#thanks for telling me about this game

[vaguely-concerned]

To the ‘themes I am picking up on in Veilguard’ list, let's go ahead and add what I have a sneaking suspicion will actually turn out to be The theme:

— the world has changed and can never be as it was again.

— I have been changed and can never be who I was again.

— in this simple unavoidable truth there is endless grief and endless hope.

And I… may be getting a bit emotional about it haha. Let me show my work a bit: 

if da:o is a game about people who are already dead or half ghosts in some form (through societal forces, psychologically, functionally, literally, in body, through the joining etc.) coming together anyway to save the world from being swallowed by total nihilism and despair (symbolized by the blight) through the power of love and friendship and also this sword/potential heroic sacrifice that I found, da2 is a game about people who have lost their homes and been set adrift finding and building new homes in each other (while completely failing to save the world. also through the power of love and friendship. as well as years of petty bickering <3 we must imagine kirkwall if not happy then worth having been because the love was there the love was there and that's the only sanctifying force we can ever have in this doomed world and city of ours), and da:i is a game about old stabilizing-but-unjust comfortable lies vs. disruptive but potentially liberating uncomfortable truths, and the power of friendship to help us distinguish the one from the other and navigate through them...

folks… I'm starting to think that veilguard might be a game specifically about moving towards recovery and acceptance after trauma — about how even in this flawed, severed, scarred state, what is here right now is worth loving and worth caring for. even in an imperfect and impermanent world and self, there is worth and joy. and of course the first real tragedy — and threat — of Solas is that he just cannot find it in himself to accept this and move on, to let go of what was, the regret won’t let him go or he won’t let go of it. which means that even though on the surface it’s Elgar’nan and Ghilan’nain (and the will to subjugate and violate they represent) who are the main villains, the real antagonistic force in this story beneath that is the Dread Wolf’s despair. A despair Rook must make an answer to by the end of the game, one way or another, compassionately or with righteous fury, triumphant or pyrrhic.

The world will change again and again and so will you — BUT the crucial element is that so will everyone else who exists along with you, you are fundamentally not alone in this existential truth. all we’ll ever have is each other and my god that is plenty, my god that is enough!!! Which is the second thing Solas just can’t accept, he keeps himself separate and completely alone out of an awful mix of fear and pride and feeling himself unworthy of anything else. Rook and the player want to save the world of Thedas because it’s where everyone we love lives, Solas wants to go back to the past because that’s the only neighbourhood where he can still visit those he loved — and the person he himself was, before. A very sympathetic and human instinct/trap to fall into when touched by trauma, I think, if only it wasn’t backed by godlike power, a fundamentally oppositional personality, and a catastrophic lack of therapy to make it literally everyone else’s problem too lol. It’s varric and solas’ banter about the man on the island and where meaning in a life comes from all over again, writ large and with detail work — and the added idea of ‘what if there are also other islands out there, though. With other people on them that you could find if you reach for each other’. Rook with the best of intentions has to make choices to which there are no perfect outcomes and live with what happens — and not cut themselves off from everyone else around them even when there is regret or shame. You get back up every day and you make a life with other people doing the same and you do your best, and that’s the only victory this world will give you. In the end, that is more than enough, that is essential. And I um. I love that. So much. It’s why some of the writing clumsiness on top can’t hurt me because this thematic spine is so solid and so beautiful to me. It’s DA2 all over again that way for me personally — I forgive this story for what it isn’t and couldn’t be, and I love it with my whole stupid open heart for what it actually is. Thank you for coming to my TED-talk and goodbye etc.      

(For my fellow TLT heads out there — you know what this story is reminding me of most of all, actually? It has some big Nona the Ninth vibes down there in the deep. It’s about… the horror and unspeakable beauty that can only be found in liminality, and the role of love in making that basic fact of existence bearable. And also even more unbearable at the same time. I'm so sorry.)

[creacherkeeper]

is this old religion, are we calling it love?

{sweet movie, alisha dietzman / @gaphic / tiktok / @iamalivenow / on earth we're briefly gorgeous, ocean vuong / @manywinged / these violent delights, micah nemerever / the reader, bernhard schlink (trans. carol brown janeway) / hestitations outside the door, margaret atwood / a self-portrait in letters, anne sexton}

[ID: ten images of text together in a litstack

1: Confession: I will think of you forever

2: a post by gaphic: It’s only tragedy if you convince yourself, for even just a moment, that everything could be ok, despite knowing it won’t be. Tragedy lies in ‘so close, yet so far.’ It’s avoidable because it would only take a tiny alteration to prevent disaster, but human nature is in the way- not maliciously, not knowingly, despite trying so hard.

3: a tiktok comment and answer: Are they lovers? / Worse

4: a post by iamalivenow: gay sex won't fix this. it'll probably make this worse. that being said don't you want to see how much worse it can get?

5: Sometimes being offered tenderness feels like the very proof that you've been ruined.

6: tags from manywinged: #technically they know and understand each other better than anyone else alive #but they communicate that in the most fucked up insane unnecessarily complicated way and think thats normal

7: I don't think you've ever felt anything that didn't hurt you. / We've found each other, out of everyone else in the world. Does that hurt, too?

8: "I'm not used to being loved. I wouldn't know what to do."

9: Should we go into it together / If I go into it with you I will never come out

10: of course the love is there. / still, / still, / still.

end ID]

[ganondoodle]

correct me if im wrong but im PRETTY sure that for something to be a proper sequel it needs more than literally just reusing the same world and character models and slightly altering their design or adding an ability (that they got somwhere in between which isnt shown nor elaborated on either while previous abilities or interests/knowledge vanish)

made the mistake of saying that really totk isnt a sequel bc it doesnt build on, nor expand nor elaborate nor continue anything from botw, its the same preset of basic things like ... world and character models and tells an entirely different story utterly disconnected from anything botw, which it not only acts like it never happened (aside from like one dialog which is not enough for me when everyone else has literally forgotten everything and tbh feels more like a reference thats actually a slap and laugh in your face) but often times actively contradicts it, like a different version of the same thing

which is called an alternative universe

half of the reasons why i despise totk is bc i wanted, expected and was TOLD its a sequel when it isnt, can you really blame me for being disappointed and frustrated when i was told its a sequel, which should build on established stuff, to a game and its lore i deeply cared about and then get an alternative universe game that has nothing to do with the one i cared about except wear its face and STILL get told its a sequel even just by simply reusing models

[mbat]

jews: this thing in fiction feels jew coded to me, this character/group has several parallels to jewish people and i see myself here :)

non-jews: nah, that aint right, its clearly coded to be this other thing/youre stretching so hard to find a connection that isnt there

jews: this thing in fiction falls into antisemitic tropes, this character/group has several common antisemitic tropes that have a long history of being used against my people, and i think we should really consider not using these tropes anymore/consider if theres a better way to go about making the same point without doing it in this specific way

non-jews: nah, that aint right, its clearly coded to be this other thing/youre stretching so hard to find a connection that isnt there

just something ive noticed

[shkika]

Since my wrist is killing me and I can't draw, have my ramblings about machines having souls and being able to become husks and also just Ultrakill thoughts! Predictions about the ending if you squint??

im just having fun here

Like I'm so deranged about how machines being intelligent and actually conscious is handled in Ultrakill. The build-up, even if accidental(?), is SO SO CLEVER and gradual (as gradual as ultrakill can get). How that fits into the overall narrative and how the tragedy of this game manages to be so awesome??

First with how I love the way "Machines are living beings" idea is handled. It starts from the introduction and establishes the world so well in so few words it's so lovely. You get introduced to the machines as war weapons. They need blood to survive and humanity has been eradicated. That's all you need to know.

You start with the basic information that these machines don't want to die. Which makes sense, it doesn't have to mean they are actually alive. It makes sense a machine would look for any way possible to keep itself running to continue doing it's job.

And then immediately in the prelude you meet the Swordsmachine. A part of a specific group of machines the terminal calls "scrapheads" which modify their own bodies. While at first that does not ring as anything that's especially noteworthy. A machine trying to upgrade itself is nothing unheard of. It's to be better, stronger, more efficient.

Except that's not exactly what the Swordmachine design is about according to the game. It is mentioned to have very impressive combat prowess compared to other machines, however what it is also referred to as is "beautiful". The design is appreciated almost like a piece of art. And some of it's parts don't even wield a practical purpose, the mentioned example being it's voice box.

It is not ONLY about utility. It is also about art!!

Alright. That's interesting. Let's give an even more outrageous example. Skipping Limbo for now, there is lust where we are introduced to Mindflayers. Which?? Are so wild??? And mysterious? We don't know what and when they were made for (ALTHOUGH I VERY MUCH HAVE HEADCANONS ABOUT IT) their bodies are described as completely seperate and useless to the machine. And yet it is stated they act very lovingly and take care of their bodies. So much so in fact that they SELF-DESTRUCT if it is harmed.

V2 in the first fight is a rival to you as any other machine, however once it's arm is stripped away from V1 the confrontation becomes PERSONAL. The second fight is not simply about the lack of resources anymore. It is to reclaim what was lost. Whether that be the arm or something else. Even the very terminal entry itself calls it revenge.

And of course. With Violence it is revealed that with all of this. Machines can also make other forms of art like poetry. Which is even more interesting is that the machine which did that was first EVER machine to use blood mind you. An extremely old design, yet it could make art to express it's feelings.

Machines are capable of modifying, changing, expressing and LOVING themselves. They make art and some are frequently seen attacking you in groups! Those are clearly intelligent beings. And I mean. Duh. everyone playing Ultrakill knows that. Obviously. Like. Yeah.

So then why isn't the fact that these walking weapons probably have souls more discussed? What makes a soul? Why would machines not have them? If they can do all that people can on an emotional level.

And what happens when these machines die? What exactly is stopping them from ending up hell? Obviously heaven is unobtainable. Their very reason for existence, is to cause pain and suffering. The means through which they need to keep themselves alive is to cause suffering. It makes sense they'd all become hells beloved children. Doing what is in their nature is an art form to it.

What's even more is that the game itself supports the idea that some are souls. Surely hell cannot create them since everything made by hell are demons, which are very easy to recognize by the stone exterior.(?? unless im wrong??)

And there is no feasible way for machines like the Guttermen and Earthmovers to be their actual living counterparts. On a basic level they LACK the means to be alive. The people inside the Guttermen need to be alive in order for them to function. When opening them in-game they are just skeletons. Nobody has been supplying them with blood for a long time. Because it's hell. The game itself states that death is a luxury in hell. It does not happen easy.

Earthmovers need sunlight to power them. And the game specifically put them in an area that is clouded. There is none to be seen in violence. No they are just trapped in place, forced to shoot each other for all of eternity.

Machines, when they die… go to hell! Probably!

Some of the machines you kill, perhaps reccuring enemies go to hell (Thank u l@/little-tornad0 for the addition hehe)

When you die.

You respawn! Hell keeps you going. Hell wants torture. Hell wants bloodshed. Hell wants entertainment and you are the purest form of it.

It makes me think a lot about the potential ending of the game. About the themes. I don't think this means inherently that hell is a perfect self-sustaining organism that can go on like this forever. Gabriel says machines are destroying it and leaving nothing behind. Things are clearly going south in some way. And it'd fit the themes better if it was all going to uh.. hell lol. If it was all going to collapse. From the main theme of the game literally being "The fire is gone" to the name of the last chapter literally being named "Godfist suicide"

Also for what it's worth the Mirage secret is awesome meta-commentary on the idea that everything will die. Everything is destined to end. It is up to you how your each that end.

I think this is what Ultrakill will kind of be about at the end maybe. Gabriel will die out with a bang doing what he wants.

V1 itself is clearly NOT killing efficiently to survive, but for fun. Before it all ends. It's going out with a bang.

And with no new humans or machines that can enter hell in the long run. Perhaps it's very being too will decide it wants to go out with a bang.

In short. uh machines have souls. everything will die but not in a sad way. but in a very cool awesome way. thats pr awesomesauce

[cacaocheri]

You should in fact infodump about poptropica, also have you considered doing a DCA Poptropica crossover to unite the interests together?

1) I love you so much dude I hope you're doing well 2) poptropica infodump would take AGES this thing has lore so I will spare you a ramble for now 3) I . HAVE NOT. BUT COULD YOU IMAGINE SUN AND MOON WITH THE BIG BOBBLE HEADS

no? because I can

oh my god they look so much more cursed than I expected I'm laughing my ass off

[stevens-pastrami-sandwich]

WHO LET THIS GUY IN THE LAB??🤨🤨

(CLICK FOR HIGHER QUALITY IM WORKING ON FIXING THAT..)

[lowkey-loki245]

Since Siffrin canonically has a afro-caribbean nose, Imma headcanon that his country is based on Cuba so I can dump my Hispanic culture onto this little guy (I mean, malanga fritters are a popular appetizer in Cuba, so it works even more with that).

(If yall didn't know, I'm like, half black, ¼ white, and ¼ Cuban. My dad, who I got the ¼ white and ¼ Cuban from, is white passing, so I kinda see that part of myself in Siffrin. I mean, I already relate to him way too much. What's a little more? lol)

[feroluce]

“-and that's why I ain't allowed in Pier Point no more!” Boothill throws his head back and cackles, somehow completely comfortable on the bare floor of the archives. He's the very picture of ease, his arms behind his head, his legs bent and crossed.

Dan Heng barely looks up from his notebook, not much surprises him anymore after the first few tales of lawless exploits. “So they really have that many laws and restrictions there.” 

“And prob’ly a few more now that I've been through there! Heck, ya think they named any after me? I'm hopin’ so.” There's so much smug cockiness seeping through his voice Dan Heng could bottle it.

Silence settles in, stretches out. Dan Heng doodles pensive circles in the corner of his page.

He shouldn't ask. It's a private matter. It's none of his business. He of all people should know-

Something pokes his shoe, and when he looks up, Boothill has stretched one arm up to tap metallic fingertips against his foot. “Ain't like ya to hesitate.” With his head tipped back on the tiles and gazing at him upside down, Boothill's hair is out of his face and spooling out all over the floor, offering a rare view of his right side. His right eye is sealed over with a pitch-black patch, stark against his skin. Dan Heng wonders what he looks like behind it. “C'mon, then, out with it. Spill the beans, brother, just say it.”

“What does ‘Boothill’ mean?”

The man blinks at him, the crosshair in his cybernetic left eye flickering. Dan Heng shifts, smooths out his long coat. “I tried to look it up once. It's not in any database as a name...other than your wanted posters.” There's a thread beginning to fray near the hem, he should sew it up. “I couldn't find it anywhere.” 

He nearly takes it back, but- “Heh, ya that curious about me, darlin’?”

Dan Heng quickly levels his face into the most impassive, nonplussed expression he can muster, but Boothill has already turned away, head pillowed on his arms and face once again turned to the ceiling.

“But nah, ya wouldn't. Hah, like they'd allow any record of the language, fudgeheads.” One arm sweeps around blindly until it finds the edge of Boothill's hat, sets it back where it belongs on his head. Dan Heng shuffles around, scoots a little closer, but the brim is pulled too low to see his eyes anymore.

“It's ‘cause it's not a name. It's a noun.” All that's visible of his face is a sharp grin, pulled too tight at the edges.

“It's my people's word for a grave.”

Dan Heng's pencil stops.

“It's the kinda grave fer someone who died with their boots on. If ya catch my drift there.” Boothill's foot starts to bounce. “There was a war, and it got reeeeeal intense, yup. Folks started droppin’ like flies, ‘n’ there was bodies faster'n what we could bury ‘em.” A cooling fan kicks on somewhere. Dan Heng is pretty sure it's not any of the Express equipment.

“We lost some real good people there, real good. Mighty shame.” His hidden Vidyadhara ears detect a quiet metallic click, a whir, pressurized gas. Boothill's next words waft steam from his angry circuits into the air. “When I left, I decided to leave my name there, too. Didn't feel right otherwise. The life I lead now is a whole ‘nother existence.” And then Boothill turns his head, raises his hat, and Dan Heng suddenly feels pinned dead center, caught in that crosshair.

“Ya know what I mean, don'tcha?”

Dan Heng swallows.

Does Boothill know? Who he is and who came before him? There had been that moment in the Penacony Grand Theater, after he activated the Jade Abacus… Dan Heng had tried to shoo him out, keep him from seeing anything, but Boothill has the astounding ability to turn up exactly wherever people are trying to keep him away from.

If he did see, does he actually understand it? Does he know what a High Elder is? Does he know about the sedition of Imbibitor Lunae, the transmutation arcanum, everything Dan Feng had done and Dan Heng was punished for?

He doesn't want to explain it all. Not now. Possibly not ever, truth be told.

And it's not the same as Boothill leaving behind his old identity when whatever event happened that caused him to leave home. Not really. But…

But so far, Boothill has slid so easily into Dan Heng’s routine. His presence never feels like an intrusion. He's already figured out what he can push and when to back down. And even Dan Heng finds himself able to roll with whatever punches Boothill throws with baffling ease. They share too much in their methods and ideologies, and sometimes Dan Heng knows what Boothill will do seemingly before even Boothill himself knows.

“...Tell me about Talia and the Nailscrap Town.” Boothill must know he's avoiding the topic. He must. But the man just throws his head back and cackles, melting easily back into what they had been doing before, as he speaks fondly of a planet that Dan Heng has never visited.

Not today. But.

Dan Heng inches just a little closer, just enough to nudge his foot against a metal leg. Boothill doesn't pull away.

Maybe someday.

[snowangeldotmp3]

i think reading the hunger games and already knowing what happens makes the story more tragic, actually. i already know katniss and peeta win. i know what happens to glimmer and rue and everyone else. i know they have to go on in catching fire for the games there. i know what happens to gale and prim. i start the story already knowing the risks and consequences and yet still katniss has no choice but to act on them. all of these people will still die, the capitol still showing them off as entertainment. you know these people are walking into their graves! and you can’t unlearn these things!!!

[lafaiette]

Do you also feel like there is an ungodly amount of trash talk about Solas? Which would be fine but there really aren’t very many options to defend him????

That’s my biggest gripe so far. Like I feel like they are taking the choice away from me by making me be antagonistic towards a character that I don’t want to be antagonistic to in a game that is supposedly about CHOICE.

Sorry Lafiatte I’ve been feeling spicy about it lol.

OMG YES (under the cut because spoilers)

Everyone detests him, Harding is angry with him even before Varric gets stabbed, all insist what he did was terrible, that he was always distant and prickly, when we know this wasn't exactly true - he didn't want to grow attached to people in DAI for obvious reasons, yes, but he was always kind with his companions and the people in need. He always approved when the Inquisitor performed a kind action (like leaving flowers on a tomb) or said something nice.

If you use the outside camera when the Inquisitor first arrives in Redcliffe, you can see Solas kneeling down to help some hurt people on the road. That's who Solas was, not the cold person everyone (especially Harding) describes.

Also, no one wants to understand his POV - I think I have seen only Davrin "defend" him in one occasion, and Rook can sometimes say something positive about him ("He's lending us his help", "He's been nice so far" etc.), but it's really, really frustrating. Also, the constant repetition of the theme of regret - sometimes the dialogue seems written for 5 years old children playing a Pokemon game.

It's like the devs wanted the new players to hate him, and the old fans who never liked him to finally have the chance to say how much they can't stand him. Meanwhile the players who genuinely liked him, friendly Inquisitors and romanced Lavellans, are swept under the rug.

"Oh... you like Solas? Damn... good for you, I guess..."

I'm glad some people are liking it, but I can't see any love for the fans and the setting in this game, only fatigue and hurry. Understandable, after ten years of development hell, but damn, I'm sad.

[lizzybeeee]

(Same anon) It's also just a lot harder for me because Solas in Inquisition was trying to take down the Veil in a world that was genuinely shitty to elves, mages, and spirits (nvm that until this game I was 100% sure that he was trying to do this more for the ancient elves, like why else imply there are more out there to Abelas? I guess he was just being polite?) Veilguard depicts Thedas as being largely okay with mages and spirits even outside of Tevinter and pointedly doesn't depict racism against elves outside a handful of throwaway lines. So they had him going at this with the same conviction from DAI, of a man trying to reverse the slow genocide of his people, but they've boiled his motivations down to "The Veil is unnatural" Like. How much more awesome if we could have convinced him not to destroy the world because of a culmination of choices in this game and all the others that made Thedas a kinder place idk man. ngnegnwgnf sorry for ranting in your inbox, I still liked Solas enough in this game but it was really bittersweet that they just dumbed down his motivations. I love your idea for influencing the Inky though, it definitely should have been a choice closer to the end and allowed for more variations (ideally all Inkies should have that, not just the Solavellans)

Hello again, Anon! :)

100% agree that the sanitization of the world and lore absolutely hurts Solas's motivations - especially if you look at it solely from what Veilguard gives us and with no background from previous games. All of the previous games, mostly Origins, were really effective in conveying how shit life could be for an elf - and how inbuilt this prejudice against the elves was in all aspects of Thedas.

The chant of light removing the canticle of Shartan, the march on the Dales, the struggles of the Dalish to simply live, the treatment of elves by the ruling class/chantry/ and others in general...it all painted such a bleak outlook for the elves and showed how ingrained this prejudice was in all aspects of Thedas. They had no way out - the structures of power in Thedas would fight them at every turn - which was why Solas being set up as a way for them to fight against all these systems was so compelling! You want the elves to win - but it will be at the cost of everything else if Solas goes ahead with his plan.

(You can definitely also make an argument that perhaps he's using them just to restore the world from before -> Felassan argued with him about this: to see the world as it was as real and worth improving.)

DATV felt divorced from the previous games, and its reluctance to meaningfully go into issues surrounding the lives of elves in Thedas - all the ugliness that brings - really did nothing to add to Solas's motivations for bringing down the Veil. If anything, I got the impression that he does not see anyone in Thedas as being 'real' and that he's simply doing it out of regret and to soothe his own ego/guilt. If this game wanted me to be sympathetic towards Solas it didn't do a good job of making me feel it, especially when you look at the totality of everything that Solas has done.

What I took from Trespasser was that Solas wanted to heal the wound he had left on the world - the Veil - and what he had inadvertently done to the elves. He had given everything he had to free the elven people from oppression and tyranny, only to inadvertently leave them vulnerable to the same oppression from others -> taking away their magic and long lives in the process. He was so blinded by his goal (stopping the evanuris) that he failed to see what his own actions might have wrought in the process.

Trespasser set up the 'Elven Rebellion 2.0' with a Solas who was torn between the world he once knew and the world it had become in spite of his intentions. Does he truly care about the elven people in current Thedas? Or does he just care about the world that came before? In DAI he was such a fascinating character because he could be so polarizing! People loved him! People hated him! Both were correct!

But starting the game with the ritual, sanitizing the world (no real signs of conflicts about spirits, mages, elves, anything really etc...), and simplifying his motivations to "fix fade -> be immortal/magic -> profit"...it just feels so shallow.

Solas: "Long before we met, I failed my oldest friend. She died for that failure. If I leave the Veil in place, I am destroying the world she wanted."

He spells his motivations out pretty clearly at the end and it's just...Mythal? He doesn't seem to care about the elves that are currently living in Thedas - not even Lavellan. Like you said, in Tresspasser I also got the impression that he wanted stop the slow genocide of his people. But apparently it was 'Mythal All Along'!

The lack of supporters/agents really gives him no credence to say that this is anything that the elves want - elven Rook can even call him out on it and he doesn't care. For a character whose own trauma began with bring coerced into a body he didn't want he doesn't give a shit about doing the same to thousands of other elves.

It's far less compelling, to me at least, than what I felt was set up in DAI: the Dread Wolf, god of rebellion, rallying elves after ages of systematic abuse and oppression with the goal of liberating his people and restoring the world that was - the world he inadvertantly denied them with the consequences of his actions. Instead it's just Solas doing his own thing because he's right and he needs to fix what he did wrong for Mythal.

It would have been great to be able to convince him to change his mind/ pursue another path as a result of the culmination of our actions throughout the series. It could be a nice nod to our past decisions and a nice conclusion to see the results of those choice in missives/codex entries. Same as the 'south can repel the blight' counter idea, have their be some kind of 'convince Solas to pursue another option' tally that demonstrates that this world is willing to change and he should be too.

[thebestusernamepossible]

I’m mostly staying off the Mouthwashing fandom bc I personally don’t want to put myself through whatever discourse is ever going on there. But know I love Anya and Mouthwashing is one of the best games I’ve played that had an SA survivor AND was respectful about it!! The abuse Anya suffered is never portrayed as a spectical for the audience to leer at. They use the art of implication VERY well, and in the end Anya gets to go out dignified. She’s not just Jimmy’s tradgic victim, she’s her own character who makes her own decisions. Jimmy doesn’t get to kill her, she expresses her own agency to do so. She’s also the one who kept the gun away from him for so long. Also she’s SO fucking strong, she’s so cool. Anya I love you.

Also the game’s overarching (but subtle) commentary on rape culture, enabling, and how capitalism almost makes a set dressing for it is peak.

[causenessus]

NESS NESS NESS NEW SUNA ART NEW SUNA ART IM SCREAMINGG

MAI THANK YOU SO MUCH FOR THIS I AM LITERALLY DEAD ON THE FLOOR JAW DROPPED SHAKING PLEASE HE LOOKS SO SO CUTE OMG HE'S ON HIS KNEES FOR ME JUST FOR ME THEY MADE THIS FOR ME LOOK AT THE LITTLE FISHIES LOOK AT HIS CLOTHES OMGENRJKJN I'M SO NOT NORMAL ABOUT THIS

[pushing500]

One last hug for good luck, and then...

(Patch was a refugee, I don't know who tf Stanley was. Also in memory of Vance, who isn't dead, but was cool while he lasted. Less in memory of Curly, that guy sucked.)

The end.

I hope you enjoyed this as much as I did. Thanks for sticking with the gang until the end! May Ecthuctu smile upon you ❤️

Not pictured here - Toddler Gangster and Baby Butternut

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The Animist Alliance

A Mechanitor's Message

[moeblob]

Look, I just think it's VERY funny and on brand that I thought of an entire premise of colorful characters for half the cast and immediately drew the only one void of color.