#this is just the basic information

[gravemations]

Basic plot of TART! (The Anomaly Research Team)

Tart is a team of privet paranormal investigator team of 3 latter 4? Young adults that travel around America in a van collecting pieces of an unknown artifact for their main investor/boss.

All thing change though when they are told to head to a small nowhere town in Oregon USA named Northwood know for paranormal sightings. Where on top of getting the latest pieces of the artifact are told to collect old VCR tapes from an abandon house for an incress in pay but was not necessary.

The group finding this weird decided to watch the tapes not knowing that they will gain information that will but them all in danger.

Main characters of TART/ important to the plot.

Evelyn Heikkila: The boss/ main investor to the group, An old widow with white hair tied up in a top bun with square glasses usailly wearing old timey victorain dresses and covered with pearls. Motives unknown is usually distant with others.

Ashly Bekker: She is not the strongest not afraid to get scrappy if needed,  She often seen in more baggy clothing that has been clearly been ripped and sown back together in places. often wearing a green baseball hat with her brown hair tided back with blue dye at the end that has faded to more green. Often impulsive and make poor decisions.

Nora Kim: The groups brain and main person the deal with topics of the acult, A short women with a black bob cut with bangs. often wears red white and black and dresses the most professionally. Makes it clear she is not here to make friends

Samuel Rivera:  The groups heart and charisma, Some how he always is to get something from people just by asking. A tall man with a way more laid back sense of style with bright colors usailly more towards yellow. Black chin length hair top usually in a man bun with the rest not tied up. Most unsure about the job and what they actually are doing but cant qite due to need the money.

[sunlit-mess]

bruh

[brucewaynehater101]

The batfamily, after finding out another really important secret, are under the impression that Tim doesn't trust them. Why else would he wait for the last possible minute to inform them of his personal information?

Bruce sets up more team bonding (family time) to try to mitigate this.

Dick drops by Tim's office more with lunch to hang out.

Jason uttered out a really awkward but heartfelt apology about some past wrongdoings.

Steph hauls Tim over her shoulder and then plops him down into outings such as the movies or zoo.

Damian told Tim that his photos are so bad he might as well just give Damian copies of them.

Duke, trying to get to know Tim better, challenges him to see who can solve puzzles faster. He also brings fun inventions to Tim's workshop for them to do together.

Barbara sets up monthly code nights with Tim. She also occasionally passes along fun missions he could do with his siblings.

While all of this is nice, Cass and Alfred know the truth. Tim just finds it funny to watch his family blink rapidly and then go through five stages of grief whenever they unlock more background lore.

[puppetmaster13u]

Prompt 271

“Grandmother is visiting,” Damian suddenly said with no warning and with his usual not-quite demanding tone. 

“Who?” Tim wasn’t the only one to startle, seeing as Bruce had practically froze, a downturn to his lips in a silent show of confusion. 

Damian scowled. “Are you deaf Drake? Grandmother is coming to Gotham to, quote, make sure I am being properly cared for.” None of them had known that Ras was with anyone actually. At least Tim was pretty sure that would have been in the files. 

“Oh?” Dick didn’t quite crouch to Damian’s height but it was a near thing. “She-” “He,” Damian corrected, interrupting him. They all exchanged a glance before Dick continued. 

“Is he coming to the Manor or…” 

Damian scoffed again, a tiny bit of a flush against his face. “No, Grandmother will most likely be staying with Akhi-”

Now wait one moment-

“YOU HAVE ANOTHER BROTHER?!” 

[redrobin-detective]

I can't stop thinking about how funny it is that Aang had all this secret lore on Zuko because of the Blue Spirit that he just, didn't share with the Gaang. That boy knew that Zuko was capable of fighting extremely well without bending, was excellent with swords and unnaturally good at infiltration and espionage. And then just never brought it up.

Katara's yelling at Zuko on how he thinks he'd be able to find and break into the Sun Warrior Temple while Aang is fidgeting in the background. Sokka starts giving Zuko a hard time about his swords, asking if a spoiled prince would know how to use them. Aang is vibrating unsure of how to explain that Sokka Might Die if he tried to swordfight Zuko unprepared but now its been too long and it'd be super awkward to bring up.

[lucabyte]

Taking pride in One's own appearance.

[valcaine]

I am a year older, now . 🎂

‼️‼️The Biggy Piggy ref upon ye‼️‼️

Some of my art will alternate on his design depending, but this is the basic one I will be using as of now !! gaze upon my works and despair

[leafwateraddict]

Couldn’t stop thinking about Dust being able to pass as Classic. So I had an idea where Dust replaces Classic in a timeline and steals(?) his partner.

He gets conflicted when he starts actually caring about you… But denial is an easy road to take when there’s seemingly no consequences to your actions.

The reveal i guess. Most normal reaction to learning your partners been replaced for god knows how long and you have no clue where he is.

Now that I think about it I might’ve gotten some inspiration from that one chapter of IJAG by @htsan (iykyk) only a lil bit tho

(Full rambling of the idea + extra sketch cuz i liked the expression) ���↓

I originally wanted y/n to notice the differences instantly but i think it would be angstier if they didn’t and only noticed like months later >:3

[clownsuu]

Frank just like me fr fr pt 2 electric boogaloo

I probably shouldn’t be celebrating absolutely torturing and inflicting psychological horror to my poor sweet worm man, but my golly advanced cuteness aggression is real-

also I really enjoy drawing disheveled frank, it’s gotta be one of my favorite genders out there fr fr

[tooies]

the fermi paradox is so funny to me because people make it out to be some kind of cosmically horrifying unexplainable mystery but it's literally so easily solved by the speed of light. like everything in the universe is very far apart and there is a hard limit on how fast something can travel. like we've been sending out signals into space looking for alien life for what, 50 years? because of the speed of light, that means that these signals have traveled for, at most, 50 light years (shocking). if i go on space engine to check roughly how many known star systems exist within a 50 ly radius around earth, we get a grand total of: 776. even if we add in procedurally generated ones to get an estimate that accounts for star systems we don't know about then our total goes up to 3,407. our current estimations for the number of stars in the milky way alone is around 100 BILLION. our messages have only reached like 0.000003% of the total number of stars in our galaxy alone. and even if there are any stars with life within that radius, who says they would be able to receive these messages? single-celled life first evolved ~4,000 million years ago while multicellular life only came to be around ~1,600 mya. primates only evolved within the last 100 million years. we've only been able to receive signals for a few centuries. and if these aliens did receive our signals and were able to send them back, it would still take a while for those signals to then get back to us. if they were 25 ly away (a radius that contains 122 known star systems, btw) then it would take 25 years for the signal to get there and then another 25 years for it to come back. and this isn't even getting into the fact that these signals would become less intense the further they go due to the way light works. either way it's just so fucking funny to me that people think that "powerful aliens KILLED them ALL and they're coming for US NEXT" is anywhere near the most plausible explanation

[nelkcats]

A Little bird told me

Danny knew his dimension didn't need him. It had been a long time since it stopped needing him, a long time since he had to be content to spend most of his days in the Infinite Realms. His sister and friends were too busy these days to pay attention to him; Danny understood, it's not like he could work or have a job, considering he'd stopped growing at 21 and people would start asking questions eventually.

Honestly, it was a relief that he'd even been able to grow up to that age, Clockwork's knowing look told him he had help with it.

So, he distracted himself by learning things from the other ghosts in the Realms, who were definitely as bored as he was. He even managed to get Vlad to teach him duplication, but it wasn't that interesting after a while. Though he had become interested in the different dimensions that Clockwork watched over.

The problem was that there was one dimension that had caught his attention (one full of heroes and magic) but they always made the worst decisions. There came a point where he decided to interfere, Clockwork seemed amused so he figured he wasn't going to stop him.

As he thought about how to infiltrate (definitely not as a hero, he loved his retirement, thank you very much), he remembered a rather...odd power he had recently discovered.

Danny had discovered that he could shapeshift. The problem was that he could only shapeshift into dead animals and well, while it was fun to scare others, he didn't know how well people would take a ghost crow with ectoplasm coming out of it's wounds.

Figuring it was better than nothing, he transformed into a bird and flew through the portal; he flew towards John Constantine, who seemed fed up with his life. Constantine knew the bird was fucking weird the moment it sit on his shoulders but he had better things to take care of, like the demon in front of him.

Said bird apparently knew the way to defeat the demon, because he started naming the ingredients needed to banish it. Constantine saw it with narrowed eyes and asked if he wanted his soul, the bird pecked him, looking annoyed.

From there, seeing that the dead bird was doing no harm, Constantine let it stay. It was oddly useful and he had sold his soul for less.

Danny spent his days whispering things to Constantine to defeat enemies and the hellbazer gave him cookies in return (the halfa really wanted to be offended), when the League saw Constantine with a dead crow on his shoulder they wondered if he had finally lost his mind.

John commented that his name was Ghosty (he was pecked again) and that he was useful, unfortunately for the superhero community, Constantine had never been that useful and therefore they couldn't complain (but why did he suddenly know all the existing gossip?, he kept bribing them with it! His crow looked amused too).

Every time Constantine won a battle without explanation, someone would make the mistake of asking how he did it. With a shit-eating grin, Constantine would point to his shoulder and say "a little bird told me."

Danny was so tempted to shape-shift just to bite his head off, but the cookies were good.

[flying-fangirls]

As a music, religion, and literature nerd, the Dies Irae has been one of my favorite go-to pieces of trivia for a long time, which means that this line:

Has been driving me batshit BONKERS since part 42! And also as a semi-professional media analysis yapper, I figured I might as well dive into the exact reasons I jumped up and audibly gasped upon first hearing this line and have subsequently lost my mind since then. So!

Here is why I think that the Dies Irae is the perfect analogy for John and Arthur:

Religion

Let's start with the most straightforward meaning: "Dies Irae" is a Latin term, and it translates to the "Day of Wrath." Or otherwise known as the Judgement Day, the foretold second coming in Catholic canon, when Christ will "come again in glory to judge the living and the dead." It's at this Last Judgement where God will wield perfect justice to send the worthy to everlasting peace and the unworthy to everlasting punishment. (everyone say "thank you" to excessive childhood Catholic lessons for burning this into my brain)

There's a kind of irony to the fact that Arthur so vehemently rejects Christianity and religion as a whole, and that John spends much of his arc trying to distance himself from the role/identity of a god, yet both are given this incredibly religious title, effectively restricting them from ever forgetting the presence/influence of religion in their lives.

This title has a couple layers though, because we have to consider why it's the Day of Wrath specifically that represents Arthur and John. Now, I don't think I have to tell you that those two are bursting with anger 80% of the time. But I am going to tell you that those two are not just angry, but moreso "divine fury" incarnate.

The Day of Wrath, the Final Judgment, is the final and eternal judgment of God on all: "For now before the Judge severe / all hidden things must plain appear; / no crime can pass unpunished here." (Dies Irae, Dies Illa). The final Judge, the all-powerful God, can see the objective morality of every single person, and is thus the sole, rightful determiner of fate.

This assumption of their right to perfectly and single-handedly decide others' worthiness shows up over and over, not just John and Arthur's actions, but also in how they describe these judgments.

When Arthur kills the widow on the island, it's not because she was dangerous, but because she was a cultist who "deserved" to be punished.

When John and Arthur need to get rid of Mr. Scratch's stone, John says they should give it to "criminals" who are "deserving of this curse." Even though, just moments before, Arthur refused to give the stone to Oscar because to do so would be to cursing him to a fate of eternal suffering.

And I can't go into every single detail about the entire Larson plotline because this post would double in size, but it obviously needs to be included here. Possibly the strongest tie between this arc and the idea of the Dies Irae is Arthur's conviction through it all. Arthur vows that he is going to kill Larson in divine retribution not because he wants to, but because he has to. He even goes so far as to admit that killing Larson will be a mistake, a cruel and overly-bloodthirsty action that goes against his compassion. But killing Larson isn't a choice to Arthur, it is the unavoidable punishment for Larson's sins and Arthur is simply the enactor of justice. Just like the Final Judgment, there is no sympathy, no hesitancy— the judgment is absolute, divinely ordained, and cannot be stopped no matter how undeniably horrific it is.

If we look at the Catholic Catechism, principle 2302 states that it is sinful to kill out of desire, but that it is "praiseworthy to impose restitution" and use violence to "maintain justic." So even if Arthur has intent to kill, his actions count as divinely sanctioned. He is acting as the hand of God's punishment.

Over the course of Season 3 and 4, Arthur's fiery rage dies down to a more gentle simmer, but his conviction only seems to grow, and John follows suit. Despite previously reprimanding Arthur for his unquestioning wrath, John eventually becomes just as convinced that Larson "deserves" to face a wrathful reckoning. The "fact" that Larson is wholly unforgivable and is fated to receive eternal punishment becomes more indisputable in their minds, and they both stop questioning the morality of their intentions, entirely convinced of their judgment.

Throughout the story, Arthur and John insist upon the importance of kindness, compassion, and forgiveness, and say that these are the values that guide their every action. Yet, time and time again, they approach certain people with nothing but wrath and resentment. It's a sharp contrast to the benevolent figures they make themselves out to be, and Arthur and John are often blind to the contradiction because, in their eyes, they are still following those values in every action. And in the moments when they do recognize their horrific words or actions, they still cannot let their judgment go, convinced that it is their "duty" either way.

In Part 35, Arthur says "Just because you can't make the hard decision, doesn't mean it's wrong." This is exactly how John and Arthur view themselves. They know that some of their actions are harsh and violent and painful, but they are don't view that violence as wrong, because they are enacting that violence in justice. They move through life with carefully-selected destruction, culling the world of those they view as unforgivable sinners, and punishing them with divine righteousness. Arthur and John carry righteous fury in their every step, bringing the Day of Wrath down upon the world around them.

Now, there's already a ton of meaning just in this religious allusion alone. However, there's another application of the Dies Irae in modern culture, which brings us to the second side of this title:

Music

Back in the 13th century (sounds like a familiar setting...), friar Thomas of Celano wrote a poem for and about the Dies Irae. The poem was recited at Requiem Mass (church services to honor the dead), and it ended up being set to a Gregorian chant tune.

Over time, this melody has been used by a variety of composers, but the one we're focused on is Hector Berlioz. In 1837, Berlioz used the Dies Irae melody as part of his narrative symphony, Grand Messe de morts, in order to communicate that the main character had died. Then a lot of other composers saw that and said "Hey that's a cool idea!", and started also using this melody to represent death in their music. Nowadays, it's a fairly staple part of modern film and musical storytelling. If you've listened to literally any major soundtrack, then there's a good chance you've heard this motif (or a variation of it) used before. It's often subtle, sometimes loud and obvious, but no matter what, it reveals the inevitable presence of death. (essentially, the Dies Irae=death)

Now, obviously there's something tragically ironic about Arthur being likened to a musical motif when he tries so hard to distance himself from it, and there's something tragically ironic about John being associated with such a dark piece of music when he shows so much fascination and joy toward the art. Again, though, we've got some layers here. Yorick doesn't just compare Arthur and John to the Dies Irae, he literally defines them as the Dies Irae, a full embodiment of it.

Even before the story started, Arthur lost both of his parents, his friend and wife, his daughter, and his best friend.

John, when he was part of the King in Yellow, knew only how to harm and attack. In the Dark World, he falls back on this fearful lashing out with violence, harming even more people.

And throughout the story, John and Arthur seem to bring devastation to everyone else around them: Lilly the buopoth, Oscar, Noel, Collins, Daniel, Larson and Yellow.

The arrival of Dies Irae musical motif in a film always indicates that death is approaching or that is has already struck— a host carrying its blight to spread onto others. Just like the musical motif, the arrival of Arthur and John foretells the near-arrival of death. They play a duet together— John and Arthur, and death— always singing and dancing around and with each other.

These two never succumb to death, always finding a way to slip through its fingers and survive every situation. But they cannot escape death's presence because they are death's partner— singing the melody to death's subtle harmony. They cannot escape death because they are its host— destined to carry and spread devastation to death's victims. From the moment you meet John and Arthur, you know that death is inevitably approaching just a step behind, waiting to strike you down.

Whether it's the religious or musical side, we can see that John and Arthur are the literal embodiment of these allusions. They carry these powers and ideas in their every action and word, in their every step, in their very breath and blood.

Arthur and John. The hands of God's justice. The enactors of divine fury.

Arthur and John. The hosts of blight and destruction. The partner of death's song.

The man himself. The voice inside his head.

The Day of Wrath. The Dies Irae.

[an-established-butt-dent]

Dragon age inquisition: Solas

I wonder how long it took the companions to notice Solas wields magic just a bit... differently?

Surely an apostate knows magic beyond the boundaries of a Circle? But even Dorian doesn't recognize some of his techniques, and the ones that he does are only described in ancient Tevene tomes.

Hmm... strange.

Acrylic ink, fineliner and gouache on paper.

[haveihitanerve]

Bruce: what does adopting children do for me? Bruce:... Bruce: *deep inhale* Bruce: what does AIR DO FOR MY LUNGS??!?!?!?!?

[thenonbinarydetective]

Things batfam stans need to leave behind in 2023:

Jason's Lazarus pit rage

Thinking Tim's parents were horribly abusive and hated him

Only caring about Stephanie in terms of her relationship to another person (ex: Tim's bestie/ex/gf or Cass' gf/bestie)

Treating Jason or Stephanie like they're stupid

Feral Demon Child Damian

Permanent sunshine boy Dick Grayson

Any "[blank] was the real violent Robin" discourse

Really just any reducing or sectioning of certain traits to certain batfam members and not allowing other characters to exhibit those same traits (ex: see sunshine Dick Grayson)

But also stealing traits from other characters and projecting them onto someone else (ex: Jason getting Dick's personality in fics. He is not the same type of big brother Dick is canonically)

Purposefully mischaracterizing characters for angst (ex: Dick sent Tim to Arkham, my beloathed. also again see Tim's parents)

Trying really hard to nuclearize the family. They are an unconventional family for many reasons, and that's why they're interesting.

"Alfred solos the batfam"

Making Duke "the normal one" and completely forgetting to give him an actual personality.

Cass using sign language because she can read body language (note: does not apply to YJ Cass who has damaged vocal chords)

Cass being used as a prop for her brothers

Tim being weak, woobified baby

Feel free to add on ~~

Don't send hate over these things because idgaf, they are harmful mischaracterizations, and many are built on total ignorance and often racism, classism, ableism, and sexism.

[iwritenarrativesandstuff]

Ok, I think I have a pretty good idea of why a lot of Akechi's dialogue is... like that.

So, even before his confidant truly started, I noticed that he has a real knack for directing the flow of a conversation. This is very fitting for someone who is both a detective and skilled at interviews - when there is a topic and a goal, Akechi is in his element.

All this to say, he's actually kind of controlling when it comes to conversational flow. He probes for information, or turns the conversation around to a particular topic, usually the Phantom Thieves. He manages to take a few of Joker's dialogue options and spin them so they sound mildly incriminating in the context he's placed them in - the only way to truly get around this is to pick answers that feign indifference, and even then, that's more than a bit telling. He's clearly very good at this kind of thing.

But then, we get conversations where either Joker does something he didn't expect, or else he doesn't have a particular goal in mind - and the conversation stutters. In the first instance, Joker does something (a particularly egregious example is putting his glasses on him and fluffing his hair in rank 3) which both leaves him wrong-footed and no longer in perfect control of the situation. He just kind of... freezes, for awhile. It's hilarious. He has no idea how to respond.

He picks up control again in the phone call afterwards, having chosen to play into it, turning this "fooling the crowds" into a kind of game or secret between them. Nice save.

But in instances where there isn't an obvious topic and the goal is somewhat nebulous, for instance, that one Leblanc scene, it becomes pretty apparent that Akechi doesn't have the right "script" to go off of. Again, it's particularly notable in that scene, because I'm fairly sure he didn't have any specific reason to be at Leblanc, other than him looking for a quiet spot now that public opinion has turned on him. And because there isn't anything specific he's digging for, he kind of just ends up throwing things at the wall to see what will stick. Probing for any kind of recognizable reaction that he can jump on and work with, and that just doesn't really happen in this scene.

He references Sae, a woman in a respectable position, to Sojiro, but instead of that netting a welcome, it earns his ire, given Sae's recent actions against him. He then tries to greet Joker, his... rival? friend? enemy? person who at least seems to somewhat enjoy spending time with him? But Joker's responses are somewhat short, and Akechi practically wilts. He tries to commiserate by oversharing. He tries to involve Futaba and reaches out for the only topic of interest he can think of around "young people". He compliments the coffee. He compliments Joker. He tries to invoke that connection between them. None of it is really sticking, nor does it serve as a jumping off point for him to steer the conversation, or even really start one.

So, he basically just ends up having a one-sided chat with himself and then leaves. Hilarious. Also a little sad, if I'm being honest. It's really giving "guy with no friends who only knows how to speak to adults" energy. If there's no specific purpose to the exchange, or he is not in control of its direction, he seems to be kind of out of his depth. He succeeds only in being a little awkward and confusing, more than anything.