#now i can move on with my life

[fabulous-gabulous-theartist]

It took months of working on it off and on, but I finally finished it! Recreated the ending scene of Sixteen Candles with Lad Boxman and Laserblast.

The perfect end to a productive weekend.

[bearlytolerant]

Evil God Theory part 2

Hello again. I posted about my theory on the tentacled character coming out of the veil in the gameplay trailer in a part one post. Now I’m going to talk about the second figure with the elf ears.

I think our other friend could be Falon’Din. I will be honest, my confidence in the evil god on the right being Falon’Din isn’t as great as my first post but he’s still my first pick and here’s why:

This was a phrase said by an unfamiliar voice in the very short trailer (:33) we got on Dragon Age Day:

“All the world will soon share the peace and comfort of my reign.”

Falon’Din was the god who guided people into Uthenera (a peaceful sleep) but solas says this about him:

I do not believe they sing songs about Falon’Din’s vanity. It is said Falon’Din’s appetite for adulation was so great, he began wars to amass more worshippers. The blood of those who wouldn’t bow low filled lakes as wide as oceans. Mythal rallied the gods, once the shadow of Falon’Din’s hunger stretched across her own people. It was almost too late.

Imagine a god who ushers people into eternal sleep being a bloodthirsty conquerer. He would probably think his reign was comforting and peaceful if everyone is dead.

Also it’s understandable if you don’t necessarily believe Solas. This codex is pretty interesting too though:

The People swore their lives to Falon'Din
Who mastered the dark that lies.
Whose shadows hunger
Whose faithful sing
Whose wings of death surround him
Thick as night.

Lethanavir, master-scryer, be our guide, 
Through shapeless worlds and airless skies.

—Song to Falon'Din, found in the Temple of Mythal, author unknown

Reusing this lovely picture from before but highlighting the background in red because it looks like the world could be experiencing an eclipse. A very nice and literal representation of someone associated with darkness and shadows and night being able to cloak the whole world in darkness.

Now onto some other Falon’Din things. The shape on this figure’s head most closely resembles shapes associated with Falon’Din as pictured with the owl constellation Tenebrium. I’ll just put what the wiki says here:

Falon’Din’s sacred animal is an owl. It is either his companion or his manifestation and simultaneously a messenger of Andruil. The constellation Tenebrium, called “shadow” in the common parlance and depicting an owl, may have been associated with him before it became associated with the old god of night, Lusacan. Falon’Din himself is sometimes depicted as a cloaked and hooded pointing figure.

A comparison of the figures headpiece and horn-like appendages(?) behind the shoulders and the constellation association:

Now onto some outfit comparisons.

From Vir Dirthara: Duel of a Hundred Years

The pages of this book—memory?—show a narrow plateau on top of a mountain, Two armored figures—one in gold, one in black—are fighting in the snow. Steel flickers so fast the air hums. Blood dots the ground. They do not stop for breath. The one in black makes no sound as a blade parts his throat.

"Mythal, in her wisdom, interceded in an argument between Elgar'nan and Falon'Din. With clever words, she convinced them to settle their grievance through a battle of their champions. Elgar'nan and Falon'Din agreed, and set their champions against each other rather than declare war among the gods. May those knights long be remembered, and Mythal's wisdom be praised."

The codex does not say which champion was which when fighting but we could assume Elgar’nan’s was dressed in gold (big E and all his sun/light symbolism), while FD’s champion is probably the one dressed in black. While the main cloak/robe seems to be black (refer to the pic after the statue), there’s also a lot of gold so again, not real strong evidence but it could be something. Also the sleeves match up decently with the Falon’Din statue sleeves.

I did notice too that this outfit seems to match up in some ways with Falon’Din’s outfit in the mosaic. Where the clothes in the mosaic are belted together, it seems this character has the same style but I can’t be certain because the lighting doesn’t help.

I also included an old dao picture of a statue because the shoulder piece in that statue plus the way the figure stands near the end of the gameplay trailer reminded me a lot of that particular statue. So I put them side by side so you can have a look for yourself.

All that to say, my theory on the second one isn’t as strong and I don’t feel like I have enough evidence yet to be super confident but this is my best guess.

Also if we think about the two that Mythal has had to humble it was Andruil and Falon’Din. Mythal had to take Andruil’s voidy toys away. Falon’Din got too blood thirsty and was forced to go into timeout when Mythal went to Dad Elgar’nan about him and he lost the duel. Plus there’s some connection with his symbol being an owl and the owl being a messenger for Andruil. So it would be fun to see this little duo be our boss fight baddies.

Again, if you read this far, thank you!

[manyblinkinglights]

I got tailgrab working because the secret was worldspacing my little grabHandler once it got grabbed. Apparently a lot of this math only works from worldspace. (?).

[suntails]

growing up!

[shoesallinaline]

Negativity ahead:

I'll admit, I'm actually not that sad about OFMD being denied another season. I'm sorry but season 2 was a mess; the pacing was terrible, it introduced a slew of new characters that were largely thinly characterized, and speaking of characterization, it felt like more than one character got a personality transplant between seasons. And while I know they had a huge budget cut, to my mind, the solution was not to overstuff the season trying to get everything in, it was to edit the story in a way that worked with the budget they had. Based on the ending, it is super clear to me that David Jenkins did not expect to get a third season, and I wish he and the rest of the writers has made smarter choices. Even if we were to get a third season, I don't trust the writers any more.

[beneziatsoni]

when im trying to decide if i wanna be an asshole or not to some stranger on the internet by commenting that Hot Minute is a contextual phrase where if u know how to use it, it doesnt matter what the definition is or is not because itll always make sense, directly onto their post

and then realizing that there is a secret third option of screenshotting

[poorly-drawn-mdzs]

Happy Year of the Snake!

[puppetmaster13u]

Prompt 169

Danny is from a world where everyone has wings, even if most have long since lost the ability to fly. Something about loading and aspect ratio, wings being too small, body too heavy, now mostly used as display, whatever. 

It doesn’t matter even if he had blueprints from when he was like six of a jetpack to help fly. It won’t work anyway and hey, he has his ghost form! Which uh, might be perhaps, affecting his wings which were maybe sort of scorched black and practically down to the bone thanks to the accident. 

It doesn’t matter, he swears. Though he’s admittedly relieved to see the new feathers growing in are different from Dan’s angry sunset. Even if they’re not even supposed to be able to grow back. Alright, this is fine, no one is going to notice! It’s not like everyone knows about the poor Fenton kid whose wings were absolutely destroyed thanks to an accident! It’s fine. 

He’s not flying in a half-panic towards the Far Frozen while crying because his wings are coming back and he’s so scared. He didn’t panic and instantly fled the moment Jazz pointed them out while changing the bandages. 

He definitely didn’t trip over something while wiping away said tears and blacking out from all the stress and all of his problems that he definitely mentioned to someone and isn’t keeping a secret. Definitely. 

Hawkwoman and Hawkman would like everyone to know that neither of them were expecting a very small child to be spat out of the villain of that week’s machine that should definitely not be a portal. A very small child, maybe nine or ten, with a multitude of concerning wounds both old and fresh. Which isn’t even beginning to touch on the wings. 

Feathered, like baby down despite the gnarled scars, unlike their own metallic, with the beginning of tiny specklings like stars amidst the darker fuzz peeking from the wounded flesh. 

Who?! Who dared?! It’s (at least to the forever reincarnating duo) a literal baby! They still have down! Tiny baby fuzz! Was it the portal?! Oh this villain is going to taste their maces for causing this if that’s the case! 

The rest of the Justice League would honestly like to know what just happened and are honestly unsure on if they should stop the two…

[inamindfarfaraway]

I would find Blondie Lockes very annoying in real life, but I love her in fiction. She's a genuinely good journalist in terms of both skill and ethical integrity, who only occasionally forgets to check the facts because she's fifteen and holds herself accountable when she does. She has incredibly high standards for everything and believes herself to be the ultimate authority on quality. She has magical lockpicking powers because her fairytale is about Goldilocks breaking into a house. She somehow completely ignores the story's moral that Goldilocks was wrong to break into the house, feels entitled to go wherever and help herself to whatever she's able to and cannot comprehend why people dislike this. She's been terrorizing an anthropomorphic bear family with her cheerful disrespect for privacy and is convinced that they love her. She has a non-anthropomorphic pet baby bear. Her motivation is dependence on external approval rooted in deeply internalized classism. She's desperate to be useful and important to those with higher social status and feels the need to lie that her family is technically royalty to fit in with her royal friends, even though they treat commoners like equals all the time. She positions herself as a conduit of true greatness; closer to it than the masses, but never the hero, always reporting on other people and evaluating what they've done. Because what she's done isn't enough to be worthwhile. What she is isn't enough. But this performative lifestyle makes her anxious about being judged as a fraud and an interloper, and ashamed of selfishly transgressing against social norms. Her microphone head looks like an adorable little bear head. That's one hex of a character alright.

[eaissilyy]

Trust me I know what the formless mother is thinking. It revealed to me in a dream. The outer god has reached me. Anyways the lands of shadow’s formless mother franchise is not looking good. (Sorry bloodfiend. why do you have a weapon that is just called… fork?)

I used to draw FM as in Miquella’s egg with a arm, but now had to change to a bloody flesh of armless meat. Don’t know if this is a downgrade or not but girl your range of appearance is WIDE.

[rebrandedbard]

How does the great Sandpiper successfully smuggle 130 children out of the Nilfgaard-occupied territory of Hamm? With the power of a forgotten story, a traditional song, and a masterful lie.

A piece for my upcoming fic, The Piper of Hamm, based on The Pied Piper of Hamelin, next in my fairy tale series.

[bookshelf-in-progress]

What If? is the question that drives most retellings. This works best with the well-known fairy tales. Everyone knows the original story, so readers will be interested in how you twist it.

You can change

Plot: What if Cinderella didn't go to the ball?

Character: What if Snow White was evil?

Setting/Genre: What if Sleeping Beauty was set on a spaceship?

Theme: What if Beauty and the Beast was about family love instead of romance?

There's a variation of the plot What If? that asks:

What's Next?: What happens after Cinderella marries the prince?

In this case, you're writing a sequel. The fairy tale is backstory, and your story is something new.

There's also a mash-up What If? that asks:

What if these two stories were combined?: What if the prince in Cinderella was also the Beast in Beauty and the Beast?

Here, the readers are pulled through the story because they want to see how the plot and characters of these stories fit together into something new.

In all these cases, What If? is the question that motivates your readers. They want to see how your changes make for a different story.

With traditional retellings, you have to ask different questions. You want to tell a story with the same plot, characters, and setting as the original--maybe because you love the original story so much, maybe because you're retelling an obscure tale. But then what's the point of your story? What question are you going to answer in a way that can't be satisfied by reading the original tale?

The questions that work best here are:

Why?: In fairy tales, things usually happen "just because". There's very little explanation of why events happen a certain way or why characters act the way they do. Asking Why? allows your story to give an answer that explains confusing or ambiguous points in the original story.

Who?: Fairy tales don't dig very deeply into the psychology of their characters. A retelling allows you to enter into the perspective of one of the characters and explore what it would be like to live through the events of the story. What kind of person acts the way this character does? What fears and hopes motivate them? What do they think about the events of the story?

There's a variation of Who? that asks:

Who is telling the story?: This is your classic POV switch. Your story can have the same plot, setting, and characters as the original, but if you focus on the viewpoint of someone other than the traditional main character--the love interest, the villain, a side character, a confused bystander--you can wind up with a very different, sometimes almost entirely original story.

Almost every retelling needs to answer at least one Why? question. Even if it's a minor plot point, your story should offer a clarification or a rationale behind some element of the original. Asking Who? is a great way to expand upon the fairy tale and make it something more psychologically complex. First-person point-of-view is very helpful in this case, because it instantly adds something new to your telling of the story, even if you follow every beat of the original tale.

What If? retellings also need to answer Why? and Who?, but they're not the driving force in the same way that they have to be for traditional retellings. What If? allows for a twist that's the driving force behind the story, but when you're not changing anything, the depth that Why? and Who? provide is crucial to making your story feel new.

[arttsuka]

[oxygen537art]

Do you hate Endeavor? 😜

Well, I definitely have a lot of negative feelings towards him.

The way he treated his family is absolutely awful. It's not just that he was a difficult father; he actively used and manipulated his wife and children to achieve his own selfish goals. The way he prioritized his own desire to be the best hero over the well-being of the people closest to him is disgusting.

I know some people argue that he's trying to change, and that we need to see his redemption arc. I'm not against that idea and I understand that real people make mistakes too. However, even if he's trying to do better now, it doesn't erase the harm he caused.

I think the story should have done a better job of showing the consequences of his actions.

[poorly-drawn-mdzs]

Good Morning, World.

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[gengwasted]

Happy birthday Kakavasha <3