#it seems good lol

[saccharinescorpion]

The Ichinose Family's Deadly Sins

[thefantastician]

is this relatable to everyone or just me

[shesnake]

some of us just don’t want to read problematic white authors so ao3 is our only option 🤷‍♀️

oh there is no saving youse

[hecatesbroom]

so i got bored and made another uquiz. which subtle way of saying "i love you" are you?

[bacchuschucklefuck]

class swap design masterpost for convenience (from top to bottom: bard!riz, cleric!gorgug, sorcerer!kristen, barbarian!fig, artificer!adaine, and rogue!fabian)

[archivebottles]

Happy birthday to the most special girl in the universe!! Wanted to try something ambitious and ended up with the biggest comic I've done to date

[allysketches]

uh, I don't know if crowley and aziraphale know of this popular human custom... um, hugging, I believe – but I think they'd like it a lot actually 🥺

but honestly the fact we never saw them hugging, not even once (yet!!... I hope)... a crime, really 😔

[spookberry]

Feardescent Danny sketches

[codenamethebird]

I'm loving all the discussion about Melinoe's anti-human prejudice, but I don't see anyone discussing my favorite, so u get more of my rambling. I also got these screenshots from YouTube so you get sketchy Hades, but I actually only just got this dialogue in this patch haha (I forgot to screenshot it myself).

I'm obsessed with this bit of dialogue because it houses some beautiful Hades character development. One of his big flaws that caused like 75% of the problems in Hades 1 was his eternal punishments. Orpheus and Eurydice, forced to be apart. Achilles and Patroclus, also forced to be apart because of Hades contracts. And in this case Sisyphus, being doomed to always push up the rock.

Hades was convinced that they deserved their punishments, that they could not change, so they should never be free. Zag had to go through a bunch of hoops to change their fates, and Hades just grumbled through it all. But people can change, Sisyphus is a prime example of that. The way Hades' voice actor says that last bit "He forgave me anyway" just murdered me.

What an emotionally pogninent moment from a man who has realized his mistakes, but it's too late (to him at least), and now all he can do it stand in chains, in a prison he made, drowning in his regrets.

And then this is how Mel responds:

I just, omfg Mels nooooo babe, your Dad has just had some brilliant character development, what are so saying.

She is so dismissive. She totally missed the point of what he was trying to say. There's like no thought that went through her head, just "fuck that dumb mortal, don't feel guilty dad." Mel doesn't even try to even slightly engage with it, the moment he mentions a mortal, it becomes unimportant.

Hades, while blatantly disagreeing with her, doesn't exactly reply to her dismissal of Sisyphus. Which makes sense I doubt he wants to really argue with her and the context of these chats he is trying to get her to leave quickly considering their location.

But he does name Sisyphus here and reinforce the fact that he was a king. Which I note because Mel just called him "some dead mortal". And he appeals to a much more emotional thread with the whole thing with Bouldy, something Mel would understand a bit easier.

And Mel does call him a king in response, which while not his name, is more personable than "some dead mortal". But ultimately, she respects him because he was kind to her dad, not because she remotely comprehends the emotions and regrets that Hades is feeling with this character development.

And considering what else we know about her, I think it's very safe to say she still thinks Hades shouldn't feel guilty about anything. That this mortal is ultimately unimportant and deserving of his punishment.

But yeah tldr, i find it endlessly hilarous how Hades has this lovely moment of self reflection and then Mels immediately dismisses it with a simple "fuck that mortal".

[goblins-riddles-or-frocks]

forever obsessed with dynamics between vampires, specifically that of a maker and fledgling, as a way to explore abuse. the creation of a vampire itself can so easily be a literalization of the lasting impacts of trauma and also much more simply the ways a perpetrator might shape their victim’s very identity. the extremes of isolation in the way that the new vampire, in most narratives, must cut all ties to their mortal life, or else go through an elaborate charade to maintain the facade of humanity, while forever still being removed from it. and the sheer dependence and vulnerability of being in an entirely new state of being, wholly uncertain of what it entails, and relying on another person to define… everything.

[neunhofferart]

I'm incredibly proud of all the hard work our team put into this season and I can't wait for everyone else to see this one too.

Time to see what's upriver!

[miscellaneousrenaissant]

Thinking about how Chilchuck and Laios started adventuring at around the same relative time in their lives

There are a bunch of similarities to their backstories - leaving home at a young age (14, 12), starting careers in exploring dungeons as young adults (19, 22), developing a complex about the first monster that killed them (Mimics, Living Armor), getting scammed or taken advantage of by other adventurers (succubus-hunting party, gold-peelers) - that they give me "past and future" vibes

Chilchuck is the older mentor to the less-experienced Laios. He joined Laios' party when Laios had only been exploring the dungeon for a year, and Chilchuck regularly gives advice based on his own 10 years of experience in an effort to support Laios as leader. There are several occasions of Chilchuck either teaching or wishing Laios would learn something in particular that he thinks would help with the job

Laios is a reflection of Chilchuck's past from when he was just starting out as a naive adventurer, while Chilchuck is an example of the future that Laios is striving towards as a seasoned dungeon explorer and leader

But also, they can represent missed opportunities and paths not taken for each other

An example for Chilchuck is that he isn't treated with the same respect as a tall-man because he is a half-foot. He can lead a union of half-foots, but leading a party of other races, many of whom would infantilize him, is unlikely. There are limitations to what he can do (physically and socially) compared to Laios simply because of how each were born, and it's partly why he's so hard on Laios to make him a good leader and not waste the opportunities afforded to him

Meanwhile as an example for Laios, who left his family and fiancée behind when going out on his own at 12 years old, who wasn't shocked that Chilchuck became a father at 13, and who even mentioned that some tall-men get married at 13, too...

If Laios had never left home, would he, at 13, have married someone from his childhood and also become a father of three?

[scruncheduppaper]

14 year old girls who turn into gods and disappear from all of their loved ones’ memories and exist solely as a concept and have a homoerotic relationship with their close friend + 10000 trauma points

[cuntylestat]

i saw the tags on this post i made and i find this super interesting because i don't think the problem was actually that he just doesn't have enough light - it's a hindrance for street photography, sure, but a tripod and a shutter cable could solve that and you can take creative approaches to street photography to outweigh the lack of light. you can also shoot in well lit interiors, you can use faster lenses, faster film, etc. you could even pivot to a different type of photography. of course, as technology advances, this would become less of a problem and light is important in photography, but that's solvable. people have made and continue to make great photography in the dark. the pictures that turn out to not be taken by louis are mostly taken at night or inside.

partly, it's down to louis. as dreamstat says, louis is impatient and doesn't take the proper care, e.g. by cleaning his lens, framing his shot with care, taking enough film, or sticking around to try out different compositions in different conditions.

but this is something that he could train himself to do. the real problem (as the dealer points out) is that the compositions do not say much. louis doesn't have "the eye." the photograph they discuss is not good because it was shot in daylight, it's because it tells a story, there is depth to the image, the subjects are framed in a way that it lets you interpret the meaning. it's human.

however, it also goes deeper than that. louis cannot connect with humans to properly picture them or tell their stories because he's a vampire, and therefore there is no relationship that goes beyond predator and prey anymore. he is separated from humanity at this point, even if he doesn't want to realize it. he cannot (and does not) want to stick around to get to know humans, make a connection with them. he finds the idea of doing that preposterous and impossible - they're sustenance and not interesting enough for him to actually invest time and interest in them. i think he likes to think that he is interested in humanity, and that's why he tries to capture them on film, but really, the gap between him and them is too big at this point.

and then there's this excellent point that @feedingicetothedog made in this post. vampires are mimics but they cannot create. louis can recognize the story when it's in front of him in form of a picture, but he cannot recreate it in his own photography because he's no longer human.

so i don't think that, no matter the technology, louis will ever be the type of photographer he wants to be, the one that captures people and human life, its essence and its complexities and its emotions. he's not capable of that anymore because he's a vampire.

[communistkenobi]

The deeply moralist tone that a lot of discussions about media representation take on here are primarily neoliberal before they are anything else. Like the shouting matches people get into about “purity culture” “pro/anti” etc nonsense (even if I think it’s true that some people have a deeply christian worldview about what art ought to say and represent about the world) are downstream of the basic neoliberal assumption that we can and must educate the public by being consumers in a market. “Bad representation” is often framed as a writer’s/developer’s/director’s/etc’s failure to properly educate their audience, or to educate them the wrong way with bad information about the world (which will compel their audience to act, behave, internalise or otherwise believe these bad representations about some social issue). Likewise, to “consume” or give money to a piece of media with Bad Representation is to legitimate and make stronger these bad representations in the world, an act which will cause more people to believe or internalise bad things about themselves or other people. And at the heart of both of those claims is, again, the assumption that mass public education should be undertaken by artists in a private market, who are responsible for creating moral fables and political allegories that they will instil in their audiences by selling it to them. These conversations often become pure nonsense if you don’t accept that the moral and political education of the world should be directed by like, studio executives or tv actors or authors on twitter. There is no horizon of possibility being imagined beyond purchasing, as an individual consumer in a market, your way into good beliefs about the world, instilled in you by Media Product 

[crunchchute]

my attempt at a bunch of my fav artists styles :] idea by sootnuki!!

i would love to do more but this was already a huge challenge

if any artist here dislikes this/is uncomfortable with it/any reason i can take it down or turn off reblogs etc. otherwise i hope its ok 🫡 im not gonna tag anyone just gonna let it do its thing in the wild lol