#in the end you kill us both

[leechjuice]

a pot-smoking arsonist. a scar-faced, cannibalistic texan. a half-blind motel cat. a road trip to hell & back in a shitty old pickup. predator and prey, hand in unloveable hand.

GRIEF. SEX. REVENGE. 🩸

IN THE END, YOU KILL US BOTH, my literary horror debut, is NOW AVAILABLE FOR E-BOOK PR-EORDER 🫀🥩

[starry-bi-sky]

*points at bruce and danny in 'late at night when the nightingale sings'* THESE TWO MFERS MEAN SO MUCH TO MEEEE

no thoughts head empty just these two socially inept fools finding family in one another. like yes you go you funky little death omens stole that one from a comment on the fic, so if you see this you know who you are, discover that family isn't only tied in blood.

bUT onto less mushy stuff: these two being shenaniganizers; tomfools. Bruce realized that Danny didn't actually know he was Bruce Wayne and instead of going "oh actually im bruce wayne" he went; "hrm... how long can i keep this going until he realizes...."

like. i think they deserve to be the sillies. just utter goobers the both of them. like, danny makes the wittiest side comments, dry quips, under his breath towards Bruce while they're out in public (Danny covering his face with a face mask) and Bruce is trying not to laugh. Meanwhile if Bruce makes one sly comment about someone to Danny, Danny's gonna collapse with laughter.

Bruce plays straightman in most of their bits, he has the best fucking poker face. But also I firmly believe he does actually enjoy Danny's puns. Look me in the eyes- look me in the eyes. Try and tell me that a man that willingly agrees to call a car "the batmobile" even after his eight year old ward grows up (thus negating the need to go along with his antics) doesn't enjoy a good, well-placed pun. Look me in the eyes and try to tell me that. That's right you can't.

He's gonna spit out a well-placed pun in the driest, most boring Batman Voice Ever one day while he's getting ready for patrol, and Danny's gonna fucking die of laughter. He's gonna lose his mind. Bruce is going to have a half-dead sickly teenager laughing his lungs out in the chair. That's a new core memory right there, every time Danny thinks about that he's gonna start giggling.

just!!! these two making each other laugh! That's so important to me. So so much. I nEED Danny to get Bruce to smile and laugh and I need Bruce to make Danny do the same. Danny's all snark and sass and Bruce is all deadpan and dry quips. Do you all see my vision.

[gingermintpepper]

Okay, let's finally talk about EPIC's Apollo

I feel very compelled to say, first of all, that I do not dislike Epic. In fact, I am very fond of Epic and have been following its production and status very eagerly! I attend all the launch streams, I watch all of Herrans' update videos; I am, at the end of the day, a fan and I want it to be known that my words are spoken out of love and passion as much as they are spoken from a place of critique.

So really, what my problem with Epic's Apollo?

In the briefest possible terms; the choice to have Apollo be defined by his musical aspect in God Games is thematically strange. And not in the 'oh well in the Odyssey, Apollo was important to Odysseus and his family so it's weird that that wasn't kept in Epic' strange, strange in the sense that Odysseus' character arc since My Goodbye has been getting more and more obviously Apollonian and so it is positively bizarre that when we get to meet Apollo, the god seems entirely disinterested in him and his affairs. So much so that he is not even defined by any station that would indicate that he has been watching over and protecting Odysseus and his family.

What do I mean by 'Odysseus has been following an Apollonian arc'? I'm so glad you asked!

Remember Them is the last song in which Odysseus explicitly uses his sword until Mutiny where he must use it to defend himself against Eurylochus' blade. He uses it to help enact the plan to conquer Polyphemus and, due to Polites dying in that battle, Polites who wished for Odysseus to put the blade down entirely and embrace a post-war life, Odysseus also retires his sword. This is an action that symbolically separates him from Athena - and the image of Odysseus as a traditional warrior set for him in Horse and Infant - as much as My Goodbye physically separates him from the goddess and her war-ways - from this point onwards, Odysseus will no longer be leaning on Athena's wisdom or methods to solve his problems. Likewise, he will no longer be able to rely on her protection.

Odysseus thusly solves most of his upcoming problems through diplomacy and avoidance. He approaches Aeolus - a strange and ambiguous god (both in gender and in motivation) and appeals to them for help. Circe too, he approaches not with wishes to conquer or for revenge, but for the safe returning of his men and an alternate way forward. In all of these scenarios, there is some Apollonian element which is subtly interweaved alongside the influence of other gods; it is with a bow and arrows that Polyphemus' sheep is slain (and thus it is this Apollonian element which is at the root of Odysseus' spat with Poseidon), it is a vision of Penelope that warns Odysseus that his men are about to open Aeolus' wind-bag, Circe's peace offering to Odysseus is to refer him to a prophet of Apollo who has since died.

In this way, Apollo is walking alongside Odysseus for all of his journey after Athena departs - even in the Underworld, he is guiding him. It is Tiresias' proclamation that is the last straw for Odysseus, it is by the power of a mouthpiece of Apollo that Odysseus decides to embrace his ruthlessness. It is with the bow and arrow that Odysseus subdues the siren who sought to trick him, likewise, Odysseus does not attempt to undermine or escape the fate of paying Scylla's passage price - he knows of the doom about to befall the six men and quite unlike the rest of the journey until this point, he does not fight against it. This all comes to a head on Thrinacia where it is a blade which sacrifices the sun god's cow and brings destruction upon the crew once more.

My point with all of this is that when I heard the teasers for God Games years ago, it made perfect sense to me that Apollo would be Round One - he is not Odysseus' adversary and has no reason to oppose Athena's wish to free him. From other teasers about what will happen in the climax of Epic, Apollo will still be walking alongside Odysseus - it is Apollo's bow that Penelope will give the suitors to string. Likewise, it is Apollo's bow that will prove Odysseus' legitimacy and identity. That bow will be the power by which Odysseus hunts his adversaries and cleans out his palace - it is Apollo who is the avatar of Odysseus' ruthlessness, not Athena.

So tell me, truly, what was the point of having Apollo raise a non-argument in God Games? Why have him appear unconcerned, aloof and slightly oblivious? Why have him appear in his capacity as the Lord of Music at all?? And if the intention was never to make Apollo an active player in Odysseus' life like he was in the Odyssey, why keep Odysseus as a primary archer?

The answer of course is that Apollo is inextricable from the fabric of the Odyssey - his influence and favour exudes from Odysseus just as much as Athena's. In Athena's ten year sulk, it would have been Apollo who kept Telemachus and Penelope safe. It would have been Apollo protecting Odysseus from Poseidon's gaze as he travelled the seas (according to the Odyssey anyway)

Forgive me for not being excited about something that I thought was being purposefully set up. I was extremely ecstatic about all of the little Apollonian details that litter the sagas because I know where this story ends up (loosely) but all God Games did was reveal that maybe those Apollonian details were not intentional at all, but merely the ghost of the Apollo who persistently haunts those he favours, even if he cannot explicitly come to their aide in an adaptation.

[puppyeared]

you are umasou

[borgialucrezia]

"For the good of those who see in us, the defense of our beloved people, whom we love above all else and whose love we reciprocate, requires us to use our children as instruments and bargaining tools to obtain the necessary ends." — Rodrigo Borgia (Lucrezia Giovane, directed by Luciano Ercoli)

[unknown-cold]

People will never understand the grief and suffering that Caitlyn went through, they will never understand the complex characters who always did good things but unfortunately the world didn't do them justice. The characters who go through stages of despair, grief and anger, these are the characters the writers wanted to give you so that you understand the complexities of humans through fictional characters. They want to send you a deeper message than just this evil character who wants revenge. It's more complicated than that.

So let's get into the topic and why I made this post:

First Caitlyn never wanted to kill the child to get to Jinx. You never saw a character who was controlled by anger. Caitlyn saw nothing in front of her except Jixn, the person who completely destroyed her life. She became obsessed with Jinx in the same way that Jinx was obsessed with Caitlyn. Let's take another example of an angry and vengeful character, which is the character Ellie in tlou2. We saw her literally kill everyone in front of her to get to Abby. She even went as far as to kill Lev if Abby didn't fight her. Anger and sadness are emotions that are difficult to control. These emotions are what control the person.

And The Big Problem is no one hated Ellie back then, huh?? So why Caitlyn now 😑

But the sad thing for Caitlyn is that unfortunately the demon Ambessa is in the picture and she will definitely play an important role in changing Caitlyn's personality. Of course, as is known, Ambessa will benefit from Hex weapons and other things for her personal goals.

Another thing that caused Caitlyn to lose her mind was when Vi accidentally compared Cait to the person who killed her mother and had been trying to kill her multiple times. And Jinx had killed many people in Piltover more than once. All of these things came together on Caitlyn until she completely lost control of herself.

Bc in the end it is her city and she has the right to defend it and defend her people.

So honestly I don't blame Caitlyn, I'm not saying what she did was right, but AGAIN Vi unintentionally compared her to the person who killed her mother and caused her a lot of suffering, as Jinx kidnapped her, tortured her, and tried to kill her several times.

(Imagine someone comparing you to the person who killed your mother and ruined your life)

And in the end Caitlyn will realize her mistake and try to fix it and she will know that Ambessa was manipulating her all the time, and she will know that she is the cause of most of the problems in Piltover.

I'm sure Caitlyn's redemption arc will right all the wrongs she's done and will make up for everything to the Zaun people and Vi.

And mark my words, bc Caitlyn is the only character who knows the problems that exist in Zaun and surely after she gets rid of her anger that is eating her from the inside, she will do the right thing bc that is the core of the Caitlyn that we knew in season 1.

So please trust the writers and don't rush to judge characters until we see how they end first.

[dykedvonte]

Honestly I see Jimmy's refusal to put Curly out of his misery less about his weird feelings of envy or his delusions but the fact Curly is all but stated to be a shield to Jimmy from his actions and people seeing the worst in him.

The only characters that Jimmy really interacts with one on one before the crash are Curly and Anya, two individuals he has wildly different relationships with. It's likely that Curly really did most of the talking between them as the pilots and the rest of the crew as staff. They didn't know of Jimmy's more reprehensible behaviors cause they never really had the chance to and Jimmy is subconsciously aware. If they had disliked him more than Anya would have told Swansea earlier or even Daisuke when things got really bad.

It's why he takes the immediate opportunity to blame Curly; He's the shield. He's saved Jimmy's ass more times than he can count and more times than Jimmy would ever admit. Even when he can't really do it anymore, he mentally shields himself from his own faults by putting Curly between them. Letting Curly die puts too much on him because he doesn't know how to function without a safety net.

In the end Curly only lives because Jimmy needs the idea that Curly will inevitably make things better to stay alive, meaning Curly has to live, no matter how much it pains him to do so.

[luck-of-the-drawings]

smth smth about 'the thing that the character did that you thought was rly rly funny in the moment is actually linked to a terrible trauma that lies within said character.' or wahtever.

[hella1975]

im so sick of reading ooc dabihawks fics make them try and kill each other fr i have a GUN

[leechjuice]

surprise and happy sapphic september 🩷🤍💜

IN THE END, YOU KILL US BOTH isn't officially released until next month, but i still wanted to offer a nice treat—and what's sweeter than a month-long 85% off sale on a bloody, angsty novel about two disastrous lesbians killing their abusers?

pre-order your copy here 🫀

[serpentface]

Do psychotropic drugs and/or ritual play a role in any of the blightseed cultures? A pretty broad question, lol

Yeah that’s a very broad question, the answer is about as much as it tends to play roles in real history. Alcohol is pretty ubiquitous (outside of cultures that abstain from intoxicants) and used for a variety of purposes, opioids are commonly used in some parts for pain relief or recreational purposes, stimulants (usually in mild, natural forms) are used to provide extra energy, and hallucinogens are most commonly used as part of a larger religious framework (rather than for recreational purposes). Any more elaborate answer kinda has to be case by case in a certain culture or part of the setting.

I'll just take this as an opportunity to talk about the one established sect that pretty much REVOLVES around psychoactive use. This is the Scholarly Order of the Root, which is a sort of mystery religion + elite community of scholars who currently occupy the Ur-Tree and its forest in the far southern Lowlands (southeast of Imperial Wardin, on the same land mass).

The Ur-Tree is the obligatory Huge Fucking Fantasy Tree (and its surrounding forest). It’s a mass of vegetation about a mile tall and almost as old as Plant Life Itself, its upper branches are primeval plants, which become more modern the nearer they get to the ground (and each 'level' holds tiny ecosystems, some containing descendants of LONG-extinct arthropods/other small animals). Its lowest branches and the surrounding forest are contemporary plant life, and all is connected and protected by an incomparably MASSIVE fungal mycelium network (which is itself a living god).

A lot of the Scholars' more secretive practices revolve around experimentation with substance use with the goal of expanding the Mind and transcending the body to fully connect to the Dreamlands, and they have a supply chain of traders and mercenaries called Rootrunners who traffic substances into the Lowlands. Most of their psychoactive use is in a very intentional capacity and not just like, for fun, but a LOT of them are just straight up addicted to cocaine (in the form of alchemically refined bruljenum, which is used for practical purposes of its stimulant effect during long hours of work).

All known psychoactives are desirable for experimentation (particularly hallucinogens), with each having properties that either allow expansion of the Mind, transcendence of the body, or outright divine communion. Their effects are logged in great detail and interpreted to form the basis of the Scholars' understanding of the natural world and reality itself.

The most important substance is Ur-Root, which is root matter from subterranean levels of the Ur-Tree that have both their own intrinsic psychoactive substances and a very, very high concentration of living god mycelium. The tree root contains DMT and the mycelium has its own wholly unique effects (being an actual living god). They alchemically refine it into a purer, more potent form, and use it to expand beyond the body and directly commune with the Giants, a group of entities they have identified as the only true gods.

An Ur-Root trip starts off with minor visual distortion, which turns into shifting fractals that slowly obscure the vision. Eventually the senses are entirely taken over by a 'tunnel' of rapidly shifting fractals and geometries. In a complete trip, the experiencer gets a sense that they have been pushed through a membrane and entered another realm, finding themselves in a distinct experiential Space.

At this point they may encounter entities which communicate to them in a language impossible to describe but wholly understood. These beings are understood to be the Giants, or at least aspects of the Giants that mortals are capable of comprehending (they often take familiar tutelary forms of the Mantis or the Snake, or appear resembling the same type of sophont that the experiencer is, all composed of ever-shifting geometries). The experiencer often feels a sense of unconditional and endless love from these beings, though the Giants may be more hostile and may appear in the form of the Trickster (usually a cultural figure regarded as malicious, be it an animal or otherwise) in a bad trip.

(^Up until this point, this has mostly just been a DMT 'breakthrough' experience ft. 'machine elves' and the like).

They are then removed from this space and returned to something that feels like the real world, but is nearly unrecognizable. They have a sense of rapidly moving through time, and will usually see 'the spires' towards the beginning, which just so happen to look like this:

(source + some context via Implication- the spires are exactly what this art is depicting)

The experiencer continues to move across an unfathomable amount of time, occasionally 'seeing' other such flashes of unfamiliar landscapes and creatures, and yet also being devoid of all their senses, the 'seeing' is pure, unfiltered experience. There is a sense of interconnectedness with all life, and that one has become the forest (or even Life) itself. The sense of time is wildly distorted, the trip lasts only about 5 minutes but feels like an eternity and is understood as literal hundreds of millions of years.

The experiencer has usually lost any remaining sense of Self and individual consciousness during this phase (in which case this time distortion is usually a neutral or even peaceful experience), but some retain a fraction of their identity, and find themselves trapped and conscious while experiencing what feels like eternity (which can be LIFE-CHANGINGLY distressing, even after the fact).

(^This latter part of the trip is the effects of the Ur-Tree fungus).

The trip ends with a sense of rushing through the ground and back up into one's body, at which point they will abruptly return to their senses and consciousness. The details are then immediately retrieved via interview and recorded in immense detail. The whole experience is understood as having been full comprehension of the Dreamlands, communion with the Giants, and then a tour through the act of creation.

This is done as part of the initiatory practice into the inner mystery-religion of the scholars, and as needed for study by high scholar-priests. It is not taken lightly, both as it is absolute communion with the gods and reality, and in that it can be a very, very difficult experience. People who have gone through this often walk away with a permanently shifted perspective, often in a positive and/or comforting way- a sense of interconnectedness with all life, a peace with the concept of death, seeing less of a point in individual ego and the concept of Self, and comfort in the sense of divine love they (may have) experienced. This heavily influences the philosophy of the Scholars and has had effects by proxy in the religious worldviews of the region.

Details of this experience are closely guarded, and initiates are given absolutely no prior knowledge and expectations for their trip. This is seen as a necessity- their naivety will allow for a true, unfiltered experience, and can be used to gauge whether they should or should not be accepted. Those that have a distinctly bad trip upon initiation may be assumed to have been 'rejected' by the giants and thus denied full priesthood, though this largely depends on How they interpret their distressing trip- those who identify this as a test and harsh lesson in a journey to enlightenment may be accepted (as this is how fully initiated scholar-priests interpret and handle their bad trips).

This inner priesthood is only a small fraction of the Scholarly Order, and its greater function is as a hub of education and repository of knowledge, and Scholar-trained doctors can provide some of the best medical care available in the setting ('best medical care in this setting' only means so much but it's pretty solid, relatively speaking). Only a chosen few Scholars ever get to commune with the Ur-Root, and most of the divine secrets revealed in the process are kept hidden (though they indirectly influence the politics and worldview of the entire order).

[moonsidesong]

som random object ocs

[ruvviks]

PLEASE DO NOT TAG AS YOUR OWN OC OR PAIRING.

Nathan and Ruben share a bond more powerful than most; mutual understanding through past experiences no one should ever have to go through, and through past actions so horrible they cannot be spoken of. Their grief and the blood on their hands binds them to the STEM technology they created, which has alienated them from the rest of the world— but they give each other the comfort they have both longed for so desperately for years, and that is all they need. They are each other's counterpart; you cannot imagine one without the other, like two sides of the same coin. Through their pain, their grief, their desire, and their regret, they have become one.

anna akhmatova, the guest // bones; equinox // 'i won't become' by kim jakobsson // agustín gómez-arcos, the carnivorous lamb // by oxy // achilles come down; gang of youths // czeslaw milosz, from 'new and collected poems: 1931-2001' // 'extended ambience portrait from a resonant biostructure' and 'migraine tenfold times ten' by daniel vega // a little death; the neighbourhood // marina tsvetaeva, from 'poem of the end' // by drummnist // katie maria, winter // 'nocturne in black and gold the falling rocket' by james abbott mcneill whistler // micah nemerever, these violent delights // body language; we are fury // 'the penitent' by emil melmoth // chelsea dingman, from 'of those who can't afford to be gentle'

taglist (opt in/out)

@shellibisshe, @florbelles, @ncytiri, @hibernationsuit, @stars-of-the-heart;

@lestatlioncunt, @katsigian, @radioactiveshitstorm, @estevnys, @adelaidedrubman;

@celticwoman, @rindemption, @carlosoliveiraa, @noirapocalypto, @dickytwister;

@killerspinal, @euryalex, @ri-a-rose, @velocitic, @thedeadthree

[mintaikk]

The monkeys on ffm watching the most dramatic breakup in history

[tempestmothstorm]

Ok since Monika still has her admin powers in the side stories you think she could just discover them accidentally or use them without realizing

Anyways au where Monika and friends discover her admin powers but dont know about the wider context of what it means. So they just go around thinking Monika has magic and try practicing with a bunch of silly fun shenanigans because they figure it’s some chosen one bloodline stuff and not like. A product of their reality being a constricted digital science experiment.

This au will not end well

[triglycercule]

less of horrordust eating face and killer watches more of them mauling eachother. also killer watches