#living in a desert will do that to you

[reverieaudios]

Record-breaking heat today and the power goes out :)

[starcurtain]

Teyvat's "Most Down Bad" Award Goes to Alhaitham for a Second Year Running

Seeing everyone making fun of Alhaitham for his "stalkerish" tendencies in this event is funny, because I feel like a lot of people missed that "Be literally everywhere Kaveh is" has been Alhaitham's MO from the day Kaveh appeared in the game.

From only grabbing his house keys after Kaveh returned from the desert (he couldn't have had both sets of keys at the end of the Archon Quest unless he went home and got Kaveh's copy) to ditching conversations to get back to his house only after Kaveh came home, to showing up without any warning or explanation in Kaveh's hangout with some ridiculous excuse about hearing his voice through noise-cancelling headphones... Refusing to offer any help in the Temple of Silence story quest other than staying in the library with Kaveh...

Since when does Alhaitham willingly cover anyone else's duties?

But this trend of "Be everywhere Kaveh is" didn't start when they were adults. It was already in place when they were still Akademiya students--and it's a trend that didn't end even when they had their fight.

Even when they weren't speaking, Alhaitham dogged Kaveh's every step through published responses to Kaveh's research articles in academic journals. He insisted on keeping a line of communication between himself and Kaveh open, even if the only way to do that was through very public ideological clashes. Pulling Kaveh's pigtails to get his attention lolol. It's implied that, for at least the few years between their fight and Kaveh moving in, this was the only communication between them--Alhaitham's refusal to allow their connection to entirely fade away. (And the fact that this is revealed in Kaveh's character stories--through his precious journal that records the moments of his life that had the most impact on him--shows just how deeply he values the fact that Alhaitham didn't give up.)

Another relevant side note: Alhaitham never asked Kaveh to give up his half of their house. Knowing half of it belonged to Kaveh, knowing that Kaveh may one day want to reclaim his part of it, knowing that it was listed as theirs, Alhaitham moved into the house and made zero effort to change its ownership. He was completely fine with living in "his and Kaveh's house." The stories suggest it was only months later (or even longer) that Kaveh even noticed he had the house, and he transferred away ownership of his portion without Alhaitham ever asking him (or even seemingly wanting him) to do so.

Please, let that sink in. Alhaitham actively left his grandmother's (presumably comfortable) house to move into "his and Kaveh's house," with no apparent explanation for why, and after doing so, he made no attempt to change that "his and Kaveh's" label. He moved into the house with no promise that Kaveh wouldn't show up on the doorstep the very next day and move in too. It almost feels like another deliberate provocation--I've moved into our house, are you going to come stop me? LBR, if Alhaitham had had his way, Kaveh would have been living there with him from Day 1...

There's also the fact that Kaveh literally can't write on a single message board anywhere in the entire nation of Sumeru without Alhaitham hunting his messages down and responding to them (which absolutely no one else does, by the way).

"NUH-UH!" "UH-HUH." "NUH-UH!"

Alhaitham's own character stories tell us explicitly that one of Alhaitham's defining character traits is "He is never where you need him to be," yet somehow...

Shot, and chaser:

Any time Kaveh is in the slightest bit of need or danger or just wants Alhaitham near, Alhaitham is "coincidentally" exactly where Kaveh needs him to be, whenever Kaveh needs him to be there.

Alhaitham didn't just "happen" to run into Kaveh in Port Ormos, an entirely different city from where he was supposed to be working. He didn't just "happen" to read the same terrible book as Kaveh when we know he otherwise would not waste a moment of his time on poorly-written literature...

He didn't just "happen" to appear when Kaveh was upset and needed a distraction in the House of Daena during Kaveh's hangout. He didn't just "happen" to be sitting around waiting when Kaveh needed answers after the Archon Quest. He didn't just "happen" to find Kaveh's academic publications and every single message board posting and respond to them at length and in public.

The only person for whom Alhaitham just "happens" to be available is Kaveh, over and over and over again--because he is very deliberately making himself a constant presence in Kaveh's life.

Which is exactly what Kaveh's mother told Kaveh he needed.

(Like, out of all things, I think people really underestimate the devs deliberately paralleling the romantic relationship between Kaveh's mother and father with Kaveh and Alhaitham's relationship. If you want to point to one thing that says "These two characters are intentionally queer-coded," it doesn't get any more obvious than this.)

Alhaitham, are you not embarrassed to be this transparent??? 🫣

[herecomesthesound]

someone said danger days is a subpar piece of art

[whenthelightisrunninglow]

ingo just feels like the type who runs cold to me idk. also i was thinking earlier about if they can actually button up their silly coats or if those giant buttons are just there for funsies or like visibility purposes like those highly reflective mirrors on bicycles or something

[lanadelreis]

drake: haha i’m gonna diss kendrick

kendrick lamar’s honest to god reaction:

[s0fter-sin]

ghost stares at the ceiling, chest heaving in a harsh pant; sweat ice on his clammy flesh and soaked into the sheet he restlessly kicks away.

ears still ringing, his fingertips blindly drift down to trail along his vivisection scar. he half-expects blood to smear in their wake. his own line of solomon, who ordered him split in twain; half of him given to a grieving mother and half left with the grieving to be.

just for both his broken halves to be rejected.

what did it make him that his mother grieved him more than she loved him? that she begged to be relieved of him more adamantly than she begged to receive him? why did his worth spill out with his drawn blood? why was his pain lesser than hers?

his hand flexes, digging into the raised scar like it’ll part beneath his fingertips to plunge into his mangled insides. no one knows the cruelty of reforming the halved; his name, his being, not nearly as important as his body when he was stripped from himself. no one knows the pain of healing and understanding losing pieces of yourself means losing your value along with them.

how many more pieces did he have to lose before he was halved once more? before his very presence incurred grief so strong it was better to be rid of him than cradle his bloodied remains?

did the infant fight himself? did he age always at odds with himself; his halves never truly whole? he hopes he wasn’t, that he was spared the loss of self; the fear that one may be welcomed over the other.

who will he lose when the inevitable comes? when he’s ripped apart again? simon? or ghost? is it better to be cursed with choice just like his mother or live with an aftermath chosen for him? does it matter if in the end, he convinces himself there was nothing of him left to lose?

his head lolls to the side and the wild buck of his chest slows. he watches johnny beside him, his face lax with the rare peace of sleep; his cheek squished against the pillow, his lips pursed as long breaths escape him.

johnny. soap. never torn asunder but two all the same.

he carefully reaches out and ghosts his fingers along the jagged scar on his chin. even in sleep, he presses into his bloodied touch. he’s never fled his half-flesh, never shies away from his gore as it spills unbidden from his cleaved torso. he holds on where his mother let him go; cups his stomach to hold his insides in place and never minds the blood that drips through his fingers.

simon will never let him become his own solomon and cannibalise himself. he will never let him question which half of him has more value; which pieces he can afford to lose before he’s cast aside.

ghost’s soap. simon’s johnny. his.

whole, in any incarnation.

[fogwitchoftheevermore]

I'm slowly making my way through a new project- editing the entirety of the album PUNCH by Autoheart to the Life Series.

I was originally planning to post all of the edits in order of the songs on the album, but I instead made the Lent one first and am too excited to keep it in my drafts any longer while I work on the first four songs of the album (especially since we're coming up on finals seasons and the amount of time I'll have to work on these is gonna plummet so fast). So instead, I'll be posting them as I make them and make a masterpost of them all in order at the end.

That being said, I hope you enjoy this! I'm really proud of it and a lot of work went into it.

[bigfatbreak]

this is a psa: dont call your chronically ill coworker fuckin terminal all its gonna do is make me want to bite you

[auriidae]

goofy hermit doodles!! because uhh why not!!

[modernsuperhero]

Btw ages ago I came up with a Scarian au where Scar is of course the mayor of a lovely city. He's quite wealthy too - before his venture into politics he designed the very successful Scarland theme park, which rejuvenated the city's economy and boosted his own pockets too. He's very active in the community and generally beloved by the people.

He is also secretly HotGuy, the city's vigilante superhero, using his wealth from Scarland and his connections as mayor to try to untangle the mess of corruption and organized crime throughout the city! And also like, saving cats from atop trees and things if he happens to come across those too. The city however has recently become host to a deathly parasite, the lethally beautiful Mother Spore. Because she's an independent villain, HotGuy has no way to anticipate her attacks and just has to drop everything when she starts to try to take over another city block or something.

However, HotGuy is not the only person running around the city with a mask and a dream! There's one character who's known just as much for his menace as for his heroism: Poultry Man! Poultry Man may not be a villain, but far be it from him to veer away from pranks or minor shoplifting. HotGuy has chased him down after catching him egging buildings or nicking treats he didn't pay for, but he's also shown up to help HotGuy pull survivors out of the water when there was a terrible bridge collapse, or help break up fights that start to get too violent.

And then, of course, there's the final masked figure in HotGuy's career: his sidekick, CuteGuy! He simply appeared one day, kitted out in military grade weapons and body armor spray-painted pink and white, complete with frills and bows and bullets, asking how he can help. HotGuy is skilled at combat and firing his bow, but CuteGuy is on another level. For some reason, he follows HotGuy's every command to a T, never taking the lead despite obviously having extensive experience. Despite his compliance, he refuses to discuss his past or identity.

Somehow, though, none of these three characters are ever in the same place. If Mother Spore is ravaging a street, Poultry Man doesn't make a peep, and CuteGuy never comes to HotGuy's aid. Poultry Man always gets away with his pilfered knickknacks before CuteGuy arrives, and so on and so forth. And you see, Scar is no fool. He knows all three's secret identities - or rather, identity.

[More under cut]

It is none other than one of Scar's long-time friends and neighbor: Grian.

Grian has known Scar since his dreams for Scarland were nothing more than doodles in his teenage sketchbook. He adores knitting, baking, and taking his cats (however unwillingly) on walks outside. Scar moved into the mayoral home when he was elected, but he still owns his old house right next door to Grian's. Grian is a cheery architect who proudly boasts about being Scar's friend.

And Scar has no doubt in his mind he is also secretly terrorizing the innocent people around him, and that he has both attempted to kill, protect, and annoy Scar as HotGuy on countless occasions.

...Okay, he doesn't know WHY Grian is doing that, or... how, but it HAS to be him! He swears all of their voices are the same, and even with the different masks on they all look exactly like him! And, he's never seen any two of them in one place! Scar is sure Grian's innocent civilian facade is nothing more than that.

It also explains some things: Mother Spore's flirtatious remarks whenever they fight, Poultry Man's annoying cackling when he leads Scar on another chase across town, and CuteGuy's insistence on keeping him alive and following him like a shadow.

Grian and Scar used to be close. But as Scar's life got more complicated, he had less and less time to spend with his friends.

As baffling as it is, Scar is certain that while he was gone Grian became a supervillain of epic proportions, and he's probably only just begun toying with HotGuy and the rest of the city for his own amusement.

...

The truth is Scar is completely wrong!

Grian, Mother Spore, Poultry Man, and CuteGuy are, legitimately, four different people (or entities, looking at Mother Spore) who have never met.

Or, well, that depends on your definition of "met". :)

[compacflt]

in regard to the icemav convo about american made cars: I think it would be funny if after mav gets his regular license, ice buys him a truck that they can use for transporting stuff to the hangar and when he gifts it to mav all the man can do is laugh bc stamped across the ass is MAVERICK. It’s a 2023 ford maverick (in area 51 bc I’m partial to that color)

and mav likes it, but he doesn’t love driving it bc it’s so big (and he just likes being a passenger princess too much), so ice drives it mostly which inspires a whole lot of jokes about ice liking having maverick’s name stamped on his ass. bradley gags from the other room every time.

if it matters to u, i agree with this hc 150% on rhetoric grounds. thank god for your mind.

however i would like to raise the issue that recent american pickup trucks have become non-useful, overexpensive, and suburban-coded in a way i think ice and mav would reject. the ford maverick was built with the intention of dropping kindergarteners off at school, not of actually doing hard labor. see below infographic for what I mean.

It’s a fucking travesty. Trucks are so ugly and useless now. the maverick is not immune to this. (maverick below)

what good is having a fucking truck if it can’t even hold two REGULAR ASS BIKES in the bed. & when the bed is empty the chassis is unbalanced in a way that leads to more accidents etc. (tbf that was true in the 70s/80s too but im feeling more hateful towards modern trucks rn). In short—the modern American pickup truck is no longer useful, it’s a way to virtue signal to other Americans that you *think * you know what hard labor is, even when you’re driving around in a glorified odyssey with a teeny tiny bed that can barely hold a couple bags of mulch for the back garden

ice & mav don’t even have any little kids anymore, i think they’d consider a backseat useless & a waste of space

SO i would like to offer you a Compromise, which is that ice & mav buy either (or both) a 1974 ford maverick AND/OR a 1990 ford maverick

for the Funny Name & coolness factor (& the “making Bradley vom cause of how cute his parents are” factor), and then soup up, like, a 1984 Chevy C10 for actual towing/hauling purposes.

[afrophunk]

Local 16 yr old bandit protects baby sibling from bullies (more at 8)

[writer-room]

Something about how Scar has always been proved, time and again, that winning is by not having friends. How he was killed by his teammate in Third Life. Just how far he got in Last Life before trying to be nice, reach out a hand and got shot down for it every time. How in Double Life his team could betray him again. How he didn't make it all that far trying to stick together in Limited Life. Winning in Secret Life, when he had no real friends he could keep. Something about how he's always made to be alone.

And yet, there's still something to be said about how close he got to winning when his footprints were covered by talons. How long his eyes shone green with a watchful eye at his back. He couldn't win even with a friend, but he got close.

But close isn't a winner. So why even bother? Do not follow Icarus into the sun, lest you see your wax melt off with him. Just let him fall. Let him fall. It won't be you, that body plunging into the sea. You'll be lonely when he's gone, swallowed by salt and foolish dreams.

But at least you'll live.

[gjdraws]

🔒 and ! 🔎 it feels detectively!

also i think 🔒is funny because as a writer i do have irl people i've let read my writing but my best friend and I are getting to that point where we can joke if we die the last thing i'll ever do is embarrass my mother unfortunately T.T sorry mom but fictional men yaknow

you 🤝 let's keep our work to ourselves 🤝 me

🔒 Would you let your family, friends, or other people you know in real life read your WIP?

I mean I have people I yell about things with, I also show my drafts to my partner (not in fandom at all but there u go). If I work on a standalone art piece I miiiiight show it to IRL friends but usually not.

shoutout to that one time an acquaintance found my sketchbook and leafed through it and I still wonder if they saw that very nsfw/PWP sketch in the corner 💀

🔎 [Magnifier] Is there a phrase/word you know you use too often? Will you change it in editing?

OH GOD. So, I am lucky in that I have to draw things instead of write things. All of my scripts are in bullet points. I'm not joking - bullet points.

That said I am guilty of using over the shoulder (OTS) shots a lot. That and cutting off the character's eyes, or only partially showing their faces (not at all even!) to let the audience fill in the blanks. Not just the dS fandom but you get the idea

Also big fan of hands and touch. Like nobody in my art can touch normally, they have to be draped over, almost falling onto, some sort of bodily touch or they will die.

I've just accepted I do this.

[bacchuschucklefuck]

Can you expand on what you mean by Baron being "too cool" to really fit a horror monster? It's a very interesting concept and I'd love to hear your thoughts. Is it that they're too active/involved/tangible and it detracts from their scariness?

I feel like I should preface this with a wall of disclaimers lmao 1/I am a hardcore, down-to-the-marrow, avid, deeply sincere horror enthusiast, esp. horror creatures. this usually means my mileage is vastly different from the average populace's, and my scaredy bone has been disintegrated by longterm exposure. most things in a piece of horror media won't scare me! so I practically never use that on its own as the scale to talk abt horror experiences, but when something does scare me it's always a special occasion to be treasured. 2/canon d20 is never really meant to be horror horror, and for good reasons: it doesn't fit the company's output, it takes a kind of carelessness in production estimation that is always a huge risk, it's often vulnerable in a way that kinda goes against how TTRPGs usually facilitates vulnerability, and for most people it's just! stressful! d20, even with the "horror-themed" seasons, generally just plays with horror tropes and stays focused in its goal of being a comedy improv tabletop theater show. 3/fantasy high's chosen system is DnD, which as I've mentioned before is before all a combat-based game system, which means the magic circle of play is drawn based on stats that facilitate and prioritize combat. want or not this affects every interaction you have in the game, and given fantasy high's concept from the ground up (everyone's going to school of DnD stuff to get better at DnD) it's doubly relevant. 4/This Is Fine I have no quarrel with this. my meters are internal, I do not ask this show to be anything it doesn't advertise itself to be, and what it is is fucking great! I like it! when I expand on this ask's question it will be like a physicist going insane in a lab. that's the mindset we're going in with.

disclaimers done. my stance on horror as a genre is that it's a utility genre rather than a content genre or a demographic genre; it is the discard of narratives. it's the trash pile. horror, above being scary, is about being ugly and messy, it's the cracks on the ground any story inevitably steps over to stay a genre that isn't horror. the genre's been around long enough to develop a codex and a general language that medias and makers and enthusiasts of the genre can use to talk about and build onto, but if you go into individual pieces there's really no unifying Horror Story. one person's beautiful life can be another's horror story, it's just how it is.

this makes The Monster a deeply intriguing piece of the genre. thing is a monster is in a decent percentage of any story - it's just when the antagonist force steps into something past a certain line traced out in the story's world. monstrousness is in pretty much every western fantasy story, it's in any story with a hero and something to vanquish or win; more than anything it's a proxy of that thing up there. the line in a narrative's world. the monster is the guard of the unknown lands, where heroic, civilized people don't tread.

what does this mean in the context of horror? the genre is about that perceived lawlessness, that "unknown land" so to say. we're in the monster's home. that's the literary context that we often walk into a horror piece with; the monster knows more than you about where you are. it may not understand you, but it holds more information than you, and with that it moves swifter than you, has more covered than you, and is more assured in its existence in this context than you. it's a struggle to catch up to it, it's nigh impossible to get one over it, and you're never sure it'll 100% work, because you just don't have the information necessary to.

with that framing you can kinda see where I'm coming from here: horror's often about the breaking of rules. I always think a monster's most effective when it breaks well-established rules of both existence and visual storytelling. think Possum (2018) or Undertale's Omega Flowey or the Xenomorph Queen - unique change in medium, unique change in graphic, unique change in design language, etc. in that sense I actually really like how canon baron plays out: they don't really function like anything else in the fantasy high universe, the bad kids have not managed to kill them when they've felled literal gods, their domain in fhjy literally introduces new mechanics to encompass their existence! from an experience design standpoint they slap mad shit. BUT! I can't help finding their character, like as a character riz (and the other bad kids, eventually) interact with, to be very... coherent? in design. this is kinda hard for me to articulate in words, it's more often a sense you get once you've looked at enough of these scrumptious fuckers, their general design and the way they show up is just kinda too clean, so to say. always kinda newly made? fresh unboxed. it, once again, makes sense for their lore - they are looking for more about themself from riz - and their function - they're an antagonist in a game experience, they're meant to be interacted with in a way that produces results and meshes with the existing magic circle - but that shininess takes away from the implied history they should have dominion over and the person they're haunting doesn't.

from another angle there is kinda something there about how put-together canon baron is as a concept; the domain they call home is riz's deep-seeded fears, extremely vulnerable things he's drawn borders around to quarantine and refused to walk into. things that from his perspective would irreversibly shatter certain pleasant fictions his world is built on top of. canon baron, While Extremely Cool, I feel is kinda too neat to connect with and signify the apocalyticized mess that'd result from this paradigm shift. the part where they're in riz's briefcase and looking through every mirror is Very Cool And Fucked Up! but ultimately the show draws a line around them as well, by making game-physical, tangible spaces they're in (the mirrors and the haunted mordred manor) and put riz and the bad kids there only when they need to confront stuff. riz is meaningfully narratively away from baron's unknown land for most of fantasy high.

with that and all of my disclaimers in mind my conclusion here is if canon baron wants to be a Horror Monster they'd have to cross way more lines. be a Lot more invasive. hence (holds up my class swap baron like a long cat)

[fisheito]

now that i've seen the DIK fight island obstacle course and how it's. a course. not just them swimming all day makes me wonder who would do best at running through sand. bc you gotta have a technique. or a certain kinda muscle built up. sand is difficult terrain but by pitting garu-dante-quin against each other... hmmm... that's tricky bc they ARE pretty evenly matched. a trio of athletic little lads