#i might make a more HUMAN looking narrator design but i like making him into shadows and shapes

[hoodedjelly]

i have like 7 different designs for this guy cause i can't pick one

[dawns-beauty]

Elves of the Rift: Part Five

[project post]

The last batch of elves in the Rift, all related to the Thieves Guild in one way or another.

Ravyn Imyan

Ravyn is a former Morag Tong agent, so he looks a little more gritty, with a custom MT/TG mashup armor. Do not act upon the temptation to slap his bald head.

Vanryth Gatharian

A blacksmith who will set up shop in the Ragged Flagon as you improve the Guild's situation. He might be Glover Mallory's former mentor.

Syndus

Syndus is a Bosmer fletcher who can also sell out of the Ragged Flagon later on. I decided to give him armor with a living wood prosthetic leg, since Bosmeri Greenspeakers can form their Pod-Homes with their magic, why not grafted appendages?

Niruin

Niruin is a rich, Bosmeri ex-wine merchant hailing from Valenwood. Gonna be honest, I thought he was an Altmer partially because he mentions his father is a carpenter. To justify it, I wanted to give him some Altmeri features, like maybe he has Altmeri blood and lived in a High Elf colony where carpentry is less frowned-upon?

Anyways. I tried to give him a style that gives more "rich boy." Additionally, I gave him a small Silver Crescents tattoo (my interpretation at least), to represent the guild he used to run with.

Galathil

Galathil (aka the Face Sculpter) is another Bosmer-that-doesn't-seem-like-a-Bosmer NPC. She studied her art in Alinor. I gave her a shimmery, gilded face design to set her apart.

Karliah

I haven't quite settled on whether I should make her look a little older or not (the VA sounds kind of young tbh.) Anyways, gave her a little nick out of her eyebrow, and deep, dark circles under her eyes, as well a vaguely Imperial nose (keeping with the idea she has some human blood in her lineage.) I plan on adding her hair to her hood as an option as well.

Fun fact: she is voiced by Moira Quirk, who also narrates The Locked Tomb audiobooks (a really fun listen!)

EDIT: some more options for Karliah

New eye replacement options

(left, Dunmer scalara; right, semi-human scalara)

Hood with hair:

[aleebeesplats]

Soul bond[OUTDATED]

“An eternity alone is a cruel thing to be subjected to. To be surrounded but isolated, heard but forgotten, so powerful, yet so weak at the same time. The story is your life, but is that really all there is to it? Is that why you did it? Allowed them to exist despite the obvious growing issue? You wanted to feel understood despite not knowing who you were or where you began. You’ve crafted life at the expense of their freedom. You’ve replicated freedom through life.”

More info about this au under cut

This really started as a joke cuz I wanted to draw more Stan and Mari friendship art but as god has it it’s not so much a joke anymore(yay). This whole AU centers around Stanley and Mariella “becoming human”.

Character refs for Stan and Mari. I might change some stuff up with their colors and designs but this is the main idea for now.

In this AU Mariella now works in the same building as Stanley and her job is to attend meetings. Employee 317 did this everyday of every month of every year. She first meets Stanley while waiting for those who were supposed to attend, surprised and confused at the sudden disappearance of everyone.

Mariella and Stanley are creations of the Narrator, so they don’t look exactly human because of that.

(They have normal noses in side profiles)

I was inspired by Friday Night Funkin for their stylized faces. In terms of expression they are much more animated in comparison to the Curator or the Narrator.

Speaking of Nar-Nar, here’s the man himself. His first form is more like a “concept” than an actual “appearance” as he didn’t really care about what he looked liked and cared more about getting through with the story. His current form is much more human and he often spends time in it outside of the parable in his office. I wanted to keep his figure blocky and sharp cuz I went by squares as his main image.

Now the Parable wouldn’t be anything without the building, lo and behold “Coworker”.

I suck at drawing buildings, but for all you need to know for now is that it always expanding in the inside (where the story takes place), and also it is alive, capable of thought and emotion to some extent. Yayyy living infrastructure.

Some additional early sketches I made while trying to figure out stuff.

I thought it would be funny if Nar and Curie dated for a week before realizing they swung different ways. Things are good between them but it’s a little awkward at times. I was stuck between making Nar-Nar an eldritch creature or just an old man, but then again why can’t he do both.

Quick height chart doodle. The egotistical old man strikes once again, he really made himself so tall because he thinks it’s funny being able to see over people’s heads. In a way they look like Kirby to him.

That’s it for now. I’ll try to not burn myself out so that I can draw more for this au. It seems shallow right now but that’s on purpose‼️

Also, none of the things I draw in this AU are meant to be romantic. They are Queer-platonic at most. This is just me exploring bonds in hard times +what it means to be human (self-projecting like hell).

[ivanttakethis]

WHAT R UR FAV ALNST THEORIES/ ANALYSES!?!?!!

GREAT QUESTION ANON!!!

These my favorite theories in no particular order, with some of my own personal theories mixed in.

Most of these are about Ivan, but he’s my favorite character so yeah lol.

Long post under the cut. Let’s go!!

1. IVAN IS ALIVE (yes, the capitalization is necessary)

I believe this one for a few reasons:

- We haven’t seen any official art about Ivan’s death (which is inch resting imo)

- At one point, there was a post/comment/rumor that Vivinos/QMENG (not sure which) said no one else was going to die after Sua (of course now I can’t find where I initially saw this, so take it with a grain of salt). This could’ve been said to mislead us or maybe they changed their minds later on, but I’m still holding onto this — assuming the statement was made/is true.

- Ivan didn’t get shot in the head. If they wanted to kill him to stop him from “hurting” Till, why waste bullets on shooting him several times in non-lethal places when they could’ve just sniped him one time in the head or neck and been done with it?

- Ivan’s owner Unsha is an alien underworld mobster who has a rivalry with Till’s owner Urak. I don’t think Unsha would take Till (and by extension Urak) “winning” Round 6 in the way he did lightly enough to let Ivan rest without a rematch. But maybe he’s not as petty as I would be idk.

- I’m delusional 🙂

2. Luka isn’t branded.

- This is one of my theories. I think Luka doesn’t have his name branded anywhere on him because he was grown in a lab.

- If the aliens are capable of growing humans, they probably also have the ability to “edit” or design them however they wish. They could’ve made Luka into the perfect Alien Stage contestant: beautiful, musically talented, charming, eternally youthful, but also cunning and cutthroat.

- I think they made him obedient on a fundamental level, more obedient than Ivan or Sua. It’s part of his DNA.

- He’s incapable of rebelling, so there’s no need to brand him. There’s no need for a reminder of who’s in charge because Luka wouldn’t step out of line in the first place.

3. Sua was turned into an android.

- Based on this official art that continues to haunt me.

- Also this post about Vivinos saying Sua will appear again “no matter what form she takes” makes me go hmm 🤔

- If Mizi and Hyuna get captured, I could see android Sua being brought in to break down Mizi as some sort of psychological torture method. (Wow, that got dark. Anyways…)

4. Ivan will appear in the 10th video in the series.

- I talked about my reasoning behind this theory here, but to summarize: the three numbers in this pic with Ivan could represent Round 3 and Round 6, which he appeared in both, and the 10 could represent him appearing in the 10th video in the series. This also ties into theory #1 on this list (IVAN IS ALIVE)

- This is one of my favorite theories because it gives me big “cork board and red string” conspiracy vibes lol

5. Ivan has a connection to the wagyeins.

- Based on the official art we have of Ivan being close with a wagyein as a child. I did a mini-analysis about their relationship in this post.

- Ivan also has some of similarities to the wagyein that we don’t see in any other humans (red pupils, sharp tooth, etc.)

6. Ivan was experimented on.

- Another one of my personal theories is that Ivan was experimented on, though not to the extent that Till was.

- This might explain why he was able to tank like three bullets without flinching much in Round 6.

- And also why his blood might be a different color, as mentioned in this post.

Finally, and perhaps most devastatingly:

7. Till did look at Ivan, he just didn’t notice.

- I think Ivan is an unreliable narrator who is deeply self-deprecating and always sees the worst in himself. And because both Round 3 and Round 6 focused heavily on Ivan’s perspective, we as the audience end up seeing the world how he saw it, rather than how it actually was.

- Ivan thinks that Till never noticed him, but I think he did. Just— not when Ivan was looking. There’s some art/screenshots to back this up too (his eyes being closed in some of these 😭).

Those are all my favorite theories as of now, but I’m sure there’ll be more in the future.

Thank you for the ask anon!

[homestuckreplay]

If WV And PM Have No Fans I Must Be Dead

(page 1032-1039)

The mirroring of Jade (Prospit; dreaming) and Jade (Earth; robot) has been expanded to also mirror PM (Earth; years in the future) and PM??? (Prospit; now) with more identically-composed panels. It is actually a really smooth transition, and I do think that having time to sit between updates makes it easy to keep track of different versions of the same character, where and when they are, and how they can interact. I’ve seen in forum threads that some people have blasted through the first 1000 pages in a day as they discover the story which must feel like a very steep and confusing learning curve (even if it’s technically more accurate for representing the kids’ story, which for them is still a single day).

The imps in John’s house all look similar enough that this could be a fakeout, and this Prospit white chess piece is not PM, but they have the same build and eyes (see above from pages 723, 844 and 1033). Whether or not this is PM, I love their design. The blue/green stripes hippie two piece with matching hat feels like something I would see on a middle aged woman at a music festival who turns out to be the loveliest person I’ve ever met. But back in Homestuck the angle on page 1033 makes it look like PM(?) has boobs which, cmon, they are a bug/chess piece and I’ve never seen a busty chess piece and this is the laziest possible way to indicate a character is female.

I really do love these futuretime folks like WV and PM, I think their story is so interesting. They’re aliens, they’re bugs, they’re chess pieces, they’re video game NPCs, they’re time travelers, they’re irresolute wanderers through the wasteland, they’re the fabric of freedom and democracy and they’re carrying out the orders of a mysterious thirteen year old girl from a different species who lived centuries ago. That’s fascinating, and all their quirks and strangenesses put them in contrast to the kids who – while pretty weird themselves – are fundamentally just humans on the internet, and so are more grounded much easier to relate to then WV and PM.

I don’t know if they are fulfilling time loops or trying to actively change the past, but they seem naturally drawn towards these bunkers, like they instinctively still interface with the video game world after leaving it.

The narrator also talks directly to WV again on page 1036, something they did a lot while WV was commanding John in Act 2 (p.258, for example), though this hasn’t really happened with PM (yet). In fact it better parallels Jade, the character who most often speaks to the player. Today she actually tries to command WV, using several ==> commands in her note – I wonder if he is programmed to respond to these in any context, not just via computer terminal.

But for real, it must be so hard for WV not to eat those tasty greentext envelopes Jade has made him. And Jade absolutely called this right down to the position of the clouds and the fact that PM would be wearing the postal hat. (I guess Jade doesn’t need to feel guilty about causing the bunker to explode if she knows PM will survive, and that has interesting implications for her perspective, if she thinks it’s okay to cause harm in the moment because she definitively knows it won’t have a major, long term impact). But her predictions are eerily specific, not only in their detail, but also in her knowing exactly what guidance WV (Mister Mayor!!) will need to carry out this plan. Her ‘the freedom of your people depends on it’ is a really good way to manipulate WV, as I’m sure she knows he would never neglect his critical mayoral business no matter how tasty the letter is.

So, there’s going to be an important gift exchange, and it might be relevant that this page drops six days before Christmas. These two were on different sides of the Prospit vs Ominous Planet war, but the hearts and spirit of giving in the note suggest a peaceful exchange, two sides transcending a former antagonism. PM reaching for their sword on page 1039 isn’t a good sign, but I’m sure that as soon as they see the mail, the critical mail business will take precedence.

A more dangerous antagonism comes from the mysterious Aimless Renegade, whose gun remains pointed at the other two. I don’t think either WV or PM has noticed them yet. More importantly, has Jade seen them? They’re not mentioned – or warned about – in Jade’s note, and so could be somehow invisible to her powers. This isn’t unheard of; Jade has ‘never had any sort of feeling about [the trolls] or what they want’ (p.1000) and says that ‘if [Bec] wants to be found, he will find [her]’ (p.942), so the trolls and Bec both have some defenses against her. AR could be associated with either the trolls or Bec, or immune for a secret third reason.

Either way, I’m nervous. I like this beautiful WV-PM friendship predicted by Jade’s note, and I don’t want either of them to get blasted with an assault rifle. So whether or not this element has been accounted for by Jade, I’m hoping for some sort of holiday miracle.

> PM: Draw sword; look upwards.

[nota-made-this-tsp-qna-blog]

Hi

So, let me tell you what this blog is.

This is a tsp (the Stanley parable) askblog. I stole the Idea from @unorchido specifically. Uno isn’t the first person to make a tsp askblog, but the idea was stolen from them specifically. I’ll also post my tsp stuff here.

I’ll accept all asks as long as they aren’t NSFW, bigoted or donation asks.

Please address asks to the characters.

I’ll do my best to respond quickly, but please be patient.

I will try to answer asks with art, but remember that I am human and sometimes just don’t have the energy.

If you want your ask to not be answered publicly, please sign with DNP (do not post)

This is a safe space for everyone in the LGBTQIA+ acronym.

Sexism, racism, transphobia, political propaganda, homophobia, hate, etc. will not be accepted.

I will sign out of character asks with Nota.

This blog is PG (pretty gay).

Now the stuff that could make this count as AU:

The office looks… different.

After many endings, the Narrator started slightly changing the layout to keep things interesting. Somethings changed, for example: the layout of the elevator-pressing-conference; the elevator switched walls; the Narrator added a ballroom for him and Stanley; the NEW-CONTENT-door was repositioned; the escape pod ending was removed because the Narrator is scared of Stanley leaving; the broom closet is dead; the doors and desks have become wood to suit the Narrator’s likings; the manager’s office has started to become overgrown.

Some things have drastically changed and can’t return to normal: the line (tm) is running around freely, opening doors left and right. The memory zone is now freely accessible. Wait, what is that hallway…

More things that might make this an AU:

Stanley’s clothes got dirty with blood after the zending, so TK gave him new clothes.

The Narrator is very possessive of Stanley.

The Narrator floats.

The line (tm) is constantly ignoring physics.

DO NOT COLIDE WITH THE ADVENTURELINE! (tm)

Btw here is a Textbox with my Narrator design:

Here is my TK:

The Narrator and Stanley know TK, TK is friends with the Line (tm).

The Curator knows of the others, only Stanley knows of the Curator.

TK and Line like to spread chaos, although TK isn’t able to leave the first few rooms. TK flies around, the narrator floats and Stanley walks.

The Narrator sometimes forgets the endings, like (for example) the zending’s ending.

TK can only appear in rooms with computer and uses the computers to travel. TK can’t use doors. TK can, however, use the the mirror floor and glass walls of the ballroom to travel there.

Stanley likes to spend time in the employee lounge.

The bucket exists.

-Nota

[quietbluejay]

Robots in Disguise #2 1/2

all right welcome back it's time for "the issue that got me invested in Starscream"

annnd Horri-Bull's head explodes

and then they literally copied 2 panels from last issue

the one where Skywarp says "it's over. Horri-Bull is dead" and then vworps out. For yes, this black and purple dude who can teleport is indeed Skywarp! Edgy design for the edgy continuity

so! surprise! the decepticons hacked the ID chips and they don't work any more so it was Soundwave who just killed Horri-Bull to maintain cover also important to note is that EVERY SINGLE DECEPTICON seems to be in on this knowledge well not everyone is here right now, but later conversations will establish this so the whole chip thing was…completely pointless and will come up like once after this well and then years down the line someone is going to blackmail soundwave with him having killed horri-bull here EXCEPT. IT GETS ESTABLISHED THAT THIS IS WELL KNOWN AMONG THE DECEPTICONS then again that's late-stage Barber when he was, as I have put it before, not just burning the candle at both ends but also sticking another wick into the middle to burn it there too but still it irks me this whole stupid grimdark plot point was unnecessary okay okay

Starscream turns to Shockwave and Soundwave

Starscream: Come on, Shockwave, you're not buying this, are you?

Shockwave: events will play out as they will

there it is, the panel that at least got me interested in Starscream

Constructicon (the green dude, and no I can't tell them apart well enough to know what this guy's name is): we're just gonna let him go?

Ratbat: He's as free as the rest of us, Long Haul. So follow him - don't let him out of your sight

and thus begins starscream's character arc

normally i think when they try and translate human metaphors to work for cybertronians it tends to look really stupid but i actually like this one

and yep, Starscream is narrating this one

Starscream narrating: he represented everything the Decepticons stood against. Forcing him into our ranks - as one of Soundwave's cassettes, no less - was the ultimate in well-deserved humiliations.

Starscream narrating: and if our flappy little friend thinks he can stage a comeback...

"…well, my ambitions might just have to soar a little higher"

again, why not make it a private ceremony, dude

Bee: It's more important than ever, Metalhawk.

Bee: If Autobots and NAILs - er, I mean, unaligned Cybertronians - can present a united front...I think we'll avoid a Decepticon uprising

Metalhawk: but if they strike beforehand - if you begin executing Decepticons, you can't expect me to stand at your side

Metalhawk, if this is you standing at his side, i have to wonder what you think standing against him is

Bee: Look, I hate what I had to do to Horri-Bull. But I had to do it. It's a different thing for your people

Metalhawk: They are not my people, Bumblebee. They are people. As are the Decepticons

he's got a point but also this is disingenuous because Metalhawk is literally here to represent the Neutrals he acts as their spokesbot!

Sideswipe looks down

Sideswipe: Uh, guys - there's a Decepticon down there

Prowl: Just one, Sideswipe?

Sideswipe: Just Starscream

Sideswipe: Let me shoot him, guys

bee, take a chill pill

i mean uh, fair, but also yikes

for some context, what he did to them last time involved mass casualties, the main cast getting stranded on radioactive Cybertron, and Optimus nearly dead

Bee: You know what he did to us. Why would he think I'd listen to him?

Prowl: No, I get the reasoning. I just didn't know your walking stick did that

Bee: heh, same old Prowl. Wheeljack whipped it up the other day

Prowl: I've got to have a talk with Wheeljack

this exchange is so important to me and by that i mean it lives in my brain rent free incredible

Prowl: there's no more playing around. I've got as long as it takes

Prowl: if you want to walk out of here - ever - tell me what the Decepticons are planning

Starscream: Ratbat is going to assassinate Bumblebee at the memorial

Prowl: what?

Starscream: Skywarp's I/D chip is malfunctioning - he can still teleport. Ratbat is going to have Skywarp make it look like a NAIL took the shot.

Starscream: The Autobots will crack down, and in the ensuing chaos - Ratbat will stage a coup

also smooth, saying it's Skywarp's chip that's malfunctioning and not revealing they've got control over them

Prowl: and I believe you why? I was there the last time we trusted you

Starscream: hey - you asked me

Starscream: here's the thing about Ratbat's plan - it's terrible. It'll never work. One way or another, you'll stop him.

finally some good food

Narration: but at least I wasn't the only one getting tailed

the narration is superimposed over the blue NAIL from the last issue getting punched in the face (again)

Needlenose kicks him

Needlenose: because if you'd gone quiet when we tried to arrest you, Horri-Bull wouldn't be dead

Needlenose: now let's show this NAIL what Decepticon justice is all about

Skywarp VOPs out with blue dude

real classy, guys i think i got an idea of what decepticon justice is all about

oh, Starscream

Starscream narrating: telling the truth was starting to become a habit for me

the screen turns on, showing Bumblebee

Bumblebee: we are gathered to pay tribute to the Autobots - the Cybertronians - we have lost

I'm not gonna do the whole speech unless it's relevant

Bee gives his speech for the crowd and meanwhile, in a tower...someone is listening

sdfklshdf you know i cannot believe skywarp ended up being the wacky evil sidekick to GI Joe

Prowl gets him with his sticks

sdjkflshdf the framing of this is like prowl is not serving life but also skywarp was literally trying to assassinate bee i think it's fine to stab him with electro-tonfa

Skywarp: that hurt!

he punches Prowl in the face

Bumblebee on the speakers: we serve you

wow i feel like skywarp took a level in dumbness for this exchange "i don't like getting hurt" really?

Prowl: ...you're toast

he electrocutes Skywarp

you know one of Prowl's best character traits? puns

okay so the assassination has been foiled!

but what could be next...

find out next time!

[queenburd]

So like I was gonna do more with this and I might later but right now it’s bite sized and pleasant, it’s nicely self contained, so here’s a TSP fic about the narrator being indecisive about making himself a character model.

—

[ I have a question. ] Stanley posits to no one in particular.

He is standing in the room with two doors, quietly considering. As it is his choice, the narrator is quiet here, and allowing him the privacy of his own head. Mustn’t spoil which route Stanley wants to take for himself, he’s said before. Keeps the fellow on his toes.

(Toes. Ha. How relevant.)

“Yes, Stanley?” The narrator prompts him with friendly curiosity. At one point he may have asked with impatience, an effort to keep him moving, but they’ve done every route so many times that sometimes, it’s more fun to take their time. Stop and smell the roses. “What’s on your mind?”

Stanley—fidgets. It isn’t like him, to fidget, or hesitate. When he finally signs again, after a long consideration, it’s clear he’s chosen every word very carefully.

[ It’s probably a silly question. Is that okay? ]

“Well, Stanley, you are a silly person, so I expect nothing less.”

He scowls at the ceiling, scrunching his nose at the tease. There’s no heat in it, of course.

There’s such a… gentleness, to their relationship, these days. For two entities designed to be in conflict, they’ve somehow found a way to meet in the middle, and find the places where they disagree as ways to appreciate each other. It’s hard, having to deal with someone else’s perspective when they think so differently from you.

But it’s good. It’s nice.

“Go on, then. I will reserve my judgement on the silliness of your question for after I hear it.” Stanley snorts.

He looks at his hands. Releases a puff of breath.

[ Do you have a body? ]

There is no response, but this is fine, because Stanley continues, nothing but genuine curiosity behind his thoughts. There is no motive, no craving. Just simple questions.

[ I usually think you don’t, but sometimes you sigh, or cry or clear your throat, or just do things that imply more than just audio. People have lungs and stuff, to make those noises. But I know you’re not human. But do you have a character model somewhere, like mine? ]

“Um. Er,” is the uncertain reply. The fellow sounds caught off guard, a little sheepish. “I… no. I don’t.”

[ oh. Okay. ]

Stanley isn’t disappointed, not really. Okay, perhaps a touch. But not enough to be properly bothered.

“Wh— is that it? No followup?”

He shakes his head.

“Is it a problem that I don’t have one? I’d never thought to—good lord, can you imagine?”

Stanley shakes his head again, then considers it, and lifts a hand, seesawing it vaguely.

It isn’t a problem, per se, that the narrator isn’t a physical being. It’s simply—

[ Humans are social creatures. They need physical interaction and touch. We’re not human though, so I don’t need it. It’s like the sleep thing. ]

“Hm.”

The narrator sounds contemplative, learning something new. Stanley fidgets again.

[ I was just curious. Sorry if I made you uncomfortable. ]

“Oh, no, it’s alright,” the tone is dismissive, distracted. It stings a bit, but it’s probably for the best. The last thing Stanley wants is to make them stew in an uncomfortable atmosphere. The pair of them should move on.

It’s honestly fine that Stanley’s never had interaction with another person. Or. Well. He thinks it is. It doesn’t bother him frequently. He ISN’T human, so he isn’t about to go mad without it.

There have been times where he really really wished, needed, craved comfort—mostly in the worst moments when the both of them were affected. The aftermath of the Skip Button ending is the most obvious.

But the narrator’s voice has become its own kind of presence. It can rest on his shoulders like a weighted blanket does, grounding him and soothing him, easily as intimate as a hug.

So there’s no real loss here. Stanley can’t miss something he’s never had. It’s honestly okay.

“Er, Stanley?”

Right. Doors. Stanley crosses his arms and considers them.

“The door on the left, you know the drill.”

Mm. No, he thinks he’ll take the door on the right. The lounge is calling his name, singing sweetly with its serene blue and photos. Then maybe he’ll play a different game behind a blue door.

There’s a little grumble that follows him when he heads to the right. Stanley smiles, gives a cheeky wink.

—

The narrator—ponders.

He doesn’t do it frequently; he finds he doesn’t like to. It’s quite easy for him to get stuck thinking about one little thing, one tiny detail, capturing all his attention until he comes back to himself and finds hours have passed and Stanley is sitting against a doorframe trying to entertain himself with a whiteboard and marker, having long since given up trying to capture his attention.

Pondering is not… good for him, the narrator thinks.

But, as he is prone to do, he catches himself going back to a moment, looking it over again and again, trying to glean something new.

Humans are social creatures. They need physical interaction and touch.

Do you have a body?

The narrator is a voice. He is a part of the parable, he is a mechanism. But then, Stanley is a mechanism of the parable as well; a vessel for a player.

It isn’t the same. They are intrinsically different. But do they have to be?

The narrator is and is not the world; he is and is not the halls, the doors, the very air itself. He controls it, it controls him. He has access to its assets; it has access to his mind.

He wonders if this is how humans feel about their own bodies. Both in control, and plagued by limitations.

Oh, for goodness’s sake, he’s doing it again. Going off on an inexplicable contemplation of the nature of humanity, existence and choice. Honestly, sometimes even the narrator doesn’t know what he’s on about.

The narrator doesn’t have a body. He doesn’t need a body.

Humans are social creatures. They need physical interaction and touch.

Would…

Would Stanley prefer it if he had a body?

I don’t need it.

He thinks on the hesitation in Stanley’s fingers. He wonders what it would be like to squeeze them.

Textures. Temperatures. Softness, firmness, sharpness. Scents, tastes.

Senses he knows about in theory. He has no frame of reference.

Would it be that difficult to make himself a character model? He has assets hidden in the code of the game, models he can edit, tweak, piece together to make something new.

Oh, but how could he choose the right features? How could he know when it’s really him?

And—oh no—what if Stanley dislikes it?

The narrator knows himself, he knows that if he wants to do something he commits to it until he thinks it’s perfect. He won’t settle for less. He’d put his heart and soul into it.

If he put all that work into a model, and Stanley didn’t like it?

He doesn’t think he’d take it very well.

He doesn’t know. He doesn’t know what to do.

—

“When Stanley came to a set of two open doors, he—would you at least be so kind as to let me finish?” The voice berates Stanley as he swerves right without pause. Stanley doesn’t even roll his eyes.

He’s going to go see the lights.

There’s a nervous clearing of the throat. “S-Stanley was so bad at following directions—“

Spare him, please. He understands the needed script, but it grates a bit this time. Stanley balances on the edge of the platform, a hand around the support rail, timing his jump.

“Look, Stanley—“

Not his enemy. No, they’re not enemies. In fact, Stanley would go so far as to call the fellow his dear friend. It’s why he’s doing this.

This is not an act of cruelty. He knows the fear it strikes into the narrator, and in honesty Stanley cannot blame him. The number of times the protagonist has gone down this route just to find a different exit, all in vain, is not a high value, but it’s still too many.

There are only two ways out of the room behind the red door. One is in the narrator’s power, if he can overcome his own nature to use it. The other is in Stanley’s power, and makes them both miserable.

It’s not ideal. And it’s so frustrating, because this place really is beautiful. It really is up there as one of Stanley’s favorites.

Clearly anxious, but trying to keep his composure, the narrator loads the map into the starry dome. In the instant Stanley steps into the room, all the panic falls away, into an easy bliss.

“Oh…”

Stanley walks to the center of the platform and sits. He crosses his legs, craning his head up to watch the lights.

The narrator is quiet, but his flood of real peace is palpable. This is one of the places he seems most open. Most willing to relax.

Usually, that can be a danger after too long. He ends up stopping, never progressing forward, unwilling to move. That’s not a life.

But they’ve compromised on so many things. This is one of those things too.

[ I’m going to stay a while ], Stanley offers in the dark, knowing he will be seen. [ You’ve been preoccupied for a bit. Do you want to talk about it? ]

“I—“

The voice cuts itself off, clearly surprised, the anxiety slipping back in.

[ It’s okay if you don’t. I thought being here might help you deal with whatever’s going on. I’ll wait as long as you need. ]

—

To say the narrator is embarrassed is putting it mildly.

He feels caught red handed, even though he hasn’t even done anything.

“Am I really so obvious?” He grumbles, more to himself than to Stanley. The man grins anyway.

[ I know you. I pay attention. ]

“Hmph. That’s debatable,” he grouses. Still, Stanley was wise to come to this place to prod him. He’s much more at ease here. A little less ashamed, afraid, overwhelmed.

[ Like I said. You don’t have to talk about it if you don’t want to. I’ll stay here while you sort out whatever’s been bothering you. This way you don’t have to be distracted by the narration. ]

He’s being…. Kind. So kind, to a person who used to be his enemy, his jailer. How has the narrator been so fortunate to have a Stanley that is so exceedingly good? He knows he certainly hasn’t been a fine example in the past.

He sighs. Stanley lays back, hands behind his head on the floor. It can’t be comfortable, on the metal grating. The narrator gives a small noise of warning, before he changes the texture pattern on the dark floor to the rug he’s saved for the Bottom of the Mind Control Facility Bucket ending. It’s a bit more comfortable than the carpet in the office.

It catches Stanley off guard a little, and the narrator chuckles as he shakes his head at the sudden change, like a wet dog shaking off water. But he settles back with a smile.

“If you intend to be there a while, you may as well be comfortable.”

It’s just… so easy. To be with Stanley. To do things for him. To try to make him smile. Like it’s innate. It wasn’t always. But he’s changed. The both of them have.

They look at the lights for a bit. The narrator feels himself relax. Like he’s floating. Like he is one of the lights, going up, down, changing slowly, unhurried and unconcerned.

Why has he been so worried?

It takes him a long minute to realize he wasn’t the one who had wondered that.

Stanley waits for him. Stanley doesn’t demand anything from him. Stanley’s intentions are entirely devoid of deceit or manipulation.

It makes this… easier.

“I…”

But not completely.

“I’ve been thinking. About making something new. I haven’t decided if I should do it, because, well—I worry you won’t like it.”

Stanley’s eyes are closed, but he’s awake. He’s listening.

The narrator is being very careful with his words. It’s been at least fifty runs since Stanley asked him about a model, so he knows at least that it doesn’t occur to the protagonist that this is related.

No, Stanley is wondering if the narrator has been considering new endings. Why wouldn’t he like the new endings? They aren’t ones where he dies painfully and miserably, are they?

The narrator chuckles good-naturedly, suddenly far more at ease. “No, Stanley. No cruel twists of fate that leave you mad or dead, that much I can assure you.”

Okay. Then Stanley isn’t sure why he wouldn’t like whatever the narrator makes for him, if it comes from some place genuine.

It leaves him a little tongue-tied. The narrator hears himself swallow, without a throat.

“It’s not that simple.”

Why not?

“Because…”

Because he doesn’t just want Stanley to like it. He doesn’t want Stanley to be happy because it’s a new thing.

He wants Stanley to like him. He wants to make this thing himself, the way humans shape their bodies to fit the way they picture themselves in their heads, and he wants Stanley to like what he sees.

It would be him. It would be his. And if Stanley was just neutral about it, or just didn’t like how he looked, then—

Oh, he couldn’t bear it. It would hurt him irrevocably. He’d throw it into the deepest pit of code and never think about it again.

“I… I think, if I did try to make this, this idea I’m considering, a reality, well—you know I don’t do things halfway. I’d be so—it needs to be perfect, do you understand? And if I spend all this time on it, only for you to, to—“

To treat it like his story.

“—yes! Exactly! Oh, Stanley, this is for you, it’s all for you. I just want to make something for you that you’ll care about, and appreciate.”

(And love, he is certain not to say. There’s no need to attach such words to this idea yet, that’s a little too dangerous.)

Stanley is very quiet. He’s thinking, but he’s thinking in that way where he wants to be certain with his words, so the narrator gives him his privacy. The narrator looks at the lights. He lets himself relax again.

He can feel Stanley’s tender heart. His compassion. Stanley cares deeply for him, can see how much it matters to him.

A desire fills the protagonist, an intense longing he can’t bury, hard as he tries. The voice can’t help peeking at it, not when it’s bubbling over like a boiling pot against a lid.

More than anything, Stanley wishes he could hug the fellow.

He must make some noise of surprise, because Stanley’s demeanor changes instantly to one of embarrassment and trying to recontextualize.

He wants to comfort the narrator! He doesn’t mean to make it weird! He just wishes he was able to provide the fellow a physical sort of validation!

The narrator feels more than sees Stanley’s face flushing all the way to his ears. He can’t help laughing, not at the man necessarily, not even meaning it at his expense. It’s just…

It’s a little adorable?

Stanley’s embarrassment only grows. Welp. Moment ruined. Time to go throw himself off the stairs.

“Absolutely not!” The laughter dies instantly, turning to an angry sort of panic. Stanley flinches.

Right. Not a funny joke when it’s here.

The narrator inhales deeply. “God, you gave me a fright.”

He can feel the genuine remorse radiating off his friend. Forgives him immediately.

“It’s—it’s alright. Slip of the tongue, as they say.”

Well, Stanley can’t talk, but, yeah. They both are on the same page.

“In any case. Thank you for listening. I… I think I will try, actually. I honestly appreciate your… your sentiment.”

The narrator can hear the smile in his voice. Yes, he’s going to go through with this. He’s certain now.

Because Stanley wants to hug him. And that in itself has erased all his doubts.

Still.

“Can we… stay here, for a little longer?”

He’ll reset. He will. Stanley doesn’t need to hurt himself. It’s just…

It’s so peaceful here.

Stanley shoots a thumbs up at the ceiling, towards the lights. The narrator relaxes again. Tries to imagine himself laying besides Stanley. Looking up with him. He wants it more than anything.

“Thank you, Stanley. I… thank you.”

Soon.

[conceptalbummultiverse]

References in chapter 36 of Strange Fascination

I know, I haven’t even made a post promoting it yet, but ssshhhhh…(yes, there is a new chapter!) I thought that I’d make a quick post about a few song/real life references in this chapter, since @tabb1tha pointed out one that I didn’t even intend. (Ziggy having white blood is not a reference to the Aladdin Sane album cover- I think that the mysterious liquid on his chest is supposed to be a teardrop, and as for why I gave Ziggy white blood, I've just always liked that concept in general; I first used that concept for a non-human OC in a story I wrote when I was about 10/11 and I wanted to bring it back- but I like that interpretation, it very well could be that!)

The most obvious one is the line “I’m never ever gonna die, and I’m never ever gonna get old” from “Never Get Old” by David Bowie, off his Reality album! (I like Reality a lot, and as an aside- I like the album cover, you guys are just mean.) I wasn’t intending to reference this song as there’s supposed to be a theme to the songs I do reference (that aren’t from the concept albums that I based the universe on), but I think I had been listening to Reality and just felt like throwing it in there.

When Whatsername reads the katakana on the back of Ziggy’s cape (side note- I’m not sure if you’d call it a cape? you know, that thing that Bowie’s wearing at the beginning of the Ziggy Stardust filmed concert that gets ripped off him? but I wasn’t sure what to call it), she reports that it says “hamburgers.” This is a reference to the last line of my personal favorite David Bowie song, “Sweet Thing” from Diamond Dogs. (Well, the entire Sweet Thing Suite is my favorite song of his.) I needed to think of something kind of dumb and silly that could be written on the cape- in my head, Ziggy’s cape was custom-made and the designer who made it had included it as a joke because he knew that the clueless English people (or… English-presenting in Ziggy’s case) who had ordered it wouldn’t be able to read it and would just think it looked cool, so he could write anything he wanted on it and they’d never notice. He was right. Anyway, I chose “hamburgers” because I always thought that non-sequitor at the end of “Sweet Thing” was funny, as if the narrator is losing their train of thought: “If this trade is a curse, then I turn to the crossroads and… hamburgers…” I don’t actually know if there’s a way to write that word in katakana, but… *shrug* Apparently in real life, Bowie’s cape said something badass like “breath of the dragon" and it was rendered in such a way that the letters, when read out loud phonetically, said “Bo Ee.” (I can't find the link where I read this originally, so I might be wrong about that.) I figured I couldn’t use that in my fic because I would have wanted it to be “Zig Ee,” and that didn’t fit the mood of the scene that I was going for.

The outfit Ziggy is wearing below the cape is this outfit from the 1980 Floor Show:

I like this weird-ass outfit. Not much more to say here!

As for non-Bowie-related references, it’ll become more apparent in the next chapter, but Whatsername’s letter begins with “Where have all the riots gone?”- the first line of the song “Letterbomb” by Green Day.

If you’re keeping track of lyrical references- by all means, do so! There is a rhyme and reason to how I chose them- I’d say about 99% of the lyrics I reference in the narrative that aren’t from the albums that the fic is about are from the same two OTHER albums. Both are by the same artist, and both were released in the 2010’s. And yes, that artist made one of the albums that the fic is about. (I feel like this has narrowed things down maybe a little too well, but I don’t want to start the hunt for lyrical references until the story is over and they’ve all been used.)

[hatsunevitu]

okay this might seem like a lil bit controversial topic but please imagine tfbw but if cartman knew what fancervice and queerbait meant. like. are you really telling me he wouldn’t use it to get more fans and attention and money? please. so i strongly believe he’d make kyle participate in this shit with him to get more profit, and when kyle found out about new romantic-ish scenes between human kite and racoon that cartman had just written into the script for human kite’s movie… kyle’d get completely furious so he went to cartman’s basement and tried to make a scene.

(also i know i can’t call super craig a side character but i believe kyle actually thinks that the main characters are the racoon and human kite. no offense to craig tho. oh and just in case: i do not support queerbaiting!!)

k: Fatass!

c: What are you doing here? You’re supposed to be at home reading your script!

k: I did read the script! And what the hell are all those scenes you’ve added? They make no sense!

c: Do not question my narrator’s talent, jew. I’m the one who’s in charge of writing, your task is to memorise it and worship me for all my hard work.

k: Really? Oh, really? “Hard work”, you say? What is this fucking moment, you fat piece of shit?

c: Which one, Kahl? Please, elaborate.

k: “The Racoon is on the verge of death, fighting for every breath, so Human Kite heroically decides to give him mouth-to-mouth. The camera switches to the reaction of other Friends, but loud sounds of CPR can be heard behind the scenes”.

c: Pretty dramatic, huh? I really outdid myself, didn’t I?

k: The whole new script is full of this shit! What’s the matter, Cartman?

c: You know, just decided to make your movie more inclusive and… spicy. Are you against it?

k: Yes! Yes, I am against it, I don’t want to participate in this! There are so many actually homosexual people and by doing this you erase them. That is wrong, unethical and also it’s freaking gay!

c: A-huh. So did I get it correctly, Kahl, that you don’t want to make our characters closer ‘cause that is in your opinion, and I quote, “gay”? What are you, homophobic?

k: Knock it off! Stop twisting my words, that is not what I said!

c: Then I see no reasons to reject my offer, Kyle.

k: It’s just so inappropriate and wrong!

c: What’s wrong about two male characters being close and emotionally attached to each other?

k: Everything! If it’s me and you – everything is wrong! Where’s the catch, Fatass? I will not believe for a single minute that you’re doing it for inclusion of minorities.

c: …Well, okay. I guess… I guess it is time for you to learn this.

k: Learn what? What are you talking about, Cartman?

c: Have you ever heard the word “queerbaiting”, Kyle?

k: Uh… no. What’s that?

c: Let me start with another question. Who do you think is the most popular character in Racoon and Friends?

k: Um-m-m… I don’t know, probably you?

c: Wrong! It’s not me, Kahl. And wipe that smirk off your face, ‘cause it’s not you either.

k: Then who?

c: Super Craig.

k: What? This can’t be… You’re the main character, he can’t be more popular than you or me! It makes no sense!

c: That’s what I thought! When I first saw the character popularity rank I started thinking… Where was my mistake? How is it possible for a side character like Super Craig to be more popular than me and you? Is it his character design? His backstory? His role in the plot? I was seeking for answers for hours until I finally realised…

k: Realised what? Come on, stop wasting my time!

c: Patience, Kyle, patience. It’s the most important trait for a superhero. So, let me continue. The main reason of popularity when it comes to Netflix… The reason why everyone loves Super Craig so much… The gayness, Kyle.

k: …Huh?

c: That’s right, you heard it correctly. The gayness. Homosexual orientation immediately makes a male character more attractive to fans.

k: …That’s stupid.

c: No, Kahl! There can be no mistake! I looked through the popularity rate of Freedom Pals and guess who the most favorite is there?

k: No way…

c: Yes way, Kahl! It’s fucking Wonder Tweek! The one with the most lousy backstory I’ve ever seen! The fans are completely in love with his cute little dramatic breakup with his boyfriend. Can you imagine it?!

k: Wow… That’s…

c: I understand how shocked you are now, but that’s not the end. Then I’ve heard the term “queerbaiting” and that is so goddamn genius, man, you’ll just love it! It’s when two dudes, who are not directly said to be homosexuals, show some gay hints here and there.

k: So?..

c: Don’t you get it, Kyle? It’s just hints! You don’t have to *actually* be gay, the fans will just fill the blanks themselves! It saves a lot of troubles with homophobes and laws in foreign countries, but you can still make money on gay jokes! That’s sweet, dude!

k: Wait, and do you expect people to actually buy it?

c: …Who are the most popular rivals in DC?

k: Batman and Joker?

c: Who are the most popular characters themselves?

k: …Batman and Joker. Dude… what the fuck?…

c: See? Told you!

k: So you want us to be gay so we become the most liked ones?

c: Yes, if you put it simple.

k: That’s… kind of messed up.

c: Oh my god, we won’t be *really* gay. Just… hints or something.

k: O-okay… Just to be clear: there won’t be any weird moments we have to actually take part in, will there?

c: What do you mean?

k: Like… um… I don’t know, some too-gay shit like holding hands or really kissing?

c: I will hope so. Believe me, Kahl, I like it no more than you do.

k: Well… Are you sure they’ll all like it?

c: Totally!

k: Oh, god, I feel like there is some kind of a trap, but…

c: Think about money, Kyle. The large, unthinkable pile of money and fame for just small scenes with some remotely gay-ish dialogues. That thought must calm your little jewish soul.

k: …Just so you know, I still fucking hate you. And I’m doing it only because I don’t think it’s right for a side character to be more popular than the main ones.

c: Whatever makes you sleep at night, Kyle. Whatever makes you sleep at night…

[shiningdesignersreflections]

Chapter 3: Stranger's Promise

Narrated by Marina.

Narrator: I glance around Cersei's stall. On the black velvet tablecloth lies an old, frayed set of tarot cards.

Narrator: A tall girl in an elegant, classy gown and a crystal crown is sitting behind the table. She looks like a beautiful princess!

Narrator: She shuffles the cards gracefully. I'm surprised to spot some green stubble under her veil.

Narrator: Cersei's deskmate, the youth in the noble outfit, is also standing at the side.

Noble Youth: Where are you from, young lady?

Marina: The voice...

You: So that "youth" is actually a girl...

Narrator: Meanwhile, a figure clad entirely in metal scraps is attempting to get up from the couch in the back, producing a series of loud clangs.

Robot: Activating... 20%... 30%, 35%... Activation failed.

Narrator: The strange metal man gives up his attempt and sinks back into the couch.

Cersei: Hey, Robot, don't scare our sixth member away.

Marina: What a group of weirdos.

Cersei: Bingo! That's right! We're weirdos indeed. You're indeed destined to be our sixth member.

Cersei: Let me introduce you. This is our Princess. This one is Prince. The robot dude is human, but you can just call him Robot.

Marina: You can call me Marina.

Prince: A very good name. Easy to remember.

Cersei: We all live in the Dorm of the Strange. The other students all call our building a forbidden zone!

Marina: Is that something worth being proud of?

Cersei: Anyway, if you join our club, you get free access to the Dorm of the Strange. You'll be one of us!

Narrator: Her words simply put me in a bad mood once again.

Marina: But I'm not even a student in your school.

Narrator: Princess, who has been standing silently at the side, finally sighs.

Stubbled Princess: Yeah, she's right. She's a kid. Can't you tell?

Cersei: So? She can just join the club now and enter Cicia School of Design later.

Narrator: I look up in surprise to meet Cersei's genuine, intense gaze.

Marina: B-but by the time I get in... you'll all have graduated.

Cersei: Nah, I should've graduated 4 years ago, and I'm still here. Who knows when I'll graduate? We might become classmates.

Cersei: By the way, where do you live, Marina?

Marina: I live on a big, big ship! Bigger than the whole campus, actually.

Marina: We sail all day. I don't know where to, but my brother says we'll find our destination someday.

Cersei: Wow, that sounds amazing. I deserve my own ship, too.

Narrator: Princess nods elegantly, stroking the stubble on her chin.

Stubbled Princess: It'd be nice to go tanning on the deck with a glass of champagne.

Prince: So, do you know how to steer a ship, Miss Marina?

Marina: Of course! I can do anything!

Robot: A ship bigger than the whole campus... It must be powered by cutting-edge technology. Maybe tech from the Ruins.

Narrator: They all start chatting. It's like they've already accepted me and fully believe I really do live on a gigantic ship.

Narrator: I feel right at home hanging out with them. It's almost magical. How should I describe this feeling?

Choose either "It's friendship" or "It's the mutual understanding between weirdos."

If "friendship," ...

You: It's friendship! You've made some great friends.

Narrator: So, is this what having friends feels like? Now I see why people find university fun.

If "weirdos," ...

You: It's the mutual understanding between weirdos. You fit perfectly with each other.

Narrator: Who cares if others find me weird? And what makes them so "normal" anyway?

--

Marina: But... I'm the 6th member, right? Shouldn't there be one more person here in that case?

Cersei: She went out to buy something. Oh, I see her over there!

Aeon: Marina!

Narrator: Before I can see the face of the fifth member, my brother has come looking for me.

Aeon: Where have you been? I've been looking for you for a while.

Marina: Aeon! You're already done?

Aeon: Yeah, it's time to go home.

Narrator: I hurriedly say goodbye to the members of the Research of Magical Humans Club and run over to take my brother's hand.

Narrator: From a distance away, I turn back and let my gaze linger on the stall a little bit longer.

Narrator: A new, grayish figure is standing by the small table now. The silhouette reminds me a little of a mirror we have on the Ark.

Aeon: What are you looking at, Marina?

Marina: Nothing, nothing! I didn't see a thing.

Marina: Aeon, can I study here in the future? I made some new friends and promised we'll become classmates someday!

Aeon: You want to go to school? Of course, you can go.

Marina: Really? You're the best!

Aeon: But if you want to pass the exam, you'll need lessons in history, languages, math, and more. Let's start lessons once we get home!

Marina: Huh? Nooooo! I don't wanna go to university anymore!

Chapter 1

Chapter 2

[blackjackkent]

OK, there are a bunch of other buildings in this area that will definitely need checked out, but for right now, let's go back into the House of Healing, because we need to avenge Arabella's parents and also maybe find something relating to the whole Thaniel business.

There's another of the creepy undead nurses in the front hall; she looked Hector over and then decided he was "not so well, but well enough to wait" and instructed him to "join the line."

There is, to be clear, no line, and the place is incredibly empty.

Hector then had a series of potential options, each slightly more amusing than the last, for deceiving the nurse, the ultimate goal being to get in to see the doctor - presumably Malus:

My favorite part is that #4 isn't deception. I guess at this point it can be safely assumed Hector is feeling pretty fucked up internally. :P

The monk line is tempting but as we know, Hector never defaults to deception, so we'll go with the persuasion one.

"Wait! My wounds may not be visible on the outside, but I still need help!"

Narrator: There's a hint of recognition in her eyes as she studies you.

(Her eyes are covered, game. What is going on with the writing in this section? :P )

"The unseen wounds of war. The doctor's hand will close them. Down to the theater. Be swift. Be saved."

Huh. I think Hector is as surprised as anyone that that worked.

OK, on into the theater, where Malus is still saying creepy and unsettling things over the body of someone who is, astonishingly, not dead but looks like he might be soon:

In we go!

-----

"The objective of the scalpel, sisters, is to soothe," Malus Thorm is saying in a slow, even tone as Hector and his companions approach. "For the scalpel, indeed, is an extension of Shar..."

His voice is mellow, almost soothing, but his appearance is anything but. It seems at a glance as if he was once an elf - a drow, perhaps - but his body is mutilated almost beyond recognition. His arms from the elbow down have been replaced by horrifying mechanical claws tipped with delicately-pointed scalpels. His legs, too, have been replaced at the knee with an repellant combination of flesh and metal, extending the limbs to almost twice their normal length.

His eyes are covered by a set of goggles wrapped around his head, masking his gaze, and on his forehead sits a strange dark mirror. His skin is scarred and pockmarked and inlaid with a design of what appears to be gold filigree burned into his flesh.

His voice rings with madness and his clothes, once fine, are stained with blood.

"See," he croons, "how the patient reacts when I but stroke the right nerve. Hear its comfort. Hear the very melody of mercy..."

He draws one of the scalpel-claws across the ripped, ragged skin of the human man bound on the operating table. The man whimpers miserably, too exhausted to scream, his bloodsoaked features contorting with pain.

Malus turns his head, surveying one of the swaying undead nurses next to him. "Pray, sister," he says mildly, as if directing a child in a minor bit school exercise. "Show us the extent of your beneficence."

The nurse lurches forward, her rigor-mortis grip tight around the hilt of a small surgical knife. With a clumsy slash, she sinks it into the "patient's" belly. The man mewls and squirms weakly as it scores a deep red line through his flesh.

"Stop!" Malus bellows. The nurse draws back at once, pulling the knife from the wound. "Stay your hand," the mad doctor continues, his voice at once returning to its original calm, even rhythm. "For it slaps where it should stroke. We can hardly hear the patient's sighs of solace..." A slight pause. Then he smirks. "Perhaps it is our unexpected audience that makes you quiver..."

He turns slowly on those strange, gangly legs, looking down at Hector standing in the doorway of the surgical theater.

"Come!" the doctor cries, his tone horribly jovial. "Step forward! You are no sister, but that matters none. Every student is welcome."

It is taking all of Hector's self-discipline not to be sick on the floor. The place reeks of blood and viscera and the abject cruelty on display is abhorrent. Surely even Shar does not indulge such atrocity.

How many servants of Selune have lain under this man's blade? How many has he tortured and bled out, mocking them with his madness?

Did Komira and Locke die in this room?

His arms are crossed tight on his chest, his fingers curled into fists; his jaw trembles with how tightly it is clenched.

"You will stop this sick spectacle at once," he says, each word cold as ice through clenched teeth. At his side, he sees Karlach give him a sharp sideways glance; she has never seen him quite so visibly disgusted and angry.

"Sick?" Malus smiles brightly, the blankness of his goggles lending an even more maniacal air to the words. "Quite. But on the cusp of a cure..."

"Absence..." murmurs one of the nurses, as if responding to a litany.

"Absence..." Malus agrees softly. He turns to look again at his "patient," and raises one of his clawed mechanical hands. "No other word captures the heart of Shar so perfectly...it is the scalpel-led journey from pain...to peace..."

Punctuating each word, he stabs downward twice. The man has no voice left to cry out, but writhes in agony as blood pours from his emptied eye sockets.

"A stinging truth..." Shadowheart murmurs unsteadily. "But...a truth nevertheless..."

She is lucky, perhaps, that there is a greater threat to be concerned with here, or he would absolutely turn and lash out at her for that. A sudden incandescent rage is rising in Hector's chest - fueled in part by everything he has been forced to participate in, walking through temples and altars and corrupted fields of his goddess's enemy, but set to light but the brutality that is now before him. He has stood by Shadowheart as an ally in suffering, but if she can see what he sees here and condone it, there is no hope for her.

Were he calmer, perhaps he would hear the halting tone in her voice, the struggle to speak, just as Lae'zel struggled for words as she saw Vlaakith's power crumbling away. But he is hearing nothing but his own fury now, and his eyes are fixed on Malus as if they could burn a hole through his blasphemous skull.

"See?" Malus crows gleefully, entirely unaware of the drama playing out before him. "What is the light of eyes but the cancer that causes one to witness the laceration of being?" He steps forward off the surgical platform with lithe, alien steps, closing the distance between himself and Hector eagerly. "If light is the symptom, then darkness is the cure, for in light there is presence, but in darkness there is absence."

"In light is presence...in darkness absence..." the nurses intone in response.

"But you..." Malus comes to a halt in front of Hector and presses the tips of his clawed arm against his chest. "Look," he sneers, "how the succour of Shar eludes you. See how painfully *present* you remain..."

He twists the mechanical hand so it lifts, draws ever-so-gently along Hector's cheek. "We do not wish to see you suffer so," he croons. "Let us cure you..."

Perhaps, were he a stronger man, he would continue to speak with this abomination - call on Selune and his own hard-won knowledge to find a way to learn what they came here to learn, something of Thaniel or Zevlor or Ketheric...

But in this moment, something has snapped inside him. It is too much, all of it. It has been too much for days in this horrible darkness so far from his goddess and he finds he can no longer bear it. This last bit of cruelty is too much, and he has no more words left.

Attack.

A hoarse, wordless cry breaks from him and in a single smooth motion he pulls his quarterstaff from his back and swings it to smash with a dull, bone-crunching thud into Malus's face.

[mars-ipan]

let’s be honest it was only a matter of time before i babygirlified an old man

closeups and (many) design notes under the cut :)

ok design notes time (these r mainly for the narrator bc. well. stanley has an actual physical appearance):

- while thinking of how to design the narrator i got the idea that he took one of the models in the audience for the ending where stanley gives a speech and edited it to make his “human” form

- because of this i wanted to include a bunch of little things that he “got wrong” during the process of mimicking a human. most of them get ironed out when stanley points out how weird they are but some of them stay

- to name a couple, his teeth are all flat- no canines or molars. also his little headset + glasses have nothing that actually attach them to his head. they just Are There. not to mention his interesting fashion sense of tie + turtleneck + blazer (he defends this choice no matter how much stanley laughs at him). he’s just weird enough to be slightly uncanny- it’s an imitation, not the real thing

- since i’m indecisive as hell he’s a bit of a shapeshifter. he actually doesn’t use his physical model in-game a lot and tends to just show up in things. shadows, reflective surfaces, screens, etc. even more often than that he’s just his voice

- bc he plays the guitar in the out of bounds ending i am now convinced that he can play many instruments. that little piano in the memory zone before the first review? yeah he’s there playing that in-game he’s just not visible to you

- designing his hair was SO DIFFICULT i literally went searching thru the tag for inspo and i liked so many different things. after a struggle (you can see a slicked-back attempt in the shadow idea doodle) i eventually decided on the style shown in his main drawing. every time i draw it i fight so hard to make it distinct from miles edgeworth. to make this easier the cowlicks aren’t too pronounced and the larger bang is more of a fringe. it still sometimes looks like miles edgeworth whoops

- some of my favorite fanon design things are the Line™ tie the square glasses and the little gay ass highlight so i knew i had to include them. those were my only definite choices going into this

- once again bc i’m indecisive the narrator can scale his model up or down as he pleases. he prefers to be bigger than stanley but stanley complains that it “makes his proportions weird” because he’s “short-coded” so sometimes he goes to a more human size.

- the narrator being stout just makes sense to me it’s correct in my soul (i actually think i drew him too skinny in most of these. i just didn’t wanna redraw shit bc i am tired but if/when i draw him again he will be less skinny)

- i wanted to work with shape language a lot because the narrator’s whole character is a voice- i wanted to make sure i captured the vibe of some stuffy old writer who has an undeniable silly streak. so he is squares and circles (his tie is the only triangle save for maybe the hair)

- for similar reasons stanley is squares and triangles. felt right

- speaking of stanley his soul patch is a goatee now bc i hate soul patches with a boiling passion. so now it’s a goatee

- i also gave him a little beauty mark by his right eye. i don’t know why i just knew in my heart that it was correct

- stanley uses asl and not bsl because i want to learn asl sososososo bad and this just might be the thing to get me to actually do it. he can project his thoughts to the narrator but he doesn’t like it so he almost always signs

[siobhans-dream]

Sneak peek of my notes

( the spiritual shop is real, mark that down at the end of the book.)

Alex is late for summer admissions and will attend university in the fall.

Figure out time travel issues.

Don’t use the 4 treasures. Make up my own treasures to use along the journey back to the otherworld.

Why do I care about Ambrose, why would my readers care about him? Make them care about who he is.

The morrigan (the sisters) are in the book. Not the narrators. They will be called the three crows.

Frost is the headmistress of the college.

Keep Nergal. A demon in the book.

The fire child prophecy stays. Keep Ambrose’s birth story. Seamus says to not make a shoddy ass Irish book. Keep it true to Irish mythology.

Bog bodies must be in the book somewhere.

Make Alex less whiney

Prose, figure out a beat for the book.

Can’t use high elder as the language. I must come up with a different name. As that is Tolkien. I’ll have fae languages.

I need to work on how I write battles.

Ambrose is meant to be a secret antagonist to Alexandra. ( this might change.)

Change name from fire and blood. Already did that.

Make the book less like fanfiction. Make it have some sort of logic. Even if it’s magic. Explain it logically.

No port locks. Call transportation, blipping, they use teleportation to travel like in Harry Potter. Can’t have splintering. It’s from Harry Potter. Be careful with my movie/ book references. It’s copyright.

When they get to the fae realm. Keep that the realm is alive and changes them around. That’s its topsy turvy.

A ball will be had In the book.

Keep Lucifer in.

Read the real Arthur and Merlin stories. Have them be in the book.

Create fae flora and fauna. As a guide book.

Aodh is not the fire child. Alex is. Aodh is a god. Alex is not him. She is like a Jesus Christ figure. Blessed by the gods with powers and what not.

Excalibur is cursed. Not made of Valyrian silver. Find some other name as Valyria is game of thrones. If I use dwarves they must be sensitive to little people. We need giants too.

Be more accurate about the trees and plants in the book.

This is the beginning of the book. How does Alex find out what she is? She finds out she’s a witch at the end of highschool at a party and is granted the ability to go to a secret school for witches. Frost is headmistress of the school. What starts the journey to the otherworld? Keep Alex being an addict. She finds out after an od.

How do you kill the dead? They rise back up. So how do the fomorians die? They will be vampires not zombies so figure out how to kill them. Maybe silver like underworld. Folklore, says silver bullets work.

Keep the cat but make him less like Cheshire. He’s a catśith. A hell cat. Make him eat someone’s soul.

Learn about castles and design one for the otherworld that fits Lilith. Make her less of a rapist and more of a dictator.

No traveling as that’s from the magicians!

The throne room floor and throne is made of bones of dead fae.

The book with have a dictionary or a glossary to indicate how to say words. Like cat-she. Is catśith

The golden castle was melted down.

What does the other world look like? Make it make sense. A forest? That turns into a desert. Look up desertification.

She’s gonna be fat! Like thick fat though. Built. Yeah.

Pinky the cat will be in the book. He’s the narrator, along with Ambrose.

Find a concise theme and find my audience.

End the book with fin

Vampires are in the bayou.

Go back to black water for family, Alexandra they know she’s Fae.

The blackbriar college is known by the residents of the French quarter as a place of complete damnation. The humans do not go there and whisper about the on goings.

Mason is the love interest. Not Bella. When she is introduced she is just a friend. A vampire. Not a witch. She helps Alexandra understand her place among the vampires. She is not masons love interest. Either. She is simply family. His sister. She’s slow to love

Describe black water as two parts of the same town. One is Appalachian delpadated and the other is Appalachian royalty.

They eventually go to the otherworld alex is not king but Alexandra does steal the crown for simply saving the people from Lilith. Lilith is fae queen and is more like a dictator by never seeing her people but knowning they are slaves to her rule. The kingdom is left in ruin after a war but must go on by the hands of another, a royal bloodline crafted ages ago.

the mines and turned the city into a diamond. Over the years it flourished. The town began to be gentrified and a sought after by the government. The money brought in, also brought drugs. Search big gas and big minerals. Delphine helped the city but couldn’t get rid of the drugs. Only the wealthy got richer and the poor got poorer.

The war is in the otherworld. Not in the real world. The witches and the humans and all the other creatures. Are completely fine. Although the fae have returned to home. Alexandra takes over the mine and lives in the empty home left.

Make another town like 40 minutes away that’s a major city and has normal people.

Lillian was selling drugs outside of black water.

Milk of the morrigan? Hm? It can resurrect one from the dead. A potion.

The next chapter is Cornelius based. He is around e masons place and meets the sister. Bea gets introduced as Bella Mason. After the death and funeral of the mother. The old ones are going to come collect. The debts are vampire debts. It is going to be a large sum of money. Bea runs through money even more than as a human. She’s at her brothers neck trying to get him to help her make up the difference. Otherwise it could be dire.

They are poor. He’s 22 but really like 65. Has fake papers to appear older and younger. Bea is about a 106, changed at 17 years old.

[minetteskvareninova]

Minette Rates Love, Death & Robots, Vol.2

(Again, as spoiler free as possible, which is to say not very. Sorry about that.)

AUTOMATED CUSTOMER SERVICE - Offputing animation style and eyeroll-worthy antitechnology message redeemed to a staggering extent by a decent story and, most of all, by being fucking hillarious, maybe the funniest short so far. See, this is how you do satire! 8/10

ICE - This one is... Complicated. The animation was beautifully stylized and appropriately atmospheric - except for the humans, who were just plain hideous. The worldbuilding was pretty lame - except for the whales and the way it played into the unironically good story and characters. Overall, flawed, but pretty good. 7/10

POP SQUAD - The story and message of this one were so utterly horrible that I might have to write an entire meta unpacking them. In short: just read The Declaration series by Gemma Malley instead (or at least the first book, I haven't read the rest). 1/10 for semi-decent animation and cute kids.

SNOW IN THE DESERT - This one had a few interesting kernels, like interesting worldbuilding and concept for a main character, but they all come to naught as the emotional core of the story is a deeply lame romance between extremely poorly drawn character. The pixie cut girl works for a government agency whose main goal is to get Snow, except she completely forgets it because of his magical dick. Which is supposed to be kinda miraculous, but in a completely different way. Snow is better, in that he's just a dude who wants to be left alone and enjoy simple things in life that your regular grunts on this desert hellworld don't have access to. I... I don't get it. Like you could definitely make some point of the fact that he's incredibly privileged by local standards, but they don't. Overall, what this all boils down to is that someone dropped an albino Wolverine onto a Tatooine-esque planet, let him do some cool action scenes defending himself from random bounty hunters and gave him a sexy lamp, I mean cyborg as love interest, while deeply sucking in writing both romance and Wolverine. Fun to roast and rewrite, somewhat entertaining to watch, not too amusing to remember. 4/10 for the potential

THE TALL GRASS - Now we're cooking! Classical lovecraftian short, where a man briefly encounters the Horrors, explained just enough to be more scary than your regular monster, but not enough to ruin the mystery. Also the animation is great and the whole concept of Horrors hiding in a tall grass just Appeals to me. 10/10

ALL TROUGHOUT THE HOUSE - I was kinda dreading this one, because I am a scaredy cat, but turns out nothing terrible even really happens, and now I don't know whether to be glad or disappointed. "Not suitable for children" my ass; look, it's true that the Entity design was appropriately gnarly, so I wouldn't want my kid to watch this, but if it did anyway, I could plausibly just claim the Entity is completely benevolent and just looks Like That so that kids are scared into being good. I mean, it could've demonstrated a miniscule level of malice by, like, eating their misbehaving dog or whatever. Nevertheless, it is a fun, bizzare little tale and the design of the Entity was so good that I still liked it a lot. 7/10

LIFE HUTCH - A fun, imaginative little piece of survival horror in space, even better than The Helping Hand from the previous volume. Also Michael B. Jordan is pretty, sue me. 9/10

THE DROWNED GIANT - This one was thoroughly spoiled for me by Jacob Geller. Good news is, very little actually happens in it anyway and it's more about the vibes than anything. Bad news is, the vibes were spoiled for me by Jacob Geller too. This one I think might've been more impactful in written form, or as a mostly silent movie, but as a movie with narration it just doesn't land. I recommend you read the original short story and/or watch the Jacob Geller video essay Fear Of Big Things Underwater. 5/10

[re-readingcomics]

Comics Read 02/10-03/31/2024

Over this period of time I read a special compilation called The Flapper Queens, Women Cartoonists of the Jazz Age. The compilation is in this beautiful hard cover volume. It was edited and compiled by Trina Robbins and I have been meaning to look into more of her work ever since I learned that she created the costume design for Vampirella. (I am sad to say that between starting to draft this and posting it Robbins died.) While reading this didn’t do much to better acquaint myself Robbins’ work it was interesting and a mostly enjoyable to read collection. The cartoonist that this volume focuses on are: Nell Brinkley, Eleanor Schorer, Edith Stevens, Ethel Hays, Fay King and Virginia Huget. I have not idea if anyone else should have been included.  Not all of the cartoons were great, and the standard warnings about the racism and sexism of the times needs to be applied. Still the drawings were often very pretty and the situations depicted were a fascinating time capsule. If I wrote this in a more timely manner I might have written more about it presenting a view of how flappers were perceived in their time, but not really what it was like to be one, leading me to wonder who the target audience was… but I didn’t write this in a timely manner and now I have to write about two more comics that I read.

The first is Girl written by Peter Milligan with art by Duncan Fegredo and colors by Nathan Eyring. I know Milligan is controversial, brining up tricky topics in not the most sensitive ways, or ways that become quickly out of political. But I mostly like him as a writer. I think he can get to a sublime sense I don’t get from many writers. He and Fegredo did that with their earlier comic Enigma. That said, I didn’t like Girl that much. The grim set up felt too heavy, the potentially delusional narrator too sad. It may have started with some interesting ideas, but it did not really pull them off. The too happy ending was neither earned nor unsettlingly unreal. I wanted it to be real because the misery earlier was too much, but mostly it made the story feel pointless. I didn’t love the art. This was originally published in 1996 and some of it is that style just isn’t to my taste these days. Though I have to appreciate how the artist worked to make two characters identical except the hair and clothes.

Finally I read the miniseries Afterlift. I bought it because it was written by Chip Zdarsky, artist for Sex Criminals and writer for the Kaptara, (which, much to my surprise has a second volume coming out this week) as well as some Big Two titles that I don’t read. The art is by co-creator Jason Loo, with colors by Paris Alleyne, Letters by Aditya Bidikar, and edited by Allison O’Toole. This was a refreshing read. It is the story of a ride share driver named Janice Chen who unknowingly picks up a demon planning to escort a miserable soul to Hell. It’s funny, it cares about the state of the soul, it’s not too attached to any specific dogma. The art is fun, easy to read, filled with distinct, both human and divine. The colors are great at evoking different dark scenarios while still being clear. A good reminder of why I sill make time to read comic books.