically, but the lyrical version plays non-diegetically over the credits (we hear it but the protagonists don’t). So we the audience could plausibly say “that’s their song,” but as of the close of S1, we have no reason to believe that they know that it’s their song. Even Aziraphale’s S1E3 (1967) suggestion that they dine at the Ritz could be a reference that only he gets, or just a fancy restaurant suggestion.

So when I was watching S2E6 and Crowley said “no nightingales,” I was jarred. What does that even mean? We know it has something to do with dining at the Ritz, but what does it mean to them? The reference only works if they know it’s their song. But we’ve only ever seen them hear it together after the averted apocalypse; if this is the direct reference that Crowley is making, it leaves our 1967 reference contextless and twisting in the wind.

If we assume that there was a romantic story beat in 1941, wherein “A Nightingale Sang in Berkeley Square” (which, incidentally, was written in 1939 and saw the height of its popularity at the end of 1940, so timeline-wise it’s spot-on) became their song, then a lot of events get renewed interpretations through this lens, in a way that makes this story much more cohesive and the “no nightingales” comment even more soul-shattering than it already was.

Let’s presume that immediately after this became their song and just as they were discovering their romantic potential, they were forced back into hiding. Forever after, references to the song serve as a macro for “I’d like to pick up where we left off that night.”

The 1967 suggestion of “dining at the Ritz” now becomes a directly romantic suggestion. It also gives better context for “you go too fast for me.”

Actually going to the Ritz in 2019 is not simply a celebration or even a callback to 1967, it’s a callback to their almost-romance of 1941.

When Crowley says “no nightingales” in 2023, this isn’t to say “we’re not going to eat together at the Ritz anymore.” It’s saying that the romance that began that night, the precious, fragile romance, is over.

I’ll give you a moment to dry your eyes before we move on to metas #2 and #3.

In light that this is what has been going on - they know they want a romantic relationship but have gotten so used to hiding and denying it that they are more comfortable keeping the status quo static and quo-y then trying to achieve their ideal - a lot of S2 behavior can get a fresh view.

Crowley’s reaction to Nina isn’t a realization that he’s in love - he knew that already. You can only ask someone to run away with you so many times before you are forced to admit some things to yourself. No, he’s realizing that trying to hide it (which was justified by survival), hasn’t been working, but despite failing at being stealth nothing bad has happened. He’s realizing that it may finally be safe to show it.

Crowley’s confession, then, is not a revelation. It’s making the subtext text. He’s not telling Aziraphale anything he didn’t already know. He’s saying it now because he thinks he’s safe to do so. Pin in that.

Lots of people have lots of theories about Aziraphale’s motivations in the S2 finale, which can more or less be divided into 4 camps: the genuinely held belief, the coffee theory, the lie theory, and the mutual trick theory (some version of the body-switching at the end of S1). Let me start by saying that I love all the fans and all their theories and I find their analyses to be insightful. The genuinely held belief theory, while I believe it to be erroneous, has been incredibly conducive to so many wonderful conversations and I love being in a community that has those conversations. But I’m going to explain why I think the lie theory finds the most support in canon.

Re-watch the finale (when you feel like you can) from 35:18 to 36:19 and then from 40:45 to the end, paying very close attention to Aziraphale’s words and his eyes. Michael Sheen is telling us a LOT with his eyes, and in the back half of the finale scene, with pacing.

For 60 seconds of footage, this setup is doing a lot of work. If Neil Gaiman wasn’t doing enough to beat us over the head with how evil the Metatron is, that glare at Crowley at the end with the non-diegetic ominous horns should convey the message. But again, focusing on Aziraphale. He initially refuses to talk to the Metatron; he’s made his position quite clear. There is no hint of regret or wavering; this is not someone who’s aching to return to the fold. The Metatron ignores his refusal and functionally forces him to accept a “cup of coffee.” The coffee isn’t spiked, but it is a metaphor. It is symbolic of choice. The Metatron is going to force Aziraphale to make a choice. Meta #3 does a great job of exploring the idea that a choice between anything and death is never really a choice. Hang onto that thought.

Notice I had you start up again 3 seconds before “The Conversation.” That’s because it’s important to note where the Metatron is right now. He is across the street, staring straight in through those giant windows to where our protagonists are about to have The Conversation. He is watching.

When Aziraphale returns, Crowley begins his “let me talk” riff. Aziraphale ought to be interested in what Crowley has to say, since the preamble is pretty compelling. You’ll notice that Aziraphale quickly turns to the window and back, through which he (but not we) can see the Metatron standing there, watching them. Aziraphale is then doing his best to get Crowley to STFU without raising the suspicion of the Metatron, eventually having to cut him off.

Because unfortunately, Crowley’s entire impetus for speaking up now is that it’s safe to do so. Only Aziraphale knows that they are in very real danger (or at least, Crowley is, but I’ll come back to that).

You might take something from the fact that he’s shaking his head while talking about “incredibly good news,” and seems to self-censor his criticism of Metatron (or more specifically, he takes ownership of any criticism of the Metatron, censoring out Crowley’s role in that, with the emphasis on I in “I might have misjudged him”).

Notice in the flashback that he begins the conversation reasonably relaxed. The Metatron also says a series of things about him that not only are false, but everyone, including the Metatron and Crowley, know are false: Aziraphale is not a leader, he’s a defector; he’s not honest, he lies all the time, in fact this entire season revolved around his one huge lie of hiding Gabriel. Not only does the justification not make sense coming from Metatron, but it shouldn’t make sense that Aziraphale would accept these reasons and it shouldn’t make sense to Crowley either. So is Aziraphale including these details in his recounting to Crowley so that he will get suspicious and figure out the jig? Maybe. Let’s continue.

Immediately upon being offered the job of Supreme Archangel, Aziraphale says “but I don’t want to go back to Heaven.” This is direct evidence against the genuinely held belief theory. If returning to Heaven and making a difference was a genuine motivation, we would have gotten a different response at this moment. But then we get something more.

“Where would I get my coffee?”

This is a beautiful response for a number of reasons; coffee should be trivial compared to the opportunity to be a Supreme Archangel, so it serves to highlight just how little interest Aziraphale has in returning. Taken at face value, it’s the Aziraphale equivalent of “not even at gunpoint.” But remember that coffee is a metaphor for liberty in this universe and this season. So what Aziraphale just said, in the language of Neil Gaiman metaphors, is:

I don’t want to go back to Heaven, I would rather have free will.

What does the Metatron do next?

He brings up Crowley.

Watch Aziraphale’s eyes before and after the mention of Crowley. He goes from confused to eye-flicking panic in the space of two syllables. Aziraphale already understands that his “no” is not being accepted, and that bringing Crowley into it can only possibly serve as a threat.

So the coffee, the choice, is a false choice. No one ever orders death. The Metatron has forced Aziraphale into a situation that looks an awful lot like a choice (it comes in a blue cup, after all) but it isn’t.

We definitely have some reliable narrator problems here. I’m going to presume for purposes of analysis that these cut-outs are accurate but incomplete, and that a more explicit threat about what would happen to Crowley if Aziraphale did not return to Heaven was made.

If we assume that Aziraphale has been made aware of a threat and is trying to hide that from Crowley, the rest of this scene reads very differently. Aziraphale cannot say, “you are in danger but you will be safe if you swear your allegiance to Heaven” or “I have to go, no matter what, and the only way we can be together is if you come with me,” but nonetheless he now has to convince Crowley to do the one thing he ought to know Crowley definitely doesn’t want to do all through subtext. Which we’ve spent an entire season establishing that they can’t communicate well when they are allowed to use their words. Disastrously, this is not a magic trick that Aziraphale can make work when it counts. Their failure to practice good communication means that, right now, when it counts most, they are not going to pull it off.

We see that Aziraphale is very hopeful that Crowley will pick up on his cues and play along. Obviously, he doesn’t.

If the whole riff about Hell being bad guys and Heaven being the side of truth and light is taken as genuine, it discards a massive amount of character development that we’ve witnessed in Job, Edinburgh, etc. (again, to all the genuine belief subscribers, I think it’s a compelling argument but it simply doesn’t account for the evidence). So if it’s not genuine, why say it? Again, to alert Crowley that something is Off, because Crowley should know that Aziraphale doesn’t actually believe that. They saved humanity from Heaven and Hell. They hid Gabriel from Heaven and Hell. Crowley knows that Aziraphale knows that Heaven and Hell are just two sides of the same coin. Notice again that Aziraphale glances out the window while he’s talking up Heaven; he knows the Metatron is watching, he can’t not defend the position of Heaven. I think it’s also worth noting that Aziraphale forcefully glances and gestures off to Crowley’s left (away from the window) when talking about Hell, and then turns his head to Crowley’s right (towards the window) to try to get him to realize that a representative of Heaven is literally standing right over there, just look out the window please dumbass!

When Crowley is asking Aziraphale if he said no, and we see the back of Aziraphale’s head, again we can see him turn his head to glance out the window. This is also when he changes strategies, and admits that Heaven could use a little reform. Because now there’s a problem almost as big as getting caught, which is that he won’t be able to get Crowley to go with him.

Which unfortunately makes the next part of this so much more heartbreaking. Because when Crowley begins his speech about being a team, Aziraphale wants to hear it. He can’t bring himself to shut down Crowley again, even though it could get them both in massive trouble. Notice that he glances out the window again during this, and the look of panic on his face. He begins to shake his head when Crowley mentions that Heaven and Hell are toxic; this can be taken a lot of ways but I’ll argue for the interpretation that he’s trying to get Crowley to STFU and stop saying shit that could get him destroyed.

After Crowley puts on his sunglasses we are in the “back half” and Sheen is doing a lot with phrasing here, specifically pregnant pauses.

“Come with me… to Heaven!”

“We can be together… as angels!”

Based on the pacing decision I am thoroughly convinced that the first half of each of these statements is intended to be the message to Crowley and the second half is always a qualifying statement to satisfy the Metatron.

Unfortunately, these pregnant pauses are completely backfiring in their effect on Crowley. The sentiment gives him hope and the qualifying statement crushes it again immediately. He is being taken on a horrible emotional rollercoaster with these declarations which are only further amping up his instinct to run away.

The only truly genuine, unaldulterated statement I think we get from Aziraphale is

“I need you!”

When it becomes clear to Aziraphale that there’s been an irreparable breakdown of communication between them and the subtext is not getting across, he says:

“I don’t think you understand what I’m offering you.”

He means this literally. Crowley has not understood that Aziraphale is offering him protection from whatever threat the Metatron has made.

Which makes this part extra-devastating and also absolutely in keeping with a major running theme of this season.

“I understand. I think I understand a whole lot better than you do.”

Your understanding and my understanding are different understandings.

Crowley views the offer to return to Heaven through the lens of his trauma. He understands what life in Heaven would be like. But he doesn’t understand that Aziraphale is offering him protection.

But Aziraphale just heard Crowley say that he understood everything, and he’s still going to leave. There might be a little suspense of disbelief here to believe that Aziraphale really interpreted the statement this way, but we know that Aziraphale isn’t always the brightest battery-operated candle in the drawer. So under the assumption that Crowley did understand him and is still rejecting the offer, rejecting him—

“Well, then there’s nothing more to say.”

Please pay very close attention to Aziraphale’s body language for the next part. He’s active, agitated, turning side to side, arms swinging. This is a very fidgety angel.

“No nightingales.”

Aziraphale is now completely still. He’s feeling that feeling. You know it. The one where your entire body is getting sucked into the pit of your stomach. The aching paralysis.

This is their song, the one that began their romance in 1941, the secret code for all other attempts at flirtation. Crowley has walked out on him before, Aziraphale has been stubborn and obstinate before. But they always came back together, sometimes with an apology dance or other rituals that belonged solely to them.

But now the song is over.

By saying this, Crowley has broken up with Aziraphale. We can see in Aziraphale’s sudden transition from fidgety to paralysis that he has understood it this way.

Then he turns away from the window so that the Metatron won’t see him cry.

The kiss was heart-wrenching already. But we’re not done with this analysis.

During the kiss, Aziraphale has a choice to make between two very compelling bad choices. This is the Job dilemma. But worse.

If he doesn’t kiss Crowley back, he will let Crowley think that he doesn’t love him. He will have missed out on this (maybe/probably their first kiss?) and regret it forever.

If he does kiss Crowley back, in full view of the Metatron, they are in deep trouble.

He seems to do his best to split the difference. I would even go so far to say that the awkward arm waving is Aziraphale acting for the Metatron’s benefit, to try to portray that he doesn’t want this even though he absolutely does (just not like this). The anguish when they break the kiss is absolutely real, and the first thing he does is glance out the window. Through all this he has remained painfully aware of their spectator.

He wants to say I love you. He mouths it. He breathes it.

But the Metatron is watching.

He can’t tell Crowley I love you. So he has to say the only other thing that has always unequivocally meant “I love you” when he said it to Crowley. He has to hope that Crowley understands him now, even though he never has before.

Spoiler alert: Crowley doesn’t.

My forgiveness and your forgiveness are not the same forgiveness.

One more point against the genuine belief fans (I love you): if the offer to let Crowley back in is what changed his mind, then Crowley declining removes that incentive. Aziraphale should/would have consequently retreated to his last stated position of “I don’t want to go back to Heaven, where would I get my Crowley—I mean, coffee?” [post-publication nod to @theonevoice for a great little meta] It simply doesn’t hold up to scrutiny.

I think a lot of fans were already making these assumptions about the use of the nightingale song so this meta may not feel revelatory, however, it isn’t canon (yet), and I’m sure I’ll find company that agree that canonization of this connection would strengthen a lot of these story points, as evidenced by how it is already assumed by many fans.

If you made it to the end - omg thank you! Please leave a note and tell me your thoughts!

Bonus: somebody already made the song connection here

~~~

if you liked this, you may also like:

Book of Life and what it means for Crowley

The Erasure of Human!Metatron

Baraqiel and Azazel

~~~

Recommended related (lie theory) metas by other people:

making the subtext text by @theonevoice

Aziraphale's Decision Matrix by @yowlthinks

Nothing Lasts Forever: META by @phoen1xr0se

[fatuismooches]

Playable reader but they're the only one who has a second stamina bar when gliding/swimming. When the first bar runs out of stamina, Dottore automatically switches in with a line scolding them for straining themself or light-heartedly teasing them since they need to be carried now that they are tired.

He doesn't switch in when they're sprinting though, I imagine that canonically - not gameplay wise, he's just walking behind them, watching them run around. He's marvelling at how far they've come, going from bed-ridden to jumping everywhere and running circles around him.

As for climbing? There's a small chance of triggering a rare voice-line, so small that the players who found it thought it was part of an event or a side-quest.

Dottore, sighing exasperated: "Get down from there before you exhaust yourself."

Reader, grunting in strain but is still climbing: "Hold on— I think I'm almost there, I have to see what's up here. You'll catch me if I fall!"

Dottore: "And if I don't?"

Reader: "Wha— what do you mean 'if you don't...?!"

Dottore: "..."

Reader: "Dottore? Dottie—? Dot...! You're... you're still down there, right...? I can't look down..."

MY FAVORITE META CUTIE PIE COUPLE. Reader would always try to prove to Dottore that they don't need that much help anymore, which is true... to a certain extent. It's very obvious to Dottore whenever you push yourself, so while he usually prefers to lay back and carefully watch what you do, he'll always jump in when he feels it's necessary.

"Hey, I... I was fine to keep g-going..."

"Stop being foolish and listen to your doctor."

-

"Ugh... my back hurts now."

"You poor thing, shall I carry you?"

"No! I'm fine! ...I think."

AGREED!! Dottore (or another segment) is always just a few steps behind you. He's very much content to see you explore the oddities of the world (which are so very normal and boring to him, but interesting to you after being away for so long), mentally taking notes about how much you've changed and any abnormalities in your condition. He'll watch you jump up to pick some fruits for the two of you and skip back to him. He'll watch you tussle with a fishing rod and fight to reel in some fish for dinner. He loves watching you be confident in yourself just as you once were. Of course, if any danger were to appear, then he's in front of you again quicker than one can imagine. (Gameplay-wise, it's much more optimal for the player to use Dottore while running, otherwise, they'll have to deal with Reader complaining quite frequently...)

Climbing is probably the scariest part for Reader, but they can't help but want to challenge it sometimes! It's... not the easiest, but they can do it! Especially when they have Dottore in case of anything!

...Hopefully. You're well aware of Dottore's mean and sarcastic side, even if you're not the target of it the most often. Unfortunately, sometimes he uses it to scare you out of potentially dangerous situations for your body. It's for your own good, I promise.

[wszczebrzyszynie]

In your older art (when he was a rabbit breeder named Nikita I think) Mikita seems much more… smiley than he is now. The first time I saw him (I think 2022) I remember him being gay + aro instead of aroace. I adore this character and I would love to know how he changed/developed over the years!

Oh gladly. I adore this topic. Mikita is my oldest one (8 years old now!) and i have quite a lot to say and show about him, so ill put it under the read more. For some reason the picture formatting is completly broken when i do it. Thank you for the kind words

Mikita went through quite a lot name changes now that i think about it, at least compared to my other ocs; it went hand in hand with his ethnicity mostly, as he was i believe polish first, then polish/lithuanian and only since... 2020? belarusian (which i agree is definitely... a pipeline, but theres no deeper meaning behind it; for the 70% of his life the world he lived in was 100% fictional, and at the beginning even fantasy-like). His first actual name (not "rabbit breeder", which was the title used for him in the original story instead of a name. Names were a modern au thing) if im not mistaken was Fryderyk, then Nikita, and then Mikita. That name change did probably happen around 2022 because a Belarusian belarusianized his name for me and I liked it so i changed it. Very nice of them it makes much more sense in the current story

Years 2016-2020-ish he was gay (but not aromantic) and also dating Mikołaj; frankly i do not remember when exactly that changed, but he and Mikołaj are some of my oldest still in use ocs and they were always a package deal of sorts. Last time i drew shipart of them was in 2021. I think it might have stopped around the time i realized i am aromantic? It was a very important moment to me and the second it clicked i realized most of my ocs were secretly aromantic all along too. It was pretty funny now that i think about it

Personality wise he was a bit insufferable. Well he used to age with me (like most of my ocs) so he was very much a 15 year old. Very bratty and unempathetic to others, actively manipulative and overly ambitious. He used to smile a lot yes it was very in character then and i think it makes him look more annoying so it stays. Well either way i made so much art of him in that time i actually canonized it as his younger self in canon, now that hes older. I think thats a fun choice and i still like his old design, so its good to reuse it. Art from 2020, 2021 and 2023. I think current Mika would hate his old self a lot

Frankly when it comes to my ocs the big shift from that more dystopian completly fictional setting to more historically grounded one happened at some point and i dont remember when that was. 2020-2021 ish possibly. Its hard to remember because it did not happen from day to day; i think i abandoned these ocs original story for months before i made that choice? and even then i dont remember how current DNS or such a clear idea for it came to be, especially considering that it changed basically every single character drastically. Its weird to me but i suppose that knowledge is lost. That being said i think it does coincide with the creation of Przemek, who quickly became one of my favourites, so maybe theres that. I dont know. Well either way its a very good thing that it happened

[autistichalsin]

I know I express dissatisfaction a lot about how hard it is to get Halsin upset at the player- how no amount of mistreatment from a romanced player will make him break up with them, how he NEVER asserts a boundary, how he tolerates even the most cruel comments. The rare times he expresses hurt, it still changes nothing about his interactions with the player and rarely costs more than one approval.

The reason I express this most of all with the new datamined dialogue is for two reasons: one, that one is so beyond the pale that it needs to be treated as evil, and should include Halsin saying so. But also, if Halsin won't even call it quits with a romanced player after THIS, it raises some really worrying implications.

Halsin should be allowed to have ONE situation where he'll go "no more" to the player's cruelty because... honestly? The pattern the writers established here actually makes me worried for Halsin.

Halsin rarely shows offense or anger at lines no matter how mean they are (even the player shooting down his romantic overture by comparing him to a deep rothe gets a hurt response but no loss of approval or scolding or anything). He stays with the player romantically even after they threaten to sell him back into sexual slavery in the new dialogue- he doesn't even lose a single approval point! And while he gets annoyed if the player toys with his heart by nearly breaking up with him multiple times and then changing their mind, even after the fourth time the player does this, when he says "sometimes it is difficult to love you," the implication there is clear- he still DOES love you. Even when he is deeply hurt by what you're doing, so much so that he straight up asks you, "does it please you to see me crestfallen?" and loses approval, he STILL doesn't break up with you or assert himself- he doesn't say next time is the last time, he doesn't call the player an asshole, nothing. He just takes it even when he gets hurt and upset again and again. In short: Halsin puts up with a LOT of manipulative, borderline abusive behavior from the player without more than an occasional ding in approval.

Then you add in Halsin's backstory of sexual slavery, him losing all of his family, being so socially isolated from his leadership role that he began to MISS being a sex slave, his sadness but quiet acceptance at the fact that everyone thinks his feelings can't be hurt due to his size, his survivor guilt over the shadow curse, and the fact that the player, even if they choose to mistreat him, is still the one who broke the curse with him, leaving him feeling permanently feeling indebted to them.

In other words: what the game is showing us ISN'T a wise and stoic, sage old elf who is just that unshakeable after all he's seen. They are showing us a man with so much unprocessed trauma and such a complete lack of personal boundaries that he is showing several warning signs he could easily end up the victim of domestic violence by a partner- whether that's evil!Tav or some other potential partner he might find after canon- without ever realizing it.

The other romanceable characters will dump you if you mistreat them or violate the terms of the relationship (I.E. sleeping with someone else when they made it clear they weren't poly). They all, even Astarion, have more willingness to stand up for themselves than Halsin does.

Halsin isn't a pushover, or at least, I don't think we're supposed to read him as one. He will fight whatever enemies he needs to. But when it comes to those close to him- and note that he calls the player his friend in ALL circumstances- he just refuses. The most is a ding of approval at times or a very quiet, quick comment that basically amounts to "that wasn't cool :( " before he moves on.

I know it wasn't what the writers intended, but it's what comes across in the text all the same.

(This is also why, on top of headcanoning Halsin as autistic, I am also firmly convinced he was bullied as a child- he just acts far too much like a grown-up victim of bullying)

[ohnoitstbskyen]

What’s the difference between Ascended, Aspects, Freljordian demigods, Aurelian Sol, and whatever Soraka’s got going on? Are they all just different varieties of League gods?

Hoo boy, okay, so. First of all, Riot have been pretty adamant that there are no gods in Runeterra, every god-like being that exists in that universe is actually a spirit or just a very powerful being of some kind, but definitely no real gods, no matter how much it seems like they are definitely writing these characters to be actual literal gods.

I don't 100% know why they are so insistent on this, but I imagine it has something to do with censorship and ratings agencies, or maybe they just don't want to have to establish any actual theology on Runeterra. Volibear isn't the god of storms for real, he's just a super powerful spirit that can create storms in the Freljord, but not all of them, so please don't ask us whether every single thunderstorm in the Freljord was something he did deliberately. That sort of vibe.

To go through them point by point:

Celestials & Aspects

The Celestials are beings like Aurelion Sol and Bard, which exist as cosmic entities operating on levels of power and motivation beyond human understanding. They came into existence with the universe itself, and tend to busy themselves governing various parts of its operation. They are, again not gods (Riot is very insistent on this), but Aurelion Sol literally made every star in the galaxy, he's functionally the progenitor god of Creation.

Some of them, though, like to interfere in the mortal world of Runetera in various ways, and they tend to use mortal vessels to do it. That's where we get Aspects: Aspects are mortals who are chosen by the Celestials that live on Mount Targon to contain their power and be their avatars in the mortal world.

Leona is the Aspect of a Sun celestial, Diana of the Moon celestial, Pantheon is the Aspect of War (or he was, until Aatrox killed it, but he retains access to many of its powers), and Zoe is the Aspect of Twilight, and so on.

Soraka is another Celestial in mortal form, but she is NOT an Ascended. Rather than possess a mortal, she created a mortal body for herself and poured the whole of her being into it, which is causing her body to permanently burn up from the inside while she regenerates it with her magic. She lives on Runeterra and acts as a mysterious mystical wise guide and mentor to mortals who need it.

Ascended & Darkin

Ascended are somewhat similar in kind to the Aspects, but usually lesser in power. The Ascended are also human beings infused with Celestial magic and power, specifically with the power of the Sun, although as far as I know, that power is drawn not from the Celestial of the Sun who empowers Leona, but directly from the physical Sun itself. This means the Ascended aren't possessed by Celestials and retain full free will, at the cost (or let's be real: benefit) of being transformed into furries, which extremely coincidentally just so happen to closely resemble the gods of the Egyptian pantheon. but again, they are definitely not gods, please don't put it in the newspaper that they are gods.

I don't know exactly how canon Riot considers this anymore, but the lore was that the Aspects of Mount Targon gifted the power of Ascension to Shurima in order to produce Ascended that could serve as shock-troops in the war against the Void, which is a swarm of extradimensional horrors that are constantly trying to eat the world. Whatever the case, the Ascended DID fight the Void, and it traumatized and corrupted them so badly that they degenerated into body-horror blood monsters called the Darkin.

The Darkin fell into civil war and it got so bad that The Aspect of Twilight (not Zoe but her predecessor in the role) decided to use some magical trickery to imprison them all in their weapons, which is where they've stayed for a few thousand years, getting even more traumatized and mentally destabilized by the total sensory deprivation and solitary confinement. If any mortal touches a Darkin weapon, it immediately assimilates them and uses their flesh as a new host, and then goes on a killing rampage about it. That's where you get your Aatrox, your Varus and (eventually, once he devours Kayn) your Rhaast.

Gods, Spirits & Demons

This is the category for Ornn, Anivia, Volibear, The Seal Sister and so on. The Freljordian people worship them as gods, but they are, technically, only extremely powerful nature spirits, manifestations of the nature of the Freljord itself, which draw power from the land and to a lesser extent from their worshipers. There are many, many lesser nature spirits, which might be worshiped as gods by particular tribes or hold power over particular areas, but Ornn, Anivia, Volibear, The Seal Sister and the Iron Boar are the most powerful and most widely revered.

On a similar note, Ionia is absolutely choked to the gills with spirits, because those lands are soaked in magic. They are usually not worshiped as gods specifically, but take the shape of everything from dragons to living trees to sprites and will-o-wisps and which roam fairly freely in Ionia. This includes characters like Lillia, who is the daughter of a magical tree of dreams on whose branches the dreams of mortals grow and mature, and it includes Ivern, who is an extremely powerful and ancient nature spirit formed from the soul of a magical tree.

Demons are distinct from spirits, in that rather than drawing on the power of the land or fountains of magic, they draw on the emotions of living things for their powers. The most powerful demons are known as The Ten, who get their power from the most primal emotions that living things feel. Fiddlesticks is the demon of Fear, and Nilah somehow draws her strength from Ashlesh, the Demon of Joy, whom her order has imprisoned. We don't know who the rest of the Ten are yet, but Riot seems to have that worked out somewhere in their internal deep lore.

Swain has a lesser (but still powerful) demon of secrets called Raum bound in his arm through some sort of deal, Evelynn is a demon of anguish and pain, Tahm Kench is a demon of addiction, and Nocturne is a demon of nightmares.

Besides those, there are an untold number of lesser demons, who feed on more and more specific feelings, and thus are less and less powerful because there's simply less of that stuff around to feed on. They are often called Azakana, and may be demons that feed on feelings as niche as, like, noblemen's fear of their extramarital affairs with handsome commoners being discovered. Yone hunts the Azakana and collects their mask, although even he doesn't know quite what for.

Death

This is where we place the Kindred. Technically they are merely Spirits of Death, but more than perhaps any other category of creature, Riot keeps writing them as Literal Gods of death and I don't think it makes sense to think of them any other way.

The Kindred take on many different shapes all across Runeterra, seemingly influenced in large part by the expectations of the people or creatures who are dying, but their most popular visage is that of a Lamb and a Wolf, hunting together. Lamb's merciful arrow ends your life if you accept that your time is up and go gently into that good night, but Wolf hunts you down and rips you to shreds if you resist and fight to your last breath, destiny be damned.

The Kindred are there for every death on Runeterra, they are the mediators (as far as we know) of all forms of death everywhere, and by far the most classically "anthropomorphic embodiment of universal existence" style god in the lore that we know of. Where a god like Anivia only really has power in the Freljord, the Kindred have power everywhere there is life. Only the undead escape them, and even then, only temporarily.

In Conclusion

YES Runeterra has tons of gods, it obviously has gods, you can't walk five feet in that universe without tripping on a god, but they tend to be gods with hard limitations on their power and influence, and rarely have powers on the level of bending reality itself.

Even Aurelion Sol, who literally makes stars, can't snap his fingers and undo causality, for example, or suspend the laws of physics wholesale.

Riot's weird insistence on "no gods in Runeterra" is more of an affectation, a bit of a put-on, than an actual narrative principle, and most of the gods of Runeterra can be understood very comfortably through the lens of various non-Christian religions like Norse or Greek mythology, or the hero/god characters of something like Polynesian myth.

[starrysharks]

DESIGN DEEPDIVE:

OCTAVIA KRANKENSTEIN

due to popular demand, here is my first DESIGN DEEPDIVE, where i explain all my little character designs! character design is really important to me, so i hope you guys appreciate this TwT

this deepdive goes over octavia krankenstein, the main character of my series reassassination. firstly, we'll go over shapes and color pallete, the first things you notice when looking at most character designs.

when it comes to octavia's shapes, we can see that she's primarily made of squares and triangles. this establishes two things about her right off the bat:

- she's sharp, and personality wise, probably dangerous and active.

- she's strong, and possibly stubborn.

however, a detail that i want to point out is octavia's singular circle, in the form of a button on her dress under perfect pendant. i've added this button to indicate that behind the sharp, tough exterior, octavia has some empathetic traits. the location of the button is also important, being at the heart. (this exerpt is from my own personal factfile for octavia):

"...Octavia is a particularly self-contradictory character - while she's apathetic to the idea of killing, she can't stand the idea of harming innocents - meaning she often feels the need to justify her homicidal tendencies."

the color pallete of octavia is also important. as you can see above, she's made up of two colors and a tone - black, scarlet, and seafoam green. i want to focus on black and scarlet here.

when it comes to black, i think it's an interesting color both technically and in terms of character. black was used to give octavia's design the vibe of an executioner or medieval assassin. it blends into the night, and hides bloodstains, so it makes sense for octavia to wear it as an assassin. however, this is juxtaposed by flashy red details, which indicate several things about octaiva -

- she cares a lot about fashion and the way she looks, even if it isn't functional. the style of clothing that octavia wears is heavily inspired by 2000s "mallgoth" and the general nu-metal scene, which was often red and black clothing. (cybergoth was also a small inspiration!)

- octavia is a character with a lot of freedom. this might seem like a stretch, but in color language, red indicates action, confidence, danger, passion, and power, along many other things. in canon, octavia's dress was given to her by another character (dr. krankenstein) completely black, and then octavia edited the dress herself to include red details. this on its own might seem like nothing, but the thing about octavia is that her design is complimentary to another character's; vivica de la crux.

vivica is a character who wants freedom, but has next to none, to say the least. therefore, her "red" qualities (passion, freedom, etc), are stifled, so she has very little red in her design compared to octavia. side by side, you can see that their designs have a strong contrast in this regard.

- and lastly, octavia is vulnerable in that she wears so much of her personality literally on her sleeve. while octavia may seem stoic and mysterious in terms of character, and possesses strong physical strength, she lacks social awareness and struggles in that regard, being a social outcast within the story.

alright, now it's time to go over body type, hair and outfit! these are all pretty important in my opinion.

firstly, body type. octavia's heavily exaggerated thinness which is actually inspired by that "scene kid" artstyle that you've probably seen before, and 90s/2000s cartoons and comics in general (SPECIFICALLY the art of jhonen vasquez, who made invader zim and JTHM)!

of course, octavia's hair gives her design more depth and volume, and a strong silhouette - one resembling a ghost or spiky monster. as you can see in her ref sheet, there are 3 spiked ends on either side of the hair. in fact, there are a lot of matching pairs of threes in octavia's design, aren't there?

- three bottom eyelashes on either eye - 6 in total

- three bows on either boot - 6 in total

- and of course, three hair spikes on either side - 6 in total.

that's right! octavia's design hides a secret 666, which relates to her alternative name - experiment-666 - and the fact that she's literally seen as a demon to the clear crucifix org, the antagonists of the story.

but let's look at octavia's outfit entirely. or maybe not? the thing about octavia's design is that i wanted it to be one where you could deform and modify it in various ways, and no matter how many details you remove, it's still clearly octavia. kind of like hatsune miku!

in the end, octavia is supposed to feel like a character from the 2000s, rather than just one based off of 2000s alternative culture. i don't know if i really succeeded with that, but i'm still proud of her design regardless. if you read all of this ramble to the end, thank you so much! i might do more design deepdives for other characters if people are interested. you can even request specific characters of mine if you'd like!

[still-a-morosexual-help]

Right ik we're all in love with MC from Nightbringer but can we please acknowledge that they're literally just og om! MC but their usual personality is highlighted because of their new situation

MC's personality has always been like that

They've always had batshit options.

Nightbringer isn't the first time MC tried to kick down someone's locked door, in the og game they actually succeed.

When I say MC grew/had character development I mean: how it's canon that MC is reserved with people they don't know and Lucifer acknowledges in S2 that they're growing more open. + that they're grown confident in their magic now.

Personality wise though they're still the same shithead from og om!

Remember what they were like during the cowboy event?

How much of a snarky ass they were to Mammon & Levi in S1?

How they canonically know how to push Lucifer's buttons & delight in it?

How they're crazily adaptable & calm in bad situations?

How they have no problem choosing violence and relish in the chaos the brothers create?

How weirdly okay they are with accepting death?

Just the entirety of "Lucifer's Rough Day" Devilgram. If you have that please read it! MC's hilarious & terrible, the absolute love of my life

All that & more are present in both games.

MC's personality is still the same, the fact that the brothers are now on new ground, unsure of themselves and their positions, shy and scared and confused, unsure of even their own powers just means that MC gets the spotlight to shine because the brothers are relying on them much more heavily and their usual level of competence & snark gets elevated because of it

Here's all my posts I could find about MC from the og! game that show what they're like:

MC being done with Mephisto

MC brutally judging Satan's level of pranks

MC being absolutely badass when they save Barbatos using pure brute strength in S4

Canon facts about MC

MC being willing to lay down and die part 1

MC's emotions + facial expressions

THIS CHAT! Just casually dropping the most batshit information

Being a shithead to Satan for no reason

Being a shithead to Mephisto for a very good reason

MC happily pissing off Lucifer for the lols

MC being not nice to strangers

MC thriving on Chaos

MC being jealous/possessive

MC having 0 fear of horror

MC being Done

MC being fucking insane

MC's emotional intelligence and how they use it

MC having 0 fear in general

Giving priority to cows over their best friend

100% commitment to the bit

Being a dick

"Yaaas hon, come through!"

Giving Lucifer grey hair

MC vs the brothers on freaking out each other

MC being willing to lay down and die part 2

When MC loses their temper

Memes

MC's Magic

MC being very obviously not human

A typical friend group

The pirate event

+

This entire amazing compilation by @radarchives

[yuurivoice]

A few folks seem very intrigued by the somewhat vague pre-BitterSweet ideas I had for Seth I was discussing on stream last night (and a few times before that) so I'll share in my own words here as well!

Seth's embryonic stage was straightforward.

Create a sexy rival for Alphonse who shares a criminal history with him, and wants to use Boo as a means to fuck with Al. Biker bad boy who fucks. That was all there was in the beginning.

From there I considered doing the Good End, Bad End approach that would expand on a concept I tried out with early Alphonse, where Boo and him hooking up on their first night was a non-canon bad end. This would have been more of a Bad Path rather than just an end, a few audios where shit just gets real wild.

I don't remember a ton of specifics now, but long story short after meeting (not the same as episode 1 of BS) Seth would be a lingering menace stirring shit and taunting Al/Boo before ultimately kidnapping Boo and luring Alphonse to a remote location, something similar to a trainyard or warehouse, like the settings seen in BS3. The climax involved a gun, and an ambiguous ending where we're not sure who got got in the end.

Then, after I sat with it for a while and started hammering out what I wanted his introduction to look like, Seth was not becoming that character. I held on, thinking maybe it'll take shape, and then the "THEY WERE LOVERS!?" bit hit me and it really started to get some movement...and nowhere near the direction of Seth really being a menace.

Also, I find the whole thing so overplayed and cliche in the ASMR roleplay niche that I did not think it would be wise in the long run to introduce even the optional Bad End thing because a lot of people cannot grasp the concept of "this is just a spicy branching alternate story for fun".

And honestly, I don't find it all that fun. A by the numbers kidnapping plot for the folks who enjoy that sort of thing would not have been the level of work I'd go on to do, nor would it have created the long lasting emotional attachment to Seth we have today.

Also, knowing your audience fucking matters. That era of the my audience had people freaking out at the idea that Alphonse might leave Boo. They were not prepared for that kind of content whether it was clearly labeled non-canon or not.

I'm pretty happy with where we ended up, and I am much more equipped to tell a story involving a fucked up asshole causing problems on purpose now than I was all those years ago.

But I hear the folks who want various boys behaving badly, and perhaps one day Seth will have a bad dream about what could have been. 🙏

[bloodheartz]

gimmw your gfalls hcs NOEWWW

oh god! I have soooo many but i'll put some basic ones down for the pines family rn and probably add on to this later ^_^

Dipper

◇ First of all this boy is absolutely autistic. My little autistic ass acted so much like him as a kid, I mean, what autistic 12 year old wouldn't base their entire summer around a weird book full of monsters they found?

◇ I think he's a trans dude and aro/ace, and that his crush on Wendy was more comphet than anything. I'm not really a fan of any ship involving him but I think platonic dipcifica could be cute.

◇ Cryptozoology/The Paranormal is absolutely his main special interest, but he also has an sp/in in computers/comp sci (but he's honestly not great at computer stuff).

Mabel

◇ AuDHD Queen! I think her main special interest is absolutely arts / crafts, I mean look at all the silly things she makes throughout the series as well as her dedication to handmaking dozens of puppets/props/etc as well as writing and entire play to impress her crush of the week in Sock Opera. ◇ I think sexuality wise she's not straight but prefers to be unlabelled. I also like to think she's the type to collect xenogenders / neopronouns like pokemon cards. ( she totally uses a bunch of cat-based pronouns) ◇ Shortly after the series I think she'd get a little less Boys-Crazy and focus more exploring who she is as a person / her self expression. Absolutely is gonna have a mall goth/emo/scene phase (she's smushing all three of those together into one thing for herself).

(I also think Mabel and Dipper were born identical twins)

Grunkle Stan

◇ Also AuDHD, not quite sure what his big main special interest would be but he's absolutely hyperfixated on Ducktective. Also going off the story in Lost Legends I think he'd absolutely be getting into making comics / drawing in general (even if hes not great at it). Post series I think he'd spend a lot of his free time out at sea drawing in the boat's cabin. Mostly making comics of silly re-tellings of he and Ford's adventures out at Sea (he absolutely shows Dipper and Mabel these if he and Ford video calls them when they're on land) ◇ I'm a transfem Stanley truther. He doesn't really realize/come to terms with it until post-series. I think she'd just grow out her hair and throw it in a pony-tail + use she/he pronouns to transition. She'd still use the name Stanley and be fine with both masc/fem terms (ie fine be called a man or a woman). Also he's bisexual (but has known this since he was like a teen, even if he didn't have the words to label it.) ◇ I think his Popsicle addiction from the unaired pilot is real and canon. Old autistic men love popsicles just look at my dad and grandfather.

Ford

◇ oh boy its projection time (i am a stanford pines fictive) 😈😈😈

◇ Transmasc, somewhere under the nonbinary umbrella but very guy adjacent. Mainly uses he/him pronouns but I think he'd use "it" and "they" aswell. Gay and Arospec as well. ◇ Autism + NPD + Schizophrenia wombo combo. He's sooooo NPD coded its INSANE, I am going to write an essay about it in the future. Goes without saying that his special interests are the paranormal and various sciences, but I think he has a hardcore love for the arts as well. ◇ Going off both the autism and arospec HC- I think he's the type to convince himself he has a crush very easily, when in reality he just has a strong admiration / platonic love for those in question, and had strong platonic feelings for McGucket back in college that he confused for romantic ones (projecting 100000000%) (i think the Stan twins were fraternal twins)

[thefirstknife]

We're told that at the beginning of the Golden Age "human lifespans tripled" - my impression is that this continues to be a case and that the humans we know are often well over 100 years old. In my head at least, Eva is in her mid 200s. Am I wrong, or is this supported by canon?

I believe it is still the case, though finding evidence is really difficult, mostly because we simply don't have a timeline. I think it would make sense for this to still be in effect because nothing else from the Traveler's terraforming and gifts was removed post-Collapse.

However, the question is also how much of the extended lifespan was due to the paracausality of the Traveler and its gifts and how much was just advancement in technology. Or a combination of both? If the majority of the lifespan extension was just due to technology, then this would've been lost post-Collapse. But possibly some of it could have been regained in the recent years, affecting the lifespans again.

One of the most obvious questions is Eris and the status of Lightless Guardians and aging. She lost her Light in the Great Disaster which was quite a while ago, but how long ago exactly? Long enough for this to affect her? Long enough to be noticeable or not? It doesn't seem to be very noticeable, so either it wasn't too long ago, or Guardians don't age even after losing their Light, or the lifespan is still extended so Eris is just old and it's not a big deal.

Eva is also a curious case, as we know very little about her life. She's very clearly an older woman, but we have no idea about when she was born. There's not a single mention of anything from her youth that would help us place it somewhere in the timeline. Has she been around for a normal amount of time or extended? She made one comment to Osiris (at the time Savathun, but Eva didn't know that):

"Eva. It's been too long. You look as bright as ever." Osiris melted out of the shadows near her doorway. The ex-outfitter snorted. "That's faint praise coming from someone who's been fifty for several centuries."

More under:

This can be read in several ways. it might just be a phrase because Guardians are known to not age. She knows Osiris must be the same as he was when he was rezed and she knows that he's been around for a while, given that he's a well-known Guardian. Or maybe she's also been around for a while and has seen him before; while she aged normally over the centuries, he didn't.

But that also becomes a problem with his exile because that would mean she would have to have seen him for a while before his exile and then years would've passed during the exile and she's still around now, which would make her quite significantly old (and would also prove extended lifespans). But we have no real proof of this.

Speaking of Osiris and his exile, there is one other specific piece of evidence, but it also depends A LOT on how well we can estimate when certain events happened.

Sister Faora! She led the Cult of Osiris at the time of Osiris' exile (and for ?? years after). We know this because she got to meet Osiris merely weeks after his exile:

The weeks since his departure from the Last City have worn on him.

The last time she appeared in the setting (in-game wise) was around House of Wolves; after that, she was no longer mentioned. I honestly thought she died of old age and that this wasn't important enough to mention because she's a fairly niche character.

But she didn't die. She appeared in the City during Season of the Deep. And it's not a story of something from the past, it's her being in the City in the present time because she meets with Shayura who is mourning Reed-7's death (which occured at the start of Lightfall). This now gives us a unique insight because she's a normal Lightless human, and we have two specific points of reference: Osiris' exile and the Witness' attack on Earth in Lightfall. We would just have to figure out how long it's been between these two events, which is where the problems start and assumptions must be made.

My first assumption is that Faora must've already been old-ish when she was the leader of the Cult back during Osiris' exile. I think it's reasonable to assume this, given her position as a leader. I always thought she would've been at least 40 or older at the time of speaking to Osiris after his exile.

The first problem is the timeline of Osiris' exile. We know he was exiled around Twilight Gap which brings us to problem 2: when was that? This leads to assumption 2: Twilight Gap happened at least a century ago. There's some evidence to this, namely Osiris saying the following:

They were young, and nearly a century of navigation through the Infinite Forest had honed Osiris's ability to remain unseen.

But does this refer to the time passing in general or the time dilation in the Forest? So the problems continue. It's basically impossible to tell what's the time span between these events; both the Great Disaster (for the question of Eris' age) and Twilight Gap are notoriously hard to place, even in relation to each other. This has been an ongoing debate for years.

If Twilight Gap is not that long ago - maybe a few decades - then Faora's age could probably be within normal limits, though depending on her age at the time of Osiris' exile, she could be pushing 100 or more. So even if Twilight Gap was less than 50 years ago, Faora could still be too old for non-extended lifespans.

She would have to have been in her 20s and Twilight Gap would have to be at max 50 years ago for her to be within a reasonable current age if the lifespan is not extended. Both of these estimates feel too low to me, especially Faora's age as an established leader of the Cult with a lot of authority. As I said, I imagined her being at least 40-50 at the time of speaking to Osiris.

And Twilight Gap has to be at least several decades away. I find it hard to believe that the Gap happened like 20 years ago; it's always talked about like Guardian history and its relation to Osiris' exile is fairly significant as well, so I'd give it at least a century, which also matches with Osiris' statement. If Twilight Gap happened at least a century ago and Faora was at least 40 at that time, she would have to be 140 right now which I think would suggest extended lifespan. However, depending on how we do the estimates, she could easily also be around 60-70.

But the truth is, we don't know. Much like the timeline, I think this is also very deliberately vague. I think it's very possible that the lifespans are still extended, or perhaps that there is some middle ground. The original Golden Age lifespans are still out of reach but the technological advancements in the current age combined with everything the Traveler has done to the system in the Golden Age allow for humans to push past what we have today. So maybe they can't get to the projected Golden Age 300 years, but possibly being 150 or 200 isn't out of reach.

Unfortunately, we don't really know for sure. We could probably go into analysis of every normal mortal human character mentioned and try to figure things out, but there will be confusing and contradicting evidence all over the place, keeping this fairly vague. And there would also be the issue of individual outliers; either those that live longer or die younger for reasons unrelated to aging.

Personally, I think lifespans are at the very least at least somewhat extended.

[threewaysdivided]

compared to the other hero's in YJ how do you think Phantom stands up power wise. like Future Danny ripped the world apart and i know in some fanfiction that it is used as an indicator that he is high up there, but i'm interested in your thoughts.

This is an interesting question nonnie!

I generally agree with the idea that Phantom is in the upper-tier of crossover superhero powers, but I do have more specific thoughts so let’s break it down:

Danny’s power level

Just looking at the variety and strength of ghost-powers that Phantom displays in his show, I would put him in the higher rankings of most heroes when it comes to raw ability.  I alluded to this in my main DP x YJ Deathly Weapons fanfic, but to me Phantom shows signs of a pretty common power-scaling differential that happens when a solo-protagonist hero gets transplanted into an ensemble setting.  Within his own setting, Phantom had to be (or become) powerful enough to solve most problems/ fights all by himself – and some of those ghosts he ended up facing towards the end of his canon were impressively strong.  By comparison ensemble heroes are generally less-powerful because working as a collective means they don’t have the same need for aggressive self-sufficiency and also so that no one character upstages or outmodes the rest of the group from a writing perspective.

There’s also the nature of ghost powers.  Phantom needed to develop the raw strength to fill the role of solo combat heavy-hitter, but his base powers are versatile to the point of unsettling.  He has to physically fight against other ghosts because they have (and to some extent are immune to) the same abilities as him, but in a fight against other species he could potentially avoid, manipulate or exhaust an opponent with strategic use of invisibility/ intangibility/ overshadowing.

The back of Dinah’s neck prickled.  With flight to mask footsteps and intangibility rendering them undetectable by touch…  Nonthreatening as Phantom generally appeared, she was starting to understand why his kind had developed such an unsettling reputation.  The idea that a ghost could be present at any time - eavesdropping, spying, interfering - without any of them being the wiser was… disquieting to say the least. - Deathly Weapons, Chapter 17: Assessment

On top of that, he seems to be in a similar boat to Superman when it comes to physical weaknesses – he doesn’t have that many, and they’re often quite specific or hard-to-find.   The most easily-exploitable one is that Danny can run out of power, be slowly starved of ectoplasm or be knocked unconscious; all of which would forcibly revert him back to his weaker human state.  After that, he’s vulnerable to certain magics and ghostly-artefacts, which are more likely to be accessible to various DC/ Marvel heroes (although they might not know exactly which spells/items will be most effective or why).  Beyond those two, most of his weaknesses need to be specifically known about and actively sought out – anti-ecto-technology is obtainable but not mainstream, blood blossoms naturally repel/hurt ghosts but they seem to be rare in nature (or even extinct in the modern day) and then assuming you acknowledge Phantom Planet there’s ectoranium which is basically ghost-Kryptonite in rarity (and possibly even the same mineral in DP x DC settings depending on the crossover).  Much like with Superman, the most reliable ways to take down Phantom require actively knowing what he is and having prepared accordingly.

Based on those metrics, I want to place Phantom in the same power-band as Superman or the Martian Manhunter.  I’d consider their powers to be equivalent incomparibles – it’s hard to stack their abilities side-by-side and say one is objectively better than the others.  A no-holds-barred, knock-down drag-out fight between those three could get very nasty but it would be hard to confidently call a winner without knowing more about the external factors around them.

That said, I think the thing holding Danny back from being fully at that level is his experience: or rather his lack thereof.   Danny hasn’t had much formal training (except maybe some basic self-defence instruction from Maddie/Jack) and he doesn’t have a proper mentor either.  His personal experience mostly fits the narrow niche of direct open combat with other ghosts, mostly throughout Amity Park and surrounds (although occasionally in the Ghost Zone or further from town). 

Phantom has enough raw power and innate talent as a strategic lateral-thinker to get by, but I think that hyperspecialisation and lack of guidance would leave him with a lot of blind-spots.  His hand-to-hand is self-taught and probably missing a lot of best-practice basic techniques.  He’s also never had an experienced third party to observe him in the field and offer suggestions on alternative approaches to using his powers/ keep him from developing bad habits.  This is something Danny actually comments on in canon; he can take a long time to identify solutions (even obvious ones) that deviate too far from his default throw hands approach to fighting.  His powers could be more effectively deployed as a precision-instrument but a lack of coaching means he tends to falls back on using them as a blunt hammer because that was the pattern that came naturally when he was first starting out, and no-one was around to keep that habit from ingraining.

The place where you can see this lack of experience hurting him the most is in his lack of soft-skills.  Phantom didn’t have anyone to advise him on de-escalation, damage control, comforting civilians, interacting with authorities etc.  Add in the naturally-frightening nature of many ghosts and it was easy for him to fall into a public perception of being “the town menace”.  Danny is pretty decent at rallying both humans and ghosts (even erstwhile enemies) to his side in crisis situations but no-one has taught him how manage public relations outside of that.  He says it himself: he needs a PR agent.

On the other hand, Phantom’s heroics have inadvertently earned him a decent amount of potential political pull in the Ghost Zone.  He has enough positive rapport that some regular rogues will take his side or even actively seek him out for help in the right circumstances, and other more antagonistic ones have at least developed a degree of grudging respect.  There are several powerful ghosts that either have direct debts of gratitude to him/his team (Princess Dorothea, Pandora) or who hold him in high esteem for re-sealing Pariah Dark (The Far Frozen).  It’s possible that defeating Pariah might even have granted him a potential candidature/claim to an official position, and judging by the way the Observants and Clockwork pay attention to him, it seems that Phantom’s slow accumulation of power/influence isn’t going completely unnoticed.  However, again, Danny doesn’t have the awareness, experience or training needed to leverage that effectively – heck, he’s not even doing it on purpose.

With all that taken into account, I think Phantom would rank very highly in terms of overall potential, but at his current level he’d be in the lower ranks of the A-tier.  He could become a much more powerful figure with the right guidance but in his canonical state he’s underutilising or outright overlooking a lot of his most effective tools.

TUE Future/ “Dark Phantom”

The “Dark Phantom” presented in the TUE Bad-Future is interesting to me because while he’s a very powerful figure within that story, I don't think he’s a very good reflection of canon-Danny’s potential to do harm.

Gonna complain about The Ultimate Enemy for a bit: I’ve tag-muttered about this before but I’m one of the Phandom members who finds The Ultimate Enemy to be a frustratingly weak episode.  It has a potentially fascinating core premise (the “evil future/alternate self”) but the execution is so convoluted and driven by improbable contrivances that the whole ends up being far less than the sum of its parts.   

One of the biggest problems is that, rather than being a straight future/alternate version of Danny, “Dark Phantom” is actually a hybrid of Phantom and Plasmius’ worse sides.  He’s a distinct, separate entity which means he can’t work as an effective dark mirror to either of them.  (Compare and contrast the Justice League episode A Better World in which the Justice Lords acted as a dark mirror of what the actual Justice League members could become if they chose to abandon their morals and compassion in favour of seizing control and instating a totalitarian system of draconian crime prevention.)

The episode also tried to graft on a really mismatched moral of “don’t be a cheat”.  Rather than being a lesson on choices/ values/ power/ responsibility, Dark Phantom almost ends up being an offhand biproduct of Danny getting caught cheating on a freshman/sophomore-year career-aptitude test.  Instead of learning a lesson about himself/ his ideals/ his personal faults, Danny comes away from the episode with a cool new superpower after deciding not to cheat on the test after all.  Not exactly satisfying.

That mismatch and the convoluted levels of moon-logic required to make it fit severely undermine the idea that this version of Dark Phantom is “inevitable”.  There are too many steps that are too highly-specific and too easily-avoidable for the threat to feel real: Danny has to care enough about an early-highschool CAT to want to cheat, he has to somehow get the answers which he wasn’t intending to do in the canon timelineand only does as a result of Clockwork’s meddling, making it a self-fulfilling situation, he has to get caught using them, Mister Lancer has to hold the resulting parent-teacher meeting at Nasty Burger rather than a school office for some reason, the Nasty Burger Sauce has to 1. be dangerously explosive and 2. coincidentally explode while not only Danny’s parents but his friends and sister are inside, Danny has to be placed in Vlad’s custody rather than with his Aunt Alicia or closer family-friends, Danny has to ask Vlad to remove his Phantom-half and finally, Vlad himself has to agree to do it.  Take away any of those steps and this version of Dark Phantom doesn’t happen.  That’s not inevitable, it’s contrived.

But anyway, let’s look at Dark Phantom as his own entity:

One of the things that makes Dark Phantom much more potentially dangerous is that he combines Phantom’s raw power with Plasmius’ experience.  Like I was saying before, one of Danny’s biggest handicaps is that he lacks training/guidance and tends to underutilise his most effective abilities.  Vlad meanwhile has had years of relative freedom to practice and finesse a lower raw-power level; he’s much more skilled at advanced techniques like duplication and overshadowing (which he canonically used to force through his fortune-making business deals), as well as ecto-constructs.  Plasmius is also a lot more tactical and manipulative in how he applies their common powers.  Plus, the TUE version of Dark Phantom is a full-ghost, which means he doesn’t have a vulnerable mortal state that can be exploited as a weakness.

This is why I think it would be possible for TUE!Dark Phantom to successfully decimate other heroes in shared-universe crossover situations where ghosts aren’t common knowledge.  He’d be an unexpected, unknown enemy that the heroes have no effective way to fight (outside of a few magic users).  Combine that with many of the most powerful heroes being visible as public figures, and Dark Phantom having inherited Plasmius’ strategic/manipulative traits and it could be very easy for Dark Phantom to basically launch a premeditated paranormal blitzkrieg attack, using Plasmius’ skill with duplicates and overshadowing to subjugate any hero he couldn’t overwhelm with Phantom’s raw power level.  It would also make sense that Amity Park would become one of the remaining bastions in any TUE-style future, since having advanced knowledge of ghostly abilities and access to anti-ecto technology would tilt the balance more evenly and allow them to at least keep the danger out.

Mentally, it’s also worth noting that Dark Phantom is a lot more dangerous than either Phantom or Plasmius.  He’s basically the most toxic traits from both of them, removed from their more moderating/ compassionate instincts.  Based on the canonical explanation given, TUE!Danny had Phantom forcibly removed in attempt to remove the pain/ rage/ grief he was feeling over the death of his family.  This isn’t a model-hero-persona conceptualisation of Phantom a la Splitting Images; the TUE-version of his ghost half is a big ball of churning negative emotion.  And what are some of Danny’s toxic traits when it comes to negative emotions: he lashes out, falls into self-blame and self-destructs.  Then we add in Vlad’s toxic traits: he’s egocentric to the point of narcissism, he projects negative feelings/ blame onto others rather than accept responsibility for his own actions and he has a controlling/ sadistic streak.   

TUE’s Dark Phantom is the worst possible combination of an emotionally devastated teenager and an emotionally immature adult.  He’s a ball of pain and rage that blames the world for that pain, lashes out at it, feels worse for doing so and then blames the world for making him feel worse because he doesn’t have the emotional capacity to accept that he’s the one causing it.  Grief is love persevering but the feelings of love, connection and guilt that contextualise his pain were left in the human shells that remained of Danny and Vlad.  It’s possible that the Dark Phantom presented in TUE might not have the capacity to feel positive emotions or compassion.  He was never meant to exist as his own entity – he was an attempt to destroy Daniel Fenton’s negative emotions which went horribly wrong.  In some ways it seems like his reign of terror could be an angrier version of Dracula’s scheme from Netflix’s Castlevania or Haliax’s goal from the Kingkiller Chronicles – a drawn-out suicide note from an undead being who’s been dead inside for much longer, destroying whatever peace/happiness he encounters in revenge for being denied it himself, until such time as he either attains catharsis or finally ends the pain by destroying reality and himself along with it.  That’s the final thing that makes TUE’s Dark Phantom more dangerous than either Phantom or Plasmius – he has nothing to lose and no “better nature” or personal dreams that other heroes could try to appeal to.

So yeah, the TUE version of Dark Phantom could absolutely rip the world and other heroes apart, but I don’t think he’s a particularly good reflection of Danny’s capabilities in terms of either powers or personality.  There’s too much Vlad in the mix, and even then he represents such a narrow and extreme edge-case for each of their personalities that it’s barely representative at all.  At best he’s a warning for what these kinds of powers could be capable of in the wrong hands.

Meta-question: What is “power” in narrative?

Alright, now that I’ve (hopefully) answered the question, let’s finish with a self-indulgent thought exercise for extra credit.

There’s an anecdote which I’ve heard attributed to the Stan Lee, in which a fan apparently asked him “who would win in a fight between Superman and the Hulk?”  To which Stan apparently replied, “whoever the writer wants.”

While it can be fun to make tier-lists and try to rank how strong different heroes/villains/creatures are based on the rules of their respective universes, I think it can also be helpful to consider that– like all things in storytelling – power is a narrative device.  It’s a tool that the character(s) and storyteller(s) can use to create and solve problems.

A character can be extremely physically strong/ skilled/ knowledgeable/ influential in a specific area but how much narrative power they have depends on how well their abilities allow them to influence or resolve story problems.   And, as the omnipotent god(s) of the narrative, the storyteller(s) can choose whether to confront them with challenges that play to their existing strengths, or that force them to find other solutions.  What’s the best way to kill a vampire?

This is actually part of what makes Lex Luthor such an effective Superman villain.  Objectively most versions of Lex are just A Guy™ – on a physical level he doesn’t have anything close to Kal El’s Kryptonian strength or superpowers.  But he feels like a serious threat because he often comes after Superman in ways that Clark can’t easily steamroll with that brute strength.  Lex uses manipulation, money, influence, connections, politics, public opinion; Superman can’t physically fight him without playing into Luthor’s plans, and trying to face him in those other fields requires tools that Clark wasn’t handed as part of his Kryptonian heritage.  An invading alien army is objectively a bigger physical threat to Earth, but a competent Lex Luthor scheme feels more dangerous because – while we feel confident that Superman can beat down a legion of monsters – when it comes to the question of whether he can outwit Luthor, the outcome is a lot less certain.

Situational disempowerment is another of the ways a narrative can reign in an otherwise “overpowered” character: placing them in circumstances where they either aren’t given many opportunities to showcase their best strengths, or are kept from using them because the drawbacks/ risks/ consequences of using their abilities makes their power(s) a liability.  I’ve mentioned it before, but this is actually one of the tricks I’m personally using to keep Phantom’s massive powerset balanced against the other proteges in Deathly Weapons.  It’s also something I’ve been struggling with when it comes to Conner’s place in that story since the stealth-mission plot structure doesn’t allow as much room to highlight his core powers and personal strengths.   

Stories can create additional stakes for powerful characters by giving them emotional arcs which their powers can’t resolve.   For a published example, consider the series One Punch Man and Mob Psycho 100.  Despite how high-ranked Saitama and Mob are within the power-scaling of their respective stories, those powers don’t kill the emotional stakes because the things they actually want/ need can only be gained through self-improvement or making connections in ways separate from their powers (and in some regards their power level actively gets in the way of that).  This is also something I’m doing with Danny’s main grief arc in DW.   

Final Conclusion time

In terms of physical strength and range of abilities, I think Phantom would be pretty near the top of the power-scale in most superhero crossovers.  While the Dark Phantom presented in TUE might not be a particularly good reflection of Danny’s specific potential, a crossover version of the TUE timeline offers a pretty good litmus-test for how dangerous a strong ghost could be in a given universe: the combination of power level, ability range and highly-specific/ inaccessible weak-points poses a strong strategic threat.

On the other hand, physical strength isn’t the only strength.  Phantom has a decent level of potential political sway as well, but he also lacks a lot of the soft skills and experience needed to make use of his toolset to its full ability.

Stepping back further, the answer to how powerful Danny is in a narrative sense is really just “however much the writer wants”.  Phantom’s narrative power depends on the kind of story he’s in and the challenges placed around him – there are as many ways to situationally nerf our ghost-boy as make him OP, all without needing to alter his on-paper powers.