#is the common theme

[qqueenofhades]

Do you think we romanticize the concept of revolution (especially violent revolution) out of some weird offshoot of our tendency to romanticize and propagandize war/the military?

Like, we treat war/the military as a good thing, so when we turn against it, we basically just apply the REVOLUTION coat of paint over the "military is great and just" framework? or something?

There are a few reasons. First, America itself is totally beholden to the idea of the Glorious Populist Revolution that overthrows the tyrants and brings Freedom (TM), thanks to the American revolution. That is why the right wing has spent endless time cosplaying "1776" and "Founding Fathers" and all the other cosmetic trappings that they put on their fascism project, and keep threatening to have a "new revolution" or a "new civil war" if Trump isn't immediately reinstated to the presidency for life. Because they are steeped in the paradigm of "messianic militarism," which has a long and inglorious history in the West and is based in Christian imperialism and colonialism, they just think that The Right Kind of Violence will overthrow the Evil Oppressors and everything will then be glorious! Of course, this has been a recurrent theme in human history and it has never, ever worked.

Because the so-called progressive left often takes deeply theocratic and fascist/conservative concepts and then just changes the wording/rationale/costume dressing, they have therefore become attached to the idea of "guillotining" all the oppressors (like the French revolution, which famously worked out fine and was definitely not followed by the Terror and did not at all end with the country lapsing back into absolute imperialism under Napoleon barely a decade later!), like we can just kill all the right people and then the world will be fine! Which uh. Yeah, that's a hard no from me. I dream as fondly of Elon Musk getting into a Tesla and suddenly blowing up as anyone, but I don't subscribe to the repurposed genocidal fantasy that "killing everyone is right when My People do it!," and I don't think that this would remotely result in a better world the end, because again: Historian talking here. It literally never, ever has. There are no magic shortcuts to making things better. It only happens by doing the work and not fantasizing about how much easier it would be if all the bad things abruptly disappeared in a splendid shower of blood and gore. Because a) that's not gonna happen and b) we don't fucking want it to! What is wrong with you?! Do you think only the Deserving Sinners will die in your Progressive Rapture and everyone else will be fine??? Because! Yeah! NO!!!

[seventeendeer]

ppl are too quick to point to laios' disability as the reason his friends think he's a freak sometimes. so many instances of laios getting yelled at are, in my eyes, a case of "this guy had to emotionally mature very early in order to be there for his little sister" combined with "much older friends who never had to learn to manage their own emotions to the same degree"

a lot of the time he's right about needing to be more direct/deal with things in a way that may seem scary/needing to put your gut reaction aside. he tries not to make his friends uncomfortable and he puts up with a lot because he's trying to keep the peace, but he also pushes the others out of their comfort zones purposefully to try to get them to think more constructively. everyone else in the party is prone to acting on their gut instincts and avoiding uncomfortable situations even when facing them head-on is very much necessary. part of what makes laios such a great leader is the fact that he knows from experience how to put his own feelings aside to help someone else grow.

yes, he does make a lot of social blunders by accident and he does struggle to connect with others, but not all of his positive influence on others is accidental or "despite" making people uncomfortable. a lot of the time, I think it's clear he knows exactly what he's doing and he's trying to help the people around him process emotions in a healthy way as they all go through some truly harrowing shit. all the main characters support each other as well as they can with their unique emotional skillsets. laios' skillset just happens to be "gently talk child into eating her vegetables"

[tibbycaps]

“omg gem is so mom coded” “pearl is so sibling coded” ok well i think gem and pearl are this

[hellenhighwater]

Ohh I just had a good thought.

I love when I can combine projects for more powerful presentation. Prometheus X The Last Sequoia!

More to follow.

[bigolbadblog]

worldbuilding in bdsm kink fic is like "here's 17 pages of elaborate biochemical and geopolitical reasons why it's absolutely essential that these specific boys get tied up and whipped" and then worldbuilding in feedism kink fic is like. um 😳 wh. what if 🫣😖🥵 what if the world didn't hate fat people

[koifoxes]

mv doodles

[gatoburr0]

omg it¿s him but human no way I love him

[alciedoodles]

part 7 of 7 - confessions

[« previous] [full story in chronological order]

Thank you all for reading! Especially if you've been following since day 1 lol :) as a side note, this was meant to be only 1 page per day, but the final two parts got a little out of hand... for a total of 16 pages! (9 just for this finale)

[melonisopod]

Lifetime Stew is so much darker in hindsight.

Sinclair and Don Quixote both get it, and it’s specifically *Lust*, not *Gluttony*, despite being food-themed. (Although Gluttony in Limbus terms is basically Greed, and Lust very broadly refers to “desire” for things that aren’t material).

So, Lifetime Stew is based on the fable of Stone Soup, wherein a man managed to feed his whole village by bringing each together with a different ingredient, to make a soup that would last forever. He just kept telling each person in the town square, “All it needs is one more ingredient,” and everyone just kept adding to it. Is the gist of it.

Sinclair and Don have voice lines that more or less imply the same thing - the Abnormality (Basilisoup) just wants everyone to try its delicious soup! Cute, silly concept, right?

So what do Sinclair and Don Quixote have in common?

(SPOILERS beyond this point! You’ve been warned)

In Canto 3, Sinclair recalls that once his mother, father, and sister all received full-body prosthetics, they no longer had a need to eat. The table was set and food was placed only for him. It’s one of the things he found so especially heartbreaking, that he was the only one left in his family who could still eat food. It’s such a core memory that it’s plastered on the window-wall of his cell for his base E.G.O., four roboticized humans sitting at the table, with no food present.

He desperately misses getting to share meals with his family.

And in La ManchaLand, the Bloodfiends have been starved of blood for the past 200 years, barely sustaining themselves on hemobars that don’t satisfy them. They can *live* without subsisting on human blood, but they’re utterly miserable doing so. The only one of the First Kindred’s clan who escaped such a fate was of course, Sancho, though she’d long forgotten she is a Bloodfiend, Faust says she still craves blood. She’d been in effect, the only Bloodfiend allowed to sate her cravings, while the rest of her kin starved. Being the only Bloodfiend able to escape their fate was so traumatic for Sancho that she wanted to forget everything about herself.

In other words, Basilisoup/Lifetime Stew is about “the joy of sharing a meal with family,” something both Sinclair and Don Quixote desperately wish for.

KIM JIHOON WHEN I FUCKING GET YOU

[palindrome-mystery]

Mizu's wave patterned belt is something she has had her whole life

It was the blanket she and her "mom" had been playing under

And it was also the blanket that lined her crib

[skymantle]

what does it all mean.

[dragonpropaganda]

The Architecture of Rain World: Layers of History

A major theme in Rain World's world design that often goes overlooked is the theme of, as James Primate, the level designer, composer and writer calls it, "Layers of History." This is about how the places in the game feel lived-in, and as though they have been built over each other. Here's what he said on the matter as far back as 2014!

The best example of this is Subterranean, the final area of the base game and a climax of the theme. Subterranean is pretty cleanly slpit vertically, there's the modern subway built over the ancient ruins, which are themselves built over the primordial ruins of the depths. Piercing through these layers is Filtration System, a high tech intrusion that cuts through the ground and visibly drills through the ceiling of the depths.

Two Sprouts, Twelve Brackets, the friendly local ghost, tells the player of the "bones of forgotten civilisations, heaped like so many sticks," highlighting this theme of layering as one of the first impressions the player gets of Subterranean. Barely minutes later, the player enters the room SB_H02, where the modern train lines crumble away into a cavern filled with older ruins, which themselves are invaded by the head machines seen prior in outskirts and farm arrays, some of which appear to have been installed destructively into the ruins, some breaking through floors.

These layers flow into each other, highlighting each other's decrepit state.

The filtration system, most likely the latest "layer," is always set apart from the spaces around it. At its top, the train tunnels give way to a vast chasm, where filtration system stands as a tower over the trains, while at the bottom in depths, it penetrates the ceiling of the temple, a destructive presence. (it's also a parallel to the way the leg does something similar in memory crypts, subterranean is full of callbacks like that!)

Filtration system is an interesting kind of transition, in that it is much later and more advanced than both of the areas it cuts between. This is a really interesting choice from James! It would be more "natural" to transition smoothly from the caves of upper subterranean to the depths, but by putting filtration system in between, the two are clearly demarcated as separate. The difference in era becomes palpable, the player has truly found something different and strange.

Depths itself is, obviously, the oldest layer not only of subterranean but of the game itself. The architecture of Depths has little to do with the rest of the game around it, it's a clear sign of the forgotten civilisations that our friend Two Sprouts, Twelve Brackets showed us, there's not actually that much to say about it itself, it's mostly about how it interacts with the other layers of subterranean.

That said, Subterranean is far from the only case of the theme of layers of history. It's present as soon as the player starts the game!

The very first room of the game, SU_C04, is seemingly a cave. It is below the surface, the shapes of it are distinctly amorphous rather than geometric. (well. kind of, it doesn't do a very good job of hiding the tile grid with its 45 degree angles.)

But let's take a closer look, shall we?

See that ground? it's made of bricks. The entire cave area of outskirts is characterised by this, the "chaotic stone" masonry asset is mixed with brickwork, unlike the surface ruins which are mostly stone. This, seemingly, is an inversion of common sense! The caves are bricks and the buildings are stone. This is not, however, a strange and unique aspect but a recurring motif.

This occurs enough in the game for it to be clearly intentional, but why would materials such as bricks be used in otherwise natural looking terrain?

The answer lies in the "Layers of History" theme. This is in fact, something that happens in real life, and it's called a tell

To be specific, a tell is a kind of mound formed by settlements building over the ruins of previous iterations of themselves. Centuries of rubble and detritus form until a hill grows from the city. Cities such as Troy and Jericho are famous examples. The connections to the layers of history theme are pretty clear here, I think. Cities growing, then dying, then becoming the bedrock of the next city. The ground, then, is made of bricks, because the ground is the rubble of past buildings. The bones of forgotten civilisations, heaped like so many sticks!

[starry-bi-sky]

i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.

He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.

And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.

And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.

Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.

Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."

There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.

It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.

Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.

At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.

"Do you like to do anything?"

Nothing. Just silence.

Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.

Danny says nothing the entire time, and is again the first to leave.

Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.

And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.

He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.

Danny is dull-eyed and blank faced the entire time; he looks miserable.

So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.

"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"

"Don't."

He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.

Bruce tilts his head, practiced puppy-like. "Pardon?"

"Don't." Danny says, strongly. "Don't make any deals with Vlad."

It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"

The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."

Bruce stares at him, thoughtful, before looking away. "Alright. I won't."

And they fall back into silence.

Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."

He's scampered away before Bruce can question him further.

(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)

At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.

Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.

("Tucker told me once--") ("Tucker?") ("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")

(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)

(They are ecstatic to hear from him.)

It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."

The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."

The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.

When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.

Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.

"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."

When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.

Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.

[violent138]

Dick's voice interrupted the daze Tim had settled into while he worked. "Can we talk about the cow in the room?"

Tim, poring through files on the computer, chin resting on a numb, aching hand. "It's acutally elephant in the room."

"No, Tim there's an actual cow in the room."

Tim frowned, the words slow to register before a crash made him turn around fast, just time to see the cow knock down the rest of the bo staffs. "What the fuck?"

"Right?" Dick held out his arms, waving. "Here, boy, come here."

The cow didn't respond at all, continuing to huff and rummage around the sticks on the ground.

"It's not a cat." Tim chided when Dick started hissing instead.

"Do you have any better ideas?" Dick demanded, throwing up his hands.

"How did it--" Tim winced as the cow made one of the mannequins crash down the stairs. "How did it even get here?"

The Cave had been invaded by Lanterns, Superman, but no cows.

The cow tugged its head away, lowing in annoyance when Dick tried reaching for it.

"I'm calling Clark." Dick declared, backing away.

"Good idea, watch out for--" Tim grimaced and Dick swore, trying to kick off the cow dung he'd stepped into. "You need to work on your spatial awareness, Nightwing."

"Hey Clark." Dick said into the phone, jokingly attempting to wipe off his boot on Tim's cape. "No, everything's fine, that shriek was Timmy. I'm calling about a cow."

[goingdownorup]

Being an ethubs girly is hard when you’re also a smalletho girly because your also a clethubs girly and a cletho girly and a NHO girly and a team Canada girly and suddenly your friend sends you a link to a Rentho fic so you’re now a rentho girly and also Bisexual again.

[demigods-posts]

okay but you can see the moment percy's heart shatters into pieces once he learns that grover was also annabeth's protector. because this child grew up watching as his peers chose schoolyard taunts over compassion. watching as his dad chose freedom over fatherhood. watching as his mother chose to protect his life by sacrificing her own. but when his mom dies, he holds onto the notion that at least he's not alone. at least he has grover. but that worldveiw wastes away when he learns that he is, first and foremost, grover's assignment. that he was no one's first choice at all.