#i think this counts as a hc

[ikiprian]

Clark is taking Kon and Jon out for a classic, super-style bonding flight. Just a quick jaunt around the US and back!

They don’t get far. Somewhere in Illinois airpace, they run across another family.

The three (a hulking man, a snarky teenage boy, and a cackling youngest girl, each a grayscale blur in the blue, blue sky) throw neon-lit beams of energy at one another, quips and insults flying almost as fast as they do. It looks like training. It looks like fun!

The boy of them looks like a younger version of the man. Exactly like, even. Clark is familiar with clones.

The youngest, a girl, looks like both of them, but not quite. Perhaps she will, age sharpening her childish features, but it’s hard to say. More likely, she’s the man’s daughter.

Interested, Clark introduces himself to Dan. He seems to be a hero in his own right, even if Superman’s yet to see him in action. And it’s not often Clark sees a family so like his own!

[queen0fm0nsterz]

I really like how Little Nightmares explores masculinity and femininity.

The experience of a female presenting LN protagonist (and even character, if you want to extend to the antagonists, notably the Pretender) is generally one of survival induced solitude, where companionship can be sought but ultimately denied due to circumstance - especially among each other. Six, Noone, Alone and Raincoat Girl all display different degrees of longing for someone to understand them - Six being an extreme on the side of isolation with the occasional source of comfort (the Nomes), Alone being a comfortable middle where she is indipendent and curious while also having a companion, and Raincoat Girl being the other end, an helpful force who seems to desire companionship. In Little Nightmares 1 especially femininity is displayed as the painful experience it can be. It's raw, visceral, and worst of all it's isolating both when you conform to it until it destroys you, like the Lady does, and when you reject the standard of what is expected of someone like you, like Six.

The pain you feel, physical and emotional, doesn't seem to be as important no matter how deep it cuts you. Noone's tumor being hidden and neglected, her headaches being dismissed... and of course Six's hunger, unforgettable in how much it hinders her, but I could also point to her monster form and the physical and mental toll the entire ordeal in the Tower has left on her.

The conflict between Six and the Lady becomes especially poignant under the lens of this argument because it is a confrontation of the two opposing sides of the spectrum, metaphorically. It's a little girl who has yet to experience the devastation of conformity performed as a means of survival facing a woman who lived all her life so set on following these rules that anything outside of them is perceived as a threat.

(One can't ignore the more obvious point of the class difference with Six being at the very bottom of the chain and the Lady being at the top, which certainly influences the dynamic, but I digress.)

Femininity is hyperindependance in the Little Nightmares world. It's the desire to be left alone while also longing for understanding. It's ambition and curiosity, but it's also the loss of identity both in the pursuit of it and in defiance of it. You end up being alienated either way; you can't really win.

On the other hand, I find that generally, masculine Little Nights protagonists tend to be driven by sentimentalisms and emotion. They are often defined by what community surrounds them, be it a single friend, family member or group; the most lampant example of this are, of course, Mono and the Thin Man, but the same argument can be made for the Runaway, whose story ends up leading him into finding a genuine community with the Nomes, something that no female protagonist experiences. You could argue it was clever foreshadowing, and it was! But does it make the observation any less valid? Personally I don't think so. Low also seems to be pretty set on keeping Alone by his side, although it might be too early to tell; however we do know he's a dreamer who dreams of a future where he and Alone can escape the Nowhere. You could call him a romantic.

Masculinity in this world can be care and fortitude, but it's also singlemindedness. It's the ability to find companionship and meaning while also letting one's own hubris destroy it.

Otto himself is an incredibly interesting example of this because we can hear how his desires, his emotions, are eventually what ends up driving Noone into the arms of the Ferryman. It's a prime example of how masculinity and femininity clash with one another -how his emotional wounds and eventual loss of clarity caused a little girl to fall prey to that hyperindependance where she refuses to be helped by him even when he does mean it.

(Along with his vaguely misogynistic remarks, but again, I digress...)

This singleminded focus on one's own emotions is what I think makes the Thin Man and Mono as relatable to many as they are. His is an endless cycle of violence caused by his own hand; by his own inability to process his emotions in a way that can allow him to progress and move forward. It's not a justification of Six, whose eventual exhaustion was what caused her to react the way she did, but rather it is an observation through again metaphorical lens.

The Thin Man is stuck in a dark room that gets progressively smaller because his inability to understand his wrongs causes it to shrink. He's locked in a bubble that is not entirely of his own making, but it is his responsibility to burst. But how can you burst it when you have no conscience of the fact that the room has been getting smaller to begin with? How can you care, when all you can think about is the emotional hurt that brings out the worst of you, the part that you don't even realize is the worst of you?

Masculinity can be just as isolating as femininity not because it's visceral but because it's fragile. It's unaware of itself while also being incredibly concentrated on the self. It's based entirely on how one is perceived and treated and thus easily destroyed once one is left alone to their own devices, which is why it requires community. Once that community is taken from you, it shatters, and leaves one without the tools to rebuild it.

I suppose the true difference here is that, at their worst, while one is self aware to the point it is actively damaging to the self and everyone around you, the other is so out of touch with itself that it can cause unintentional hurt to the self and others which can't be processed properly.

At their worst, they're monsters that help make each other, you could say. At their best, they're companions who help each other.

(This is in no way an attempt to diminish one or the other, by the way, nor does this reading apply to every single character. Both social constructs have their good sides and bad sides. The main quartet of Six, Lady, Thin Man and Mono are very strong cases, but I was simply making a general observation.)

[catgy]

Mumbo Jumbo as his many skins from his HC ep!

Gem's bi panic was very cute :)

also i'm terribly disappointed that mcyt fanartists here on tumblr don't add a silly screenshot or meme to the end of their posts like on instagram so here's something. let's start a trend.

look at this man.

[somber-cryptid]

Kim Rok Soo learning to cook at a really young age.

Like. Five or six. When there was nothing ready to eat in his uncle's cabinets that he could find. The milk had gone bad, and the only other thing in the fridge was an egg or two.

His uncle hadn't been back for two days, and he preferred it that way. He could wash his own clothes in the sink and hang them to dry by the window. Get up for school by himself, dress himself, and walk to school by himself. The only issue was food.

He got food at school for free. That was the best food in Kim Rok Soo's opinion. Food he did not have to risk asking his uncle for. His teachers even praised him for eating all of his side dishes when his classmates were picky about theirs. Being picky was something that you needed money for.

Kim Rok Soo didn't have any money. If he did, then his uncle probably took it with him. When he was older, he'd get a bunch of money and share it with everyone but his uncle. That would be a while, though, and he was hungry now.

Yesterday, he'd eaten the last slice of bread in the entire apartment (he'd checked everywhere, even his uncle's room.) It'd been moldy, but as his uncle often said, 'beggars can't be choosers.' Kim Rok Soo now missed the bread he'd had to pick little blue spots off of. He should've eaten the spots, too. Maybe then he wouldn't be as hungry as he was right now.

Now he stood in front of the fridge (careful not to open it, his uncle got mad if kim rok soo ran up the electricity bill) thinking hard about the egg sitting inside of it. What if his uncle got home and wanted the egg? Then what? Get hit a lot just because Kim Rok Soo couldn't wait until the next day? It wasn't even the weekend yet.

Kim Rok Soo still ended up opening the fridge and holding the egg in his hand. He could crack it open over a cup and slurp it down. Kim Rok Soo didn't want to take such a risk for something he couldn't even chew though.

So he decided to cook it. He'd seen it in books, television, and even in person when his uncle was still nice to him. If he could do the rest by himself, he could do this by himself, too.

Kim Rok Soo gathered his supplies (a stool to stand on, a pan, and his uncle's egg) and stood in front of the stove. Remembering what cooking an egg looked like, he cracked his egg on the counter and emptied the inside onto the pan. A few eggshells fell in, but Kim Rok Soo just picked them out like he did the blue spots in the bread.

He knew which knob to use to turn the stove on, but he didn't know how much. So he decided to turn it halfway and left it on medium.

Kim Rok Soo stood there for what he felt was an eternity just watching his uncle's egg. Then the edges started to turn white, and he felt a little thrill. His stomach grumbled in anticipation. The pan kept getting hotter, and eventually, Kim Rok Soo couldn't see the pan through the egg anymore. As far as Kim Rok Soo knew, the egg was done.

A very smart child, Kim Rok Soo made sure to turn off the stove. His uncle had left it on before and blamed him for it, so Kim Rok Soo couldn't forget how important it was.

He put his plate on the table and then tried to flip the pan over so the egg would come out. The yolk hit the side of his plate, but the rest of his egg didn't budge. Kim Rok Soo frowned.

What the hell? It never ended up that way for anybody else. He'd just have to ask the auntie downstairs about it. She'd taught him how to fold his shirts too.

In the end, Kim Rok Soo found a spoon and scraped the rest of the egg into his plate.

It was pretty good, or at least Kim Rok Soo thought so. He was still hungry afterwards, but not as hungry. The entire process left him feeling satisfied. Another thing he could do on his own. Soon enough, he'd be able to live on his own and never see his uncle again.

Thinking about it, he'd have to get a job too, wouldn't he? You had to earn your meals after all.

[orphiclovers]

Secretive Plotter voice appreciation post.

He makes it a habit to speak in his 'true voice' 99% of the time, so we get a lot of descriptions of it  - it's very distinctive.

Kim Dokja calls it 'sharp and clear' the first time he hears it.

Sun Wukong is less complementary and says it's 'insidious-sounding' - both descriptions give the impression it's a grating and harsh sound to the ears.

It makes sense - he's an Outer God, after all. Usually the effect hearing their voice has is bleeding from your ears and terror - unless you're sufficently powerful to withstand the effects.

And despite that Secretive Plotter very delibaretly choses to speak in his 'true voice' anyway, a little bit as an intimidation tactic but mostly as part of his artificial persona of 'frightening Outer God called Secretive Plotter.' And so no one forgets what he is for even a second, not even himself.

But then of course the fearsome illusion shatters when he drops the voice whenever children are around. There are only two times we ever hear his real voice - not so coincidentally, the only times when he's not pretending to be the 'Secretive Plotter' but is instead just 'himself'.

The first time, for a brief moment when he talks to Yoo Mia. The switch is never called out, even though Yoo Joonghyuk's narration notices it. And Secretive Plotter doesn't point it out either, because he does it automatically and without thinking - because it would never occur to him to hurt or frighten a child on purpose, no matter how villanous he is acting.

Most significantly he tells the honest truth here, to both Yoo Mia and Yoo Joonghyuk. But it doesn't last and then the next sentence after he puts Yoo Mia to sleep he's back to 'true voice'.

The second time we hear his real voice is here.

Again, he's speaking to a little kid here and at the same time dropping the 'Secretive Plotter' persona - for the final time. During the rest of this scene he never goes back to speaking in the 'true voice', even though the rest of the 999th turns outer gods do - Oldest Dream can obviously handle it, but it means something different to Secretive Plotter to speak in his real voice, he only does it when he's being entirely honest and candid - when he's not keeping up appearences. And he was definitely brutally honest during this whole conversation.

(It's also interesting that despite it being called a 'true voice' it's often very much the opposite. It's a lie for Secretive Plotter, a mask he wears, as I pointed out in this post - but also for Kim Dokja too, in the same exact way. Kim Dokja only uses it to intimidate his enemies (for example, when he was defending Yoo Joonghyuk from Asmodeus) or paint himself as someoen frightening, irredeamable, inhuman (when he was trying to convince Anna Croft he was evil and no better than any other constellation). In this, Secretive Plotter and Kim Dokja are exactly the same - except the Plotter has done it longer and gotten used to keeping up the facade at all times, whereas Kim Dokja speaks in his real voice most of the time.)

[bugwolfsstuff]

I will never like or forgive Luke mostly because he is the reason Castor is never gonna see their dad again

Like its assumed that Dionysus had a good relationship with his kids.

And yeah Castor will have Pollux in the future but they're never gonna see their dad again.

They're dead and Dionysus is deathless

They're dead and never gets to see the parent they loved because Luke hated his parent

[turtleblogatlast]

One of the biggest things that makes me see Leo as trans is absolutely the size of his carapace in comparison to his brothers’.

And I’m not talking about height! I’m specifically looking at his shell here, because when you compare him to the others, particularly Donnie who is nearly the same height as Leo, it’s very clear that Leo’s carapace is much longer in proportion to the rest of his body.

Like - standing side by side, even though Donnie is shorter his carapace ends noticeably higher up than Leo’s does. And I like this not only because it really helps push the idea that Leo could very likely be trans (or intersex!), but it’s also just a fun design difference between them.

(It also lends way to future scenarios of Donnie eventually getting taller than Leo, but sitting down still has Leo being the taller one haha.)

[youngyoo-apologist]

OG!Cale and Kim Roksoo

Notes:

A quick drawing but I thought of that one tweet that was like this and I had to draw it as them I’m afraid. They have such a funny dynamic I think. Like they’re both so traumatized and it’s just a “wow, we should have been doing normal things instead of the horrors we were forced to go through” situation with them

They would be too powerful if they interacted more than once in canon so they had to be put in separate worlds

[pup-pee]

kyle keychain design

[tango-but-everywhere]

step into my office…

etho, season 10 episode 10

[ID: a minecraft screenshot from hermitcraft 10, taken in etho’s froglight shop/frogger game. the viewer, etho, is sitting on their chair in the ‘office’ while tango is perched on one of the opposite chairs. he’s in full diamond except his elytra, and holding a slime ball. he’s looking at etho but turned to the right slightly. etho’s hotbar is visible at the bottom of the image. end id]

[hraeesvelgr]

explosions are loud

[prismatic-ink]

what if Lizzie didn't die?

nobody's ever fallen out of the void before, so no participant has ever come back to tell the tale of what that's like. the communicator says she's eliminated, and everyone shrugs and carries on, because for all they know, she is. Maybe there is a ground to hit down there, or some monster that swoops in and kills in a single blow.

but the thing is - there's no end in a void. it just continues forever. and ever. and ever. it's simple physics; a void/vacuum is a blank space, a complete and total absence of anything at all. there's nothing there that could have killed Lizzie because, by definition, nothing is in the void at all. not even time could have gotten her.

now imagine being condemned to a place (or as close to a place as the void can get) where you will never see anything again, hear anything again, falling falling falling, towards a ground that will never appear. a place where you can never look into anyone's eyes ever again. eventually, a green streak in brown hair is the only memory you have of another human existing that hasn't been lost to the millennia you've spent falling. this place where you will be the only thing that exists, the only thing that will exist, and the only thing that has ever existed, slipping through the cracks of time, eternally in solitude.

wouldn't that be a fitting place for a woman who spent all her time on solid ground alone, with almost nobody to care for her? falling so far out of the bounds of reality even the watchers don't know she's still alive? so beyond the reach of anybody that nobody will ever hear her calls for them to come to her, let alone heed them? and let's be honest, if they could hear her, would they even come?

and who knows, maybe when the next season rolls around, for some strange, inexplicable reason, the watchers can't find Lizzie. It's no trouble, they can construct a new Lizzie from her memory, even if it's one season behind. and maybe this time, Lizzie has better luck and lots of friends. she doesn't really get why Scar is so apologetic, or Joel so clingy, or even why she constantly feels like she's teetering on the edge of a precipice, about to fall. but that's just her being silly, right?

all the while the original Lizzie falls forever. forgotten again.

[daikonghost143]

Basil Danganronpa Splash Art

Wip shots under the cut

1- sketch

2- clean up sketch / trying to be more realistic and danganronpa styled

3- lineart

4- base color

[tigerpy]

coge

[aroaceleovaldez]

my hc to ignore whatever's going on with CoTG trilogy is that the letters of recommendation thing at NRU just operates exactly like letters of recommendation work at any normal college - theyre usually going to be from a former teacher or someone unrelated to you who you worked with in the past. Lares are house gods that are extremely populous in New Rome and the legionnaires would work with frequently like teacher figures, plus minor gods roam around New Rome in disguise sometimes as well, not to mention Terminus. So your average legionnaire would just get letters from three lares who can vouch for them or maybe rarely a minor god or Terminus if theyre on good terms, and that's it.

Percy and Annabeth aren't able to do that though cause the lares don't like them cause they're Greek and they're both basically strangers to Camp Jupiter, so them getting letters of recommendation from the lares wouldn't make sense anyways, cause they have no relationship with them. they aren't teacher figures to the two of them. It's still not hard for them to get absolutely glowing letters of recommendation from extremely notable immortals though so poor NRU is left going "Well, shit, nobody's ever gotten a rec letter from Pluto before. That's new. I dont think we're allowed to say no to that."

[irukasito]

oblivious iruka is so real. it took him forever to realize he had familial feelings for naruto and then it took an entire war for him to admit it.

DO NOT get me started on this— not to use therapy-speak but imo that ‘obliviousness’ comes from low self worth stemming from orphan/trauma related issues. like. it’s no wonder it took a war to get him to tell naruto he saw him as a brother, or why he cries at the slightest verbalization/show of affection, or how he gets angry so easily. he’s emotionally constipated and doesn’t know how to even begin to unpack all that— he’s only just scratched at the surface of the kyuubi trauma 😭

and this is always so overlooked like yes, he’s kind and compassionate but only when it comes to other people. when it comes to himself? when he needs to reach out to others for their sake/his peace of mind? he is too repressed to function and he has to work around sincerity to do it properly. or he lashes out. like ohhh my god someone tell him about somatic therapy