#like. awe inspiring or something

[welcometoteyvat]

thinking about it again and my favorite sumeru subregion is probably the girdle of the sands (newest one, released 3.6) just because of the heaps and heaps of zoroastrianism refs and iranian mythology sprinkled all over the place it’s absolutely so cool. also sorush. 

[wasyago]

so, would you?

nothing important under the cut, you don't need to look haha

[brainmuncher]

Okay, so I know we have a handful of reasons we usually revert to when it comes to ‘moving Danny away from Amity for plot reasons’. While I was about to make lunch I thought of this one and now I have to share it before my brain forgets it.

What if the Observants get fed up? Like Danny has done one too many things against them and they are sick of it? He doesn’t respect them or their authority so he is a threat. But Clockwork is refusing to work for them on this. He’s digging his feet in and not letting the Observants use him, stating it's ‘for the good of the timeline’.

So they go another route and start bribing increasingly powerful ghosts to take down Phantom.

Only Danny has noticed a pattern with the new ghosts suddenly coming through the portal. Not only are they ghosts he’s never even heard of, but their only focus is on him. Eventually one of the ghosts that are hired or maybe even one that Danny has befriended in the past that has heard down the grapevine, tells Danny what the Observanats are doing.

And instead of grouping with his friends to figure out how to either take down (preferably) or calm down (Ugh do we have to?) the Observants, Danny in his ultimate wisdom… leaves. The ghosts that the Observants are sending are after him, right? So long as he isn’t near someone else nobody has to get hurt!

And so, without telling anyone why or maybe even completely bulldozing over his friend's reasons to stay, Danny leaves Amity to protect the town.

This idea could just stay as Danny exploring the world but not in freedom like Dani, but in an attempt to escape the Observants. Maybe he even bumps into her at some point and she is surprised and tries to ask ‘Hey, why are you in Hawaii?’ but watches in shock as he runs away from her. Maybe in these adventures, he inadvertently discovers another ancient artifact that he could use against the Observants but the information is threaded throughout the world. So he continues to travel and force himself to be amongst people so that he can gather more information.

Or this could open up some neat ideas for crossovers!

One idea is Danny becoming an omen of sorts that something terrible is about to happen. If you see Danny Phantom, you know that a really bad rouge attack is about to happen in your area. And the worst part is, Danny is happy to see that everyone is avoiding him. Not because he likes to be feared, but because it's for the better. And to his horror rouges are trying to hire him to terrorize certain areas. He's accidentally become a villain because of the constant ghosts trying to take him down.

Another idea is another hero catching on that Danny is being essentially hunted and is concerned. Although their attempts to reach out and help are not being accepted. Danny is trying to protect the hero from danger but they don’t know that. They just think he’s being stubborn. So to Danny's dismay, they try even harder to prove to him that they can help.

I dunno, just something different to think about. Please tell me if there are fics or drabbles already using this kind of idea out there! I would love to read it :>

[iwritenarrativesandstuff]

Q's Relevance and Parallels to Double Black

I had a sudden brainwave of thoughts (read: I only got three hours of sleep last night) and needed to share. I've thought this for awhile but I really think Q will be returning to the series at some point.

First of all, there's just too much ambiguity there and I want to know more about Q in general. What happened to Q to spawn an ability like that? Why does Dazai speak about them like they're the devil incarnate? What was the incident that led to so many Mafia deaths in an effort to lock Q up? Is there any significance to Q's unusual eyes (remember that most characters tend to have fairly normal eyes, and this is a series where the eyes carry symbolic weight)? What's with Q being strung up in this position that is eerily similar to a crucifixion, shortly before Steinbeck has a conversation about God existing but not loving them?

There's a lot there. I've spoken about this before in the meta I did about Dazai's change in approach after the Q chapter, which was genuinely an unexpected event he did not anticipate. But there's something fascinating about the way Chuuya reacts to Q as well. In fact, both Dazai and Chuuya are almost uncharacteristically murderous towards this kid, and that's real interesting, seeing as many aspects of Q mirror aspects of their younger selves.

Now I understand you might be thinking: uncharacteristically murderous? Story, they have both literally killed many, many people before. Yes, but context is important here.

Dazai doesn't have strong violent urges - not even in the Mafia, where he was considered terrifying more so due to his apathy in killing than anything. I can't remember a scene where Dazai is described as radiating bloodlust like Kyouka or Mori. Dazai is scary because of his indifferent hollowness at his worst points. Odasaku was described similarly in Untold Origins - there was no real desire to kill, just a listless cold follow-through. Dazai's sadistic methods, brought up by Higuchi in Chapter 25, are acknowledged as a means to an end, a method, not something done out of any strong desire or enjoyment. So when Dazai makes death threats or appears visibly angered - that's something worth taking note of. For him to make a promise to Q to pluck out their heart - holy shit. That is not typical Dazai behaviour. He doesn't even make that kind of threat towards Fyodor. Whatever happened in the past clearly shook him, enough for this moment to change his approach in the series and send him back to using darker methods again.

As for Chuuya, while he has and does kill quite readily, this is mostly in the heat of a fight. For him to give the go-ahead for murdering an unconscious child - it's unusually cold-blooded for him, and I can't think of another instance where he's down with lethal intent outside of combat and direct orders. I've seen some people talk about his reaction to Dazai suggesting he'll kill Q as proof that he's gotten darker since we saw him last in Stormbringer, from someone who would plead for the lives of the Sheep to be spared ("They're just kids") to being ready and willing to kill a defenseless child. While I think it's likely true that he's gone darker since that point - Chuuya appears to be more cynical in the present as well as having darker eyes with a smaller central pinprick of light than in Fifteen and Stormbringer - that's not the only thing going on here.

Thing is, Chuuya has always been fairly ruthless. He’s a very vengeance oriented character, right down to his fighting style (rebounding attacks and bullets). Hurt him or someone he cares about and he hurts back - and that threat will be destroyed. Parallel to this is how he is seemingly unable to turn his back on people who have helped him. Help him and he will remain loyal and protective even if that person goes on to stab him in the back. He has a very “give and take” mentality. Chuuya operates on the reciprocity principle.

So, about Q, here’s the thing: Q is a part of the Mafia, that's true. But Q has never helped them, only hurt indiscriminately. Mafia philosophy says “protect your own and follow the boss' wishes no matter what”. But Chuuya’s philosophy is saying “neutralize the threat”. And interestingly, Chuuya’s philosophy won here. If Dazai had've killed Q, Chuuya would’ve defied Mori’s orders in favour of his own judgement, which is extra intriguing because it emphasizes Chuuya’s loyalty to the people within the Mafia, not the Mafia as an organization itself. This is in full contrast to people like Tachihara and Hirotsu, who prioritize the organization and orders above all.

And about Q being a child: I don’t think this is such a big change in his character if I'm being honest. Chuuya knows full well how dangerous a child can be - he was that dangerous child. People underestimated him as a teenager and paid for it dearly; do you really think he'd make that same mistake? He also has a very warped view on the responsibilities and ways a child should be treated… while I do believe he probably is protective of those younger than him, he also equally understands that a child can be just as much of a threat as anyone else. For Chuuya, it’s always a matter of what wins out: the person or the threat? In this case, it was the latter.

The thing is, it's interesting the way they react when you look at the way Q eerily parallels aspects of their younger selves - as well as some things that carry over to the present.

Dazai and Q share central themes of control.

Q's mind control ability is actually referenced by Dazai as being essentially the worst kind of ability there is, and I know I've mentioned before how he seems to react poorly to those people who attempt to mentally control others, placing them on a heightened level of danger (think Fyodor, Mori). I don't think I need to get into Dazai's control freak tendencies - and what's more, after Q's introduction, after he says that mind control is the worst kind of ability there is - he ramps up his masterminding and enacts as much control as he can over the proceedings of the events that follow. Q's ability is interesting in the sense that it allows them control over others, implying Q came from a background of little control. I have also hypothesized that Dazai, with his need for situational control, similarly came from a background of little control. It's also likely they both were hurt by others - Q's ability turns any pain inflicted on them back around, giving them a way to fight back, while Dazai can level the playing field of any unfair advantages by nullifying abilities.

Q's small segment in Fifteen is also interesting: they're near completely zoned out, just staring off into the distance without responding to their environment until Dazai gets directly in their face. Then Q suddenly flips a switch and becomes all cheerful and playful. It reminds me of young Dazai's quick switches between faux cheerfulness and emptiness earlier in that same book.

They also both have quite interesting relations to pain. Q wonders why cruel things always hurt them, but Q makes this a foregone conclusion by purposely arranging others to hurt them so they have an excuse to hurt those people back. Q's pain becomes a self-fulfilling prophecy: they hate it, but the only means of control they know in interactions with others requires it. Dazai similarly hates pain - his pain loop, however, is more emotional than physical. Dazai feels isolated and alienated from others, but his attempts to exert control require him to distance himself and rely on his mind over all else. He also leans into his inhuman side when it becomes apparent pain is unavoidable (I think often of his reactions throughout Dark Era to Ango's betrayal) - again, this becomes a self-fulfilling prophecy. He will not find anything. He will continue to be separate from humanity if this cycle continues. That was why it was imperative that Odasaku break him out of it. Self-sabotage behaviours and unhealthy cycles, physical and emotional, are apparent with these two.

For bonus points: both have injured right arms.

On a more superficial level too, Q and Dazai both have "creepy child" energy, with emphasis on the child part - they are both legitimately disturbing at times but also have moments where they show childlike interest and behaviour. (I encourage people to check out Q's mayoi cards for this - I know it's not super canon or anything but it emphasizes their "kiddishness".)

Also I'm unsure if this is significant, but there's this detail too:

Q has a very unusual right eye with a star in the center. The right eye is also the one Dazai kept covered in the Mafia. Notably also, Q's right eye is frequently obscured by their hair in key scenes.

...Does it mean something? I have no idea. But it's potentially interesting so I thought I'd add it.

Meanwhile, Chuuya and Q share themes of loss of control.

For Q, this is quite obvious. They are literally locked up; imprisoned within the Mafia and unable to exert control over their circumstances. For Chuuya, it's a little more subtle but still present, I believe: I invite people to look at his character song and mayoi (particularly aquarium) for direct references to feelings of being trapped. However, looking at Fifteen and Stormbringer, there are a few mentions of freedom that are intriguing in relation to Chuuya's character. In Fifteen, both Dazai and Shirase mention Chuuya's "freedom"... but this is almost a mockery of what's really going on. A party to celebrate Chuuya's freedom is really an elaborate set up for a trap. Shirase telling Chuuya that he should have the freedom to act on his own wishes is really a cover up for a betrayal. In both instances, Chuuya's freedom is a lie. Stormbringer, at the very least, instates a sense of agency where he at least has the freedom to make choices about his own actions - that's the whole point of his hat; it's a symbol of autonomy (also anti-mind control; more on that in a bit). However, Stormbringer also systematically strips away the start of any alternate path Chuuya could've taken - he cannot be the child he was, he never got to hear the pitch on living in the light. He feels genuine gratitude towards those in the Mafia - they have his back, which is more than he could say before, but at the same time, the Mafia is kind of the last option available there if he wants not to be alone... and Chuuya does not want to be alone. (Seriously. His character song. Please look at it. Also Stormbringer.)

Now, onto their abilities, which also parallel in the sense that they are both used to "get back" at people. Chuuya rebounds attacks - bullets shot at him ricochet back at the people who fired, and Q hurts people who hurt them. There's a very reciprocal relation to the way they use their abilities, and it is absolutely to induce fear and intimidation in others, but there's a key difference. Namely, Chuuya fights only against enemies or people who strike first. Q, on the other hand, intentionally makes "enemies" out of even innocent bystanders just to have a reason to hurt them back. A lot of this is due to Q's misanthropic nature - I doubt Q has ever had a positive bond with another person, and so Q sees the whole world as their enemy - a world which, to them, does not want them in it. Chuuya, on the other hand, has had people who care about him, and he cares about them in turn. He's a bit jaded but he doesn't hate humanity, far from it.

In that sense, Q parallels Verlaine in a sense, right down to being kept in a special secret room in the Mafia, hehe. Though again, there's differences. Verlaine chooses to stay in that room, first of all, while Q doesn't have a choice. Verlaine's angst is internal identity based while Q's is more external situation based. In response to their pain, Verlaine chooses to relinquish control of himself (Brutalization), and Q chooses to have everyone else lose control of themselves (Dogra Magra). Verlaine says "look at how monstrous I am and how I hate and hurt because of it" and Q says "look at how monstrous you all are and how I hate and hurt because of it".

Chuuya is not so far on either extreme that he emulates this - but he could've ended up like Verlaine, and he admits it in Stormbringer. He could've maybe ended up something like Q too, if he'd remained trapped as a lab rat. But see here's the key with Chuuya: his hat makes it so the choice to lose control of himself is his alone, and moreover, that losing control doesn't mean he goes out of control. He trusts that he can lose control for a bit, place it in someone else's hands for awhile before it goes too far. Trusts that the choice to lose himself will be followed by the keeping of a promise to bring him back to himself. Chuuya has bonds, and that's the key difference.

But uh. Going back to parallels... about the scene where Q gets tortured... and the scene where Chuuya gets tortured...

Is this significant...?

...is... is this...

...

.............

Um. I may be delusional. But. Well. *gestures at all of this*

So, where does this leave us? Well, we have Dazai, who sees a manipulative, mind-controlling kid that he calls a "walking disaster", and we have Chuuya, who sees a dangerous ability user that is too big of a potential threat to not be dealt with, so the two decide the best course of action is to kill them about it. The reason Dazai did not follow through is likely a mix of his stated reason (the Mafia cannot harm Dazai so long as he is needed to stop Q), and probably also that he isn't really supposed to be directly killing anymore.

Nice, guys. Really clear and consciously held self-concepts you got there.

Considering everything, it's maddening that all we have on the dynamic between these three is: Q joins in Fifteen at the same time as the other two and is assigned to Dazai since he can stop their ability. Mori doesn't know what it is at that point but assumes whatever it is will be manageable because Dazai can just nullify it. It... clearly wasn't.

I feel like there has to be something here and that we're going to be coming back to it. Q, the old Boss, how Mori got so close as an underground physician in such a short time... there's so much about the Mafia we don't know so I'm assuming the story will shift to focus on these points again... someday. Hopefully.

[ineffable-gallimaufry]

having a shit day? turn it into a knit day with these five easy steps:

get some yarn

get a pair of needles

knit something (obviously)

[myokk]

“She’s tolerable, but not handsome enough to tempt me”😤😤😤

(Regency AU with Eloise and Sebastian inspired by my slow trek through Bridgerton these days & @bassicallymaestra ‘s AMAZING regency inspired art😮‍💨😇🙏)

[disposal-blueeee]

doodles

edgar vargas and squee by johnen vasquez

scriabin by zarla-s

[yandere-daydreams]

Helloooo out of curiosity, how do you deal with hate? Like on or off anon? Sorry if you’ve answered something similar before but yeah. I’m just starting out as a yandere writer (inspired by you and this blog!!). I posted a fic and it didn’t even have over 200 notes when I got my first hate comment (not on anon). My fic wasn’t even on the main tags lol.

honestly the only advice i can really give is not to interact with it. discourse in any form is very draining and unpleasant, so while there is that knee-jerk reaction to defend yourself, you'll be better off just deleting the ask/comment and moving on. it's also much worse for newer/smaller blogs without established followings, so with a little time, you do eventually grow out of being an easy target for people with simply nothing better to do. just kinda weather the storm for a while and it'll get better quickly.

[thebramblewood]

Read an exclusive excerpt of "Chapter 5: The Mysterious Cal and Lily" from Tangled Vines: A Complete Investigation of the Vatore Disappearances, the bestselling phenomenon sweeping Sim Nation!

The advent of the Roaring '20s put a new city on the map. Prohibition was in full swing across the nation (though often loosely and selectively enforced), but citizens were more eager than ever to revel in excess. Producers of alcoholic beverages (including the Vatore family itself, having swiftly resumed business operations despite the loss of its future inheritors) transitioned to an outward emphasis on medical spirits while moving recreational production underground. Equally clandestine speakeasys began cropping up by the dozens, but one city's winding sidewalks, grimy storefronts, and labyrinthine system of underground tunnels made it particularly well-suited to hosting these secret locales. Soon enough, San Myshuno was the pinnacle of glitz, glamor, and elegant debauchery. All who attended a party wanted to be seen. Curiously, though, two of the names most often uncovered in tabloid archives, Cal and Lily, seemed to fully avoid the increasingly ubiquitous flash of the camera. While other frequenters of the speakeasy circuit often found their grainy black and white faces in print, providing endless fodder for the burgeoning gossip rag industry, this pair remained elusive, which of course sold even more papers. Fellow partygoers pitched first-hand accounts to the highest bidders, and readers clung onto every salacious word. Lily and Cal were always observed to arrive together, but she would soon make a beeline for the gramophone while he settled in at the bar. Nearly every report calls Lily an exquisite beauty with an almost supernatural ability for drawing men into her orbit. In some instances, partygoers describe a herd of suitors nearly erupting into fisticuffs as they competed for her attention. It is impossible to say how many of these accounts are exaggerated or even fabricated. Nevertheless, it is clear she was quite the force. At the end of the night, she would leave with her chosen companion, stupefied by his stroke of good luck, on her arm. Meanwhile, Cal would watch listlessly from a distance, nursing a glass of whiskey he was never observed to actually drink. The relationship between the two was unclear, as was his reason for accompanying her, as he seemed to have little interest in the raucousness surrounding him. He rarely engaged with other guests or even Lily herself, though there is at least one report of an argument in which he seemed with little success to be dissuading her from leaving with yet another man. One cannot help but draw parallels to a certain set of siblings with suspiciously similar names. Despite being younger, Caleb Vatore was always said to be protective over his sister Lilith's interests, even if she rarely heeded his advice. Digging into the newspaper archives at Myshuno Meadows Library unearths several more disturbing accounts. Increasingly, there were whispers that the men Lily seduced completely vanished from San Myshuno society after coming into contact with her. While there was a small spike in unsolved murder cases at the time, a concrete connection between the victims and the mysterious Lily cannot be made. In one story, which admittedly reads like a hallucinatory drug trip, Lily is described as a succubus with glowing red eyes and sharp blood-stained teeth. This account was clearly dismissed, for its revelations were never entertained further. All at once, the champagne and glitter dissolved into a more sober era, and these socialites vanished from public life just as swiftly. In isolation, similarities between Cal and Lily and the disappeared Vatore siblings may seem like mere coincidences. In truth, it cannot even be proven that they existed. No official records matching either individual have been discovered. One could argue that they were works of fiction concocted to boost sales or composites drawn from several individuals. However, considered alongside the evidence to be presented in later chapters, the theory that this duo and the Vatores are one and the same becomes too tantalizingly probable to dismiss.

[solar-halos]

i fucking hate ai art “but how else would i draw my favs?? :((“ you know what fuck it here’s a picture i drew of annie cresta. it’s good as fuck bc i made it w my own two hands and it’s better than anything ever produced by ai ever bc ai will never have the ability to love our favs more than we can

[soupmanspeaks]

you ever wonder if the Glamrocks's face tracking acts up when they look at Glamrock-Freddy, like they'll look at his face, and the recognition will register as Freddy, but their systems for whatever reason or another think that there is a face overlapped on Freddy's do you think they see two small squares next to him, at his side, roughly child sized, but no one is physically there.... right...?

[ruthlesslistener]

The Soulsborne series really does something utterly outstanding that I don't see many other games do and its that it makes their imperialistic empires and the warlords who drive them look magnificent and glorious and nostalgic without ever really masking the sheer fucking horror that they've done to everything around them. Rather than painting them as twisted, inhuman monstrosities that are caricatures of their core beliefs, they're characters that are glorious or even sympathetic to the player character- either as mentor figures, or as pinnacles of glory, or as pitiful beings who can't fight the system that enslaves them. They're bastions of this 'grand old age' from before your time, but you've spent hours slogging through the bodies left behind by their messes and witnessing the torment that their actions have wrought upon others firsthand, and you know that no matter how sad the music is or how majestic or tragic the boss you're fighting may be, they're still a warlord in the end. They're still far, far worse than many of the actual monsters that you killed- who were oftentimes themselves victims of the structure of power that the majestic, perfectly human final boss put into place.

Fromsoft humanizes the monsters and demonizes humanity, and it goes a long way to making their anti-imperialist, anti-genocide themes pack way more of a punch than most media gunning for the same themes

[imadhatt3r]

This is going to sound really weird, I know, but I seriously feel like there's a number of like, British communists who desperately wish they were Eastern European??? Like they think that by being into political side of communism (usually not the kind that existed in Eastern Europe), they can be chummy with people who actually grew up in Eastern Europe and were raised with the communist era somewhere in the background their whole life, usually without knowing the nitty gritty of theory but with a lot of cultural herritage from that time...

Like no, there's a big difference between being British, being raised in British culture, with cultural institutions, history, traditions, then getting into communist theory and just assuming that you know everything about life in communist Eastern Europe, and then pulling a "how do you do fellow commies" to people from Eastern Europe whose associations with communism are much different, and they will see you as detached and insensitive at best.

[proudfreakmetarusonikku]

i genuinely do think that looking at the characters in homestuck through the lens of them being autistic is pretty important to do even if it obviously wasn’t intentional (except for nepeta at least) bc like. every character in homestuck takes some inspiration from early internet users. and a lot of early online spaces were absolutely disproportionately autistic. obviously not all, there were mainstream spaces, but it was a much less centralised place and had tons of mini communities made up of people intensely passionate about one thing which is a community structure that’s extremely welcoming to autistic people (comparatively- there was still constant ableism but that was true Everywhere in the mid to late 00s). and like all of the characters are based more on the types of people you’d find in those micro communities than on myspace. the Actual People who those archetypes were based on were disproportionately autistic and that absolutely carries over into how they’re written in homestuck, even though it’s unintentional. it isn’t helpful in every scenario and character obviously but like, i do think the fact that they’re based on online archetypes of what we’d call now terminally online micro community users and that a lot of those irl people were autistic bc in the early days of the internet being terminally online was actually extremely difficult instead of being the default- this was changing a bit around the time homestuck began, but the archetypes the kids and trolls are based on almost all date back to before then (the main exception being Some of the beforus trolls)- is something that can be useful to think about. it’s not an intentional thing, but it’s kind of an inevitable thing when you’re basing characters on 2005 power user stereotypes on gaming forums.

[dizzybizz]

when sebastian drops the fucking egg

[estcaligo]

I love this duality so much