#thus most just use 'it'

[post-it-notes7]

Does Galaxia care about MK despite just being a logical weapon? It seems that MK cares about it but what's their relationship like in your universe?

Galaxia's a bit of a complex one to describe, but long story short, it does care about Meta Knight and his well-being!

Its main intent is to give him guidance, and the best way it knows how to do that is through purely logical means. As its chosen wielder, Meta Knight gets a certain preference in its mind that others wouldn't. However, Galaxia is a smart sword, and can usually emulate and consider emotions to a certain logical degree beyond what should be possible (though this is far from foolproof, given its uproar over MK's attempts to befriend GK in H&S).

Their relationship is a bit odd. Galaxia wants what's best for MK, but it doesn't always understand what that would be the same way the knight does. It can cause disagreements between them, but regardless, MK does cherish Galaxia and heed its advice at times. It's his sword, he's been relying on it for years, and it was a friend of his that sacrificed their life so that he might have the chance to wield it. Galaxia chose him, and in the end, he chose it.

Galaxia can be harsh with its judgements, it's still a sentient magical artifact without the ability to really have its own emotional input, but it's known to try odd things for the sake of its wielder. Perhaps scolding him for drinking too much caffeine isn't really as important to his fate as it might claim, but it still does it. Maybe it's not capable of caring in the same way his friends would either, yet on occasion, it's still known to pull MK from bad dreams in the middle of the night.

[ethosiab]

some etho design headcanons brought to you by power-outage doodles and my messy handwriting

[the-judicial-assistants-notebook]

not enough discussion about the gavins' complicated relationship with feminine-coded/beauty products, i don't think.

[july-19th-club]

house md wildest show on earth. a main character outright assassinates a known dictator, a moment that would be the very beginning or the mid-series crisis in any other show - an act which creates a power vacuum in a foreign nation already filled with child soldiers and genocide, and it's literally only brought up again throughout the season because that guy's wife divorces him over it. and occasionally to explore his relationship with who he is as a person and a catholic after having deliberately taken a life for what he calculates as the greater good, but mostly it's about his divorce

[cienie-isengardu]

The 16 years old Zuko breaking in Fire Nation’s fortress to free captured Avatar, then into Northern Water Tribe’s stronghold (totally alone on unfamiliar, enemy territory and still somehow finding a way to their most sacred place where Aang currently was), then into well-guarded hideout of Dai Li , the elite secret police of Earth Kingdom (and freeing Appa in process) and then alongside Sokka into another heavy guarded Fire Nation’s place, aka The Boiling Rock prison (again, freeing prisoners) and soon after that with Katara into Fire Navy communication tower - all within like? A year at best? - will never stop amusing me.

[please-let-this-work-oh-my-god]

One thing I find very interesting, as a learner of German, is Isolde's usage of du when speaking to Kakania. In German, there are three main second person pronouns: du, ihr and Sie. The first two are mainly used in informal and casual settings or when talking to people you're close with (with du being singular and ihr being plural sorta similar to english's y'all) while Sie is used in more formal situations (or situations which require some form of formality) such as talking to strangers, customer service or when you're talking to a doctor/patient. Kakania abides by this and uses Sie when talking to Isolde (such as in her speech at the end of chapter 6) but interestingly, Isolde doesn't reciprocate this and instead uses du when conversing with Kakania in German.

This is super fascinating to me because it implies different levels of closeness within their relationship. Isolde's usage of du implies a level of closeness and intimacy to Kakania as Isolde herself saw Kakania as a close friend (most likely due to the fact that Kakania was once of the few people in Vienna who actually sympathized with her and saw her as a human being) but Kakania's siezen suggests a certain level of estrangement or distance between her and Isolde. Of course. this could just be her maintaining her professionalism as doctors normally use Sie when talking to patients but with how things turned out after chapters 6 and 7, I'd like to think this goes deeper than just formality standards.

[lord-squiggletits]

Saw someone say "Megatron and Optimus barely interact in IDW1" and that feels like a very has-only-read-MTMTE thing to say kskdodndd because like sure they didn't co-star in the same long running series for 50+ issues like other characters did (like MTMTE characters interacting with each other or exRID or WB/TAAO) but to say they BARELY interact??? They interact a lot both in superficial "blah we're fighting a war" ways and in super lore important moments/series and also in incredibly homosexual there-is-no-straight-explanation-for-this moments like

Off the top of my head these are some series/storylines/issues where they interact directly. Defining interaction as anything from "the whole story is about them" to "their interaction is a plot element but not necessarily the main focus" to "they interact but only for a few lines":

The Autocracy trilogy (Autocracy, Monstrosity, Primacy)

Stormbringer

All Hail Megatron

The Transformers ongoing 2009 (with emphasis on Chaos Theory and Police Action for the most gay moments)

That one issue where Megatron grabs OP's spark through his chest Mortal Kombat style

Dark Cybertron

MTMTE (past OP in Elegant Chaos, Functionist Universe OP, and current day OP during Dark Cybetron and Megatron's trial)

And then there's other times where IDW1 Megatron and Optimus aren't in front of each other interacting/speaking with each other but are still thinking of each other:

The prelude to Dying of the Light where OP hears the LL distress signal and is afraid (not explicitly for Megatron but like he put Megatron on that ship)

MTMTE, Megatron tells Ravage that something he said to Optimus was the turning point of how he viewed himself

MTMTE again, Megatron all but says aloud that he made Tarn into Tarn to spite Optimus

One of the GI Joe crossovers where Optimus symathizes with a Joe over what it feels like 'to believe in someone who everyone else sees as past redemption' while an image of Megatron is literally behind him in his thoughts

So like, IDW MegOP has plenty of canon interactions and even if not all of them are very long moments (i.e. are only a few lines alluding to each other) there's still plenty of interactions between them. Plus I would say that it's pretty powerful how even the small, blink-and-you-miss-it dialogue moments actually indicate that Megatron and Optimus view each other as focal points where different decisions/beliefs they had revolved in some way around the other person. I think it's cool and compelling that IDW Megatron and Optimus express so often (even if only in thought) that the other person shaped who they became, or THEY did something specifically in reaction/spite towards the other, or where something they did to the other troubles them and lingers in their minds.

[carlyraejepsans]

for real WHERE does the idea that [utdr humans] are nongendered so that "you can project on them" come from. their literal character arcs are about NOT being a blank slate to be filled in by the audience

i think i understand the assumption on some level for undertale, because there is a very intentional effort to make you identify with the "player character" in order to make your choices feel like your own (the beating heart of undertale's metanarrative lies in giving you an alternative path to violence against its enemies after all, and whether you're still willing to persue it for your own selfish reasons. YOUR agency is crucial).

of course, the cardinal plot twist of the main ending sweeps the rug from under your feet on that in every way, and frisk's individuality becomes, in turn, a tool to further UT's OTHER main theme: completionism as a form of diegetic violence within the story. replaying the game would steal frisk's life and happy ending from them for our own perverse sentimentality, emotionally forcing our hand away from the reset button.

i think their neutrality absolutely aids in that immersion. but also, there's this weird attitude by (mostly) cis fans where it being functional within the story makes it... somehow "editable" and "up to the player" as well? which is gross and shows their ass on how they approach gender neutrality in general lol.

but also like. there's plenty of neutral, non PCharacters in undertale and deltarune. even when undertale was just an earthbound fangame and the player immersion metanarrative was completely absent, toby still described frisk as a "young, androgynous person". sometimes characters are just neutral by design. it's not that hard to understand lol.

anyone who makes this argument for kris deltarune is braindead. nothing else to say about it.

[ethemreal]

"an untitled portrait by Van Dyck, 1621"

(watercolor on paper, 9"x12", 2024)

also on ao3: https://archiveofourown.org/works/57560983

inspired by this post/fic by @cuubism

https://cuubism.tumblr.com/post/699751218188353536/a-van-dyck-dream-drawled-dragging-a-light

https://archiveofourown.org/works/42802623

[botanicallyinclinednerd]

I'm very normal about whatever it is that the SG-1 team has going on

[tj-crochets]

Hey y'all, weird question time again! Is there anyway to word "I appreciate how unintimidating and unthreatening you are being" as a compliment that does not sound at all like an insult? One of my doctors is the absolute best at it, and I genuinely think it must be a skill he's deliberately cultivated, but I cannot figure out how to word it in a way that doesn't sound slightly insulting. Like, it's a good thing! A very good thing, especially in a doctor! But I cannot figure out how to word it in a way that conveys that

[e-adlirez]

The art style of Cloud Castle is absolute ass bro why are their eyes so big

Idk man it just looks.... off

I wish they brought back the og art style like Blue Scarab Hunt because that was gorgeous

Well if you’re referring to the book's artstyle as a whole, then calm down buddy the illustrations as a whole are pretty good all things considered (believe me some of the illustrations in the later books are waaaaayyyyy iffier)

But if you are referring to Danilo Barozzi’s illustrations in the book then uhhhhh… yeah I don’t blame you, I didn’t like the big anime irises either, she didn’t cook with this one,,,

The interesting thing is Barozzi also did pieces for Secret of the Snow and those looked fine (she did well enough that I have to squint to determine which ones were done by her). My guess is either she did a lot of the illustrations for the latter half of SotS and we just got used to it, or it’s because the artstyle of special editions 2 and 3 were more… experimental? Books 4 onwards developed a very specific… look for the artstyle that adhered very closely to the main book illustrations of Spanish Dance Mission onwards, thus the illustrators had to follow suit, resulting in whatever looks off to look especially off.

(Even with this set of pictures, I’m only about 70% sure these are Barozzi’s because of how alike yet different the styles are from each other in the book. The first one could be Barozzi’s, but it could also be Giuseppe Facciotto’s, since he also did illustrations for SotS and his stylization means he sometimes puts the eyes really close to each other in a way that’s weird but still makes sense somehow.) On the contrary, books 2 and 3 (and I would probably even include book 1 there) had a more experimental look to the illustrations, which seems to be based more on (and this is just a theory of mine) Giuseppe Facciotto’s iconic work for the covers of Mouseford Academy books 2-12, 14, 15 and 17 in the English books (he did waaayyy more covers for the Italian Mouseford books— he was basically the cover guy for the Mouseford books for a WHILE) as well as the books from Spanish Dance Mission to Lost Letters. If you’re wondering why those covers go as hard as they do, then now you know why.

(These aren’t all of Facciotto’s works for the covers we know in English but you can see that he popped off <3)

But yeah as you can see with special editions 2 and 3, the art direction seems to be heavily inspired by Facciotto’s artstyle.

However, when Barbara Pellizzari’s works became the aesthetic poster child of the books’ brand, that was reflected in the illustrations and how their aesthetic changed, as seen in the main books and how they look currently, special editions 4-9, and the Treasure Seekers trilogy.

This new profile thing of the girls? This was done by Pellizzari (coloring was done by Flavio Ferron), and thus it became the main reference for how the girls look in the book’s illustrations.

And it’s not just in the general direction to the artists for how to draw the Thea Sisters, but also in the direction given to the colorists. Alessandro Muscillo was the colorist for the special edition books since book 1 and the Treasure Seekers trilogy, and you can see that the direction for the style varied through books 1-3, like maybe direction was experimenting with the mood the illustrations were to convey, beginning with the cartoony and bright colors of book 1, easing into the more grounded and layered palettes of books 2 and 3

Then book 4 was when they transitioned to using digital art /j

I jest, but seriously book 4 was the debut of the coloring style we end up keeping for the rest of the special editions and for all of Treasure Seekers, which is very… bright :D

(I would show more picture examples but I manually took pictures of my physical copies for the Cloud Castle and SotS illustrations and gwuh I’m too lazy to grab my entire collection just to take pictures,,)

Bright as in like… the colors are very defined and saturated. I dunno how to describe it, but when you see it, you get what I mean. It’s very bright and pretty and colorful and it stands out. There are still variations that happen on occasion (Star Fairies in particular uses a good dose of airbrush for the lighting and shadow effects, and Crystal Fairies looks like someone had a bit of fun using sparkle brushes), but other than that, it’s very bright. I don’t hate it, but I do acknowledge that yeah, if I was introduced to the series when it had fully transitioned to the new style, I never would’ve gotten into the series in the first place, because the older books had something that didn’t make it feel specifically catered to girls. The colors were bright, but not too bright. Colorful, but unified. They weren’t that complicated, and they didn’t have to be because the colorists (plural, there were at least 3 per book once upon a time) were popping the hell off with the colors they were given. But y’know, the newer books’ consistent style did give me a good spot to practice drawing mouse furries so I’m not complaining too much about the newer style, haha.

(Tiny baby E’s (it’s literally from 2020 what’re you on about mate) her first mouse Violet drawing using Barbara Pellizzari’s artstyle in Treasure Seekers 1 as an anatomy guide!!)

With that said tho, yeah I miss the old books -m- dunno if it’d fit the aesthetic of the special editions but m a n we could’ve had it and it probably would’ve looked cool

Also the illustrations go way harder in the older books, like Prince's Emerald? I've talked about Prince's Emerald and how it goes hard before, and I still stand by it and say that it does in fact still go hard

Maybe it won't fit the uh splash of color they gave the hardcovers, but imagine they grabbed Giulia Basile's coloring work for the graphic novels and used that as sort've a basis for the coloring style of the hardcovers. Not exactly the same-- would probably still add a touch of whimsical watercolor and/or paint to the very cel-shaded style, but we could've had something pretty dope -m-

Anyway that's my ramble simultaneously defending the hardcovers' artstyle and reminiscing on what could've been haha

[t8oo]

there is some symbolism iv never considered in that one episod of pt5 where zenigata rescues fujiko before she kills lupin

[bunnihearted]

regardless of the "learn how to be alone" dravel, being lonely actually is really bad for your mental health and can be very painful :p

[ganondoodle]

made it to lvl 100 of the skull caverns for the first time ever in stardew (i made it once before i think but collapsed in that very room bc of the time limit back in the day lol)

severly disappointed with the reward, Qi congratulated me for doing it without crafting staircases likE REaL mEn talking about my farmer and him like they are both so above and beyond 'normal' people-

....................i did craft staircases....................

[i-will-physically-fight-you]

6. “Not to be dramatic, but I’m back from the dead. Hope y’all missed me.” With Virgil and Remus?

Title: On a Stormy Sea of Emotion

Word-Count: 1.7k

Summary:

"Not to be dramatic, but I'm back from the dead. Surprise!" Remus shoots a pair of finger guns, droplets of blood spraying out from his finger tips, "Hope y'all missed me."

The cloaked figure, the target of his finger guns, does not move. Their facemask, elegantly carved to mimic a raven, stares Remus down apathetically.

Remus laughs, clasping his hands behind his neck as he leans against a building that makes up the alleyway of their standoff, "C'mon, old man. I clawed myself out of the grave and this is how you treat your 'beloved son, departed from the earth too soon?'"

OR: a Superhero AU featuring Jason Todd coded-Remus.

Pairing: parental dukexity

Warnings: Superhero AU, Death mentions, blood mention, vomit mention, implied self harm, pstd flashback, morally grey characters, angst with ambiguous ending

Thank you for the prompt! This infected my brain all last night and today, hope you enjoy <3

-

Killing isn't that hard of an action, really. There is a million ways to kill someone. Guns, knives, poison or the way Remus liked it--using your bare hands. It wasn't always the most effective, but when your target knocks your knife out of your hands--well, then you gotta go for the jugular.

Remus hums as he picks up his knife, examining it. The blood dripping from its blade landed on his gloves, coating it with a metallic stench. One time as a kid, he received a paper cut and out of curiosity, he stuck his finger inside his mouth to taste his own blood.

It just had a copper tangy taste, not very appetizing. But well, he's never tried someone else's blood, what if it had a different taste? Would a greedy drug lord's blood taste too greasy? Tainted by their lack of remorse and regard for the suffering and lives destroyed in their avaricious pursuit of wealth?

He is almost halfway to enacting on such an impulse, when something shifts behind him. He turns around swiftly, his knife meeting nothing but air. But there is something there, or rather someone.

Remus cackles, his eyes darting around his surroundings. There, in the shadows of the nearby dumpster. He lowers his knife, putting it away for now.

His heart clangs loudly against his ribcage as his ears began to clamor with a loud ringing noise. This moment has always been inevitable since the second he decided to remain in this hellish city.

Remus is many things, but he is not a fool nor is he a coward. He is exhilarated this moment has come at last. Not terrified.

"Hello daddy dearest," He calls out, "it's been a while."

His words are enough to draw out the cloaked figure from out of the shadows.

"Not to be dramatic, but I'm back from the dead. Surprise!" Remus shoots a pair of finger guns, droplets of blood spraying out from his finger tips, "Hope y'all missed me."

The cloaked figure, the target of his finger guns, does not move. Their facemask, elegantly carved to mimic a raven, stares Remus down apathetically.

Remus laughs, clasping his hands behind his neck as he leans against a building that makes up the alleyway of their standoff, "C'mon, old man. I clawed myself out of the grave and this is how you treat your 'beloved son, departed from the earth too soon?'"

He already knows the truth; maybe there was a time this man had regarded him as a beloved son. Back when Remus had been a quiet, subdued child, perfectly manageable and obedient. But that time had long passed.

"I know I probably should've stayed dead but you know me! I'm not great at following rules."

Virgil Storm, or in this case, "The Raven" still doesn't do anything. It is a little unnerving, actually. Remus had expected there to be harsh words thrown his way, or perhaps even be pinned into a chokehold by this point in the interaction.

The Raven doesn't kill. During his first bout at the whole being alive thing, that been a contentious point between the two. Yet, would an abomination like Remus count as a living being?

"And," Remus says abruptly, shifting his weight against the wall, "you can't kill me. You can try, but like. It won't work. I jumped off like a twenty story building--went splat! Like a bug, it was really messy, but I didn't die. Um, you can take a DNA sample to prove it's me--"

"Remus?" The Raven speaks at last, his voice garbled and gravelly from the voice modifier of the mask.

"Yeah, it's me. I mean, we both know Prince Boring doesn't have the guts to pull off a prank like this," Remus smirks, "I'm sure he's happy that I haven't been around to play screamo when I have the aux or fill his backpack with severed Barbie doll heads."

The Raven's cloaked figure starts staggering towards him. Remus moves to stand upright once more, his body tensing. He can take the punch, it'll hurt but it won't leave any bruises. Remus has done enough experimenting to know he can't be physically harmed anymore. At least not permanently in any way that matters.

But rather a punch thrown his way, the Raven's arms seize hold of him. Not around his neck, but around his body, as the Raven leans around him, his cloak wrapping around Remus like a blanket. He is...hugging Remus? What the fuck?

A cold pricking sensation hits Remus, spreading out through every inch of his body. But he does not move to resist the Raven's embrace.

"I'm sorry," His adoptive father murmurs, "I made so many mistakes, I was afraid but I shouldn't have allowed my fear to control me in the way that I did--"

"Aren't you paranoid?" Remus whispers, "What if I'm not actually Remus? What if I'm just a shapeshifter pretending to be him? Or--or something else?"

"But I know you're you. Do you really think I wouldn't have investigated the assumed grave robbery of my son's corpse?" The Raven counters, "I already have a DNA sample I collected from your confrontation with the Dragon Witch analyzed."

Of course, of course Virgil already had a DNA sample. To any sane person, this might've been a horrifying realization. But for Remus, who spent ten years under the man's roof, this was perfectly normal behavior of a man obsessive enough to run around as a nonpowered cloaked vigilante.

"Remus, you have every reason to hate me or even Roman," The voice modifier pitched upwards in an odd high tone, "but would you'd be willing to come home for at least Janus's sake?"

Remus forgets how to breathe for a moment. There are many reasons why he hasn't sought out his family. He isn't sure if he is willing to accept Virgil's apology, much less risk seeing Roman's face again. But Janus is different. He has always understood Remus in the ways the others never did.

Despite Janus being Virgil's "man in the chair" as it were, he has never operated with the same morals. Remus will never forget the time some henchmen broke into their secret hideout while Virgil and Roman had been away on a mission. Janus had not hesitated to put lead directly into their foreheads.

"I'm afraid I don't indulge in the same mercy as your father," Janus had said, tidying up the mess they'd left behind, "It is my duty to preserve the safety of those I've been sworn to protect, even if comes at the lives of others."

The Raven is a vigilante that is shrouded in mystery. There are rumors that circulate the streets that the Raven is inhuman, a being that moves swiftly and strikes without warning. Some even dare to whisper about the unfortunate ends that some of the Raven's victims have met. What they don't know is that last bit is all of Janus's doing.

It's why Remus has never understood Virgil's hypocrisy. He'll turn a blind eye to Janus's actions but Remus, roughing up a thug a little too harshly? Oh no, no, no, that was the most heinous thing Remus could ever do.

(He wonders what his adoptive father thinks of his actions not only tonight, but the past few months. Isn't this everything his father feared and more? Putting aside the whole "not being dead" thing, isn't this enough to make him irredeemable in the Raven's eyes?)

"Janus?" Remus hesitates, "would he be willing to make his tea?"

"For you, I am sure he is willing to prepare a full spread of pastries along with a pot of tea. He has...missed you a lot, Remus."

Remus's stomach rumbles. He hasn't eaten in weeks--not since he realized his body technically doesn't need food to survive. But he does need Janus's pastries. Those pastries are never a want, but a necessity.

"Okay, I'll go." Remus says, craning his neck to meet the Raven's gaze, "but only because I'm hungry."

Somehow, this causes a snort from his adoptive father. The closest thing resembling a laugh that the Raven will ever do. When he is not the Raven, and is simply Virgil--sometimes the man will actually laugh. Even so, that snort is the closest thing to a laugh that Remus has heard from the man in close to a year before his death.

Remus's legs buckle beneath him, almost bringing the Raven down with him. But it's not from the shock of the old man laughing. No, it's more likely his body protesting his week long streak of not sleeping.

It seems even though he doesn't require as much sleep as before, he still requires a certain amount of it. Or at least, that is what makes the most sense in his hazy racing thoughts.

"I've got you," Virgil whispers, his words unfettered by the voice modifier, "you're safe now."

Arms gather underneath him, as a long Kevlar cloak is draped around his wiry figure. An unwanted memory drifts to the surface; a time where his kid self demanded to be carried home and the Raven obliged without complaint. Roman had trailed after them, begging to be carried as well.

Janus had taken one look at their return (Roman clinging to Virgil's back like a baby koala while Remus was cradled in his arms) and simply raised an eyebrow. But it was clear through his stifled breathing that he found the entire thing comical.

Remus doesn't want to fall unconscious. He'll deny it, protest it with a wide grin and a cackle, that death doesn't scare him. But he is terrified of pitch black darkness.

He fears a confined undetermined space that is meant to seal him away deep in the ground. He fears wood splinters underneath his fingernails as he chokes on dirt as he continues to dig upwards, driven by an urge to survive--to break out of the ground to blessed, fresh air. He fears staring at a gravestone and just laughing until he started vomiting clods of dirt.

What if Virgil is lying about Janus? What if he decides to bury Remus again, this time in a coffin made out of titanium or reinforced concrete--dooming him to a living death?

"No," He mumbles, attempting to grasp tightly to Virgil's cloak, "I don't--"

But his eyes flutter shut against his volition, and he can only hope that they truly did miss him enough; that the words carved on his gravestone were genuine and sincere.

Remus Seagrove

20XX-20XXX

Beloved Son, Brother, Friend

Dearly Missed and Departed from the Earth too Soon