#you were upset enough.

[numberone-wifeguy]

04/28/24

[citrusai]

taash said "they were doing it" and people ran with the interpretation of an npc that doesn't know solas or the history of the elvhenan even when bellara interjected and said, no, that's not right. that's not how it was for the elvhenan. they formed bonds before they had physical bodies. and people ran to doompost or create weird anti-solavellan shit even though mythal & solas refer to each other as old friends and when she releases him there is no tenderness or love in it. it is the act of unchaining a dog from his post, the stepping down of a general. but to each their own ig.

[putterphubase]

I don't want to care. Did I ask you to?

LET FREE THE CURSE OF TAEKWONDO | EP. 2

[fortjester]

you know what i DO want to talk about? that scene on top of the truck where nona’s arguing w varun, and varun asks “do you love?” and nona says, “yes - no yes. i don’t know what it means. i say it, but i dont know what it means. did i ever know what it meant?” which is truly heartbreaking to hear from a character who’s spent the entire book up until now loving most everything she lays her eyes on with nearly reckless abandon.

and fifty pages later - after paul’s birth (pyrrha saying, “it’s not love, what you’re about to do. it’s a mistake.” being almost immediately replied to with, “the perfect friendship, the perfect love.”/”life is too short, and love is too long.”), and kiriona’s interrogation (”okay. different question -- do you love her?”), a near constant barrage of “what does love really mean?” and “what is love?” and “what would love make you do?” “what lengths would you go to for love?” when she’s already struggling with the idea of knowing if she’s felt love at all - she very nearly gives in to that despair, the lack of certainty that she knows what her feelings mean and that she’s allowed to feel them. she’s mourning, and she’s not able to reach pyrrha through her grief, and everyone else she’s with is more broken than she’s ever seen them before. but then paul reminds her of noodle. and nona, in a moment of lurching panic, decides to live, if only just to save noodle.

to me, that’s a devastating moment of raw, human love. it’s like that moment in alien (1979) where ripley’s about to abandon ship, and then goes back when she realises jones (the ship cat) is still on board. nona was ready to let them all die, hopless and lost and sad, every one of them-- but noodle, a sweet yet unimportant pet, is what brings her back.

and i think that’s what make’s paul’s statement of, “it’s done, it’s finished. you can’t take loved away.” hit as hard as it does. she’s just had this crisis of faith in her own personal belief system of loving-things-for-the-sake-of-loving-them, only to have it reaffirmed, and is now facing the abyss of personhood, facing returning to a self who was hurt and was deeply angry, going so far as to say, “i’ll be different...and palamedes -- i won’t love him...i won’t love anything, i won’t know how.”

paul says, “don’t worry,” (even though she just explained why she was worried), “we loved you too,” because maybe nona’s right and she won’t know how to love anymore, but she needs to know that she did. she did love, and she was loved, and there was never a doubt in anyone elses mind that she loved them fully and completely and genuinely. maybe she thought she was faking it, maybe she thought she was just making it up, but it was real, and now it’s done, and no one can take it away. no one.

[thunderboltfire]

I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.

It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages" And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series. Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.

The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.

What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.

But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.

There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel. it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.

On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.

But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.

My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.

The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.

I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.

And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it! The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.

It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important. And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.

And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?

There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.

[arrowheadedbitch]

Thinking about the episode where Nessie Jr hatches and how Colonel Baird assumes that Ezekiel is goofing off so she gives him a job to do and he keeps trying to get that job out of the way as fast as he can so he can go back to the very important job he was doing.

There's so much to be said about that part of the episode!

The way colonel baird assumes he's goofing off, the way he doesn't even try to defend himself until after he's already finished the thing she was stopping him from doing, the way he only explains why he was on his phone after she's already scolded him multiple times, the way he HACKED a GOVERNMENT SATALITE from his CELL PHONE, the way he genuinely cares about the egg despite it being dumped on him because of the assumption that he isn't working on something worthwhile, the way he's genuinely upset that he almost killed the egg by accident, the way he doesn't realise a bunsen burner will kill the baby but knows how to HACK a SATALITE from his CELL PHONE, the way he doesn't really care that Baird kept him away from his important work because of an assumption, the way he never tries to curb her assumption, the way he's only annoyed and really only mildly scolds her for making him take longer to figure out the other's were in big trouble, the way that this episode deeply effects how Baird sees Ezekiel, there's just so much to be said

[almightyramtha]

It's so fucking funny to me that Gale comes off like the Horny Wizard™️ but the moment you act like a goblin at all with any of the sextracurricular opportunities he's like "I don't like this :("

His reality seems more: "Horny for sex? I'm horny for love! Horny for companionship! Horny to cook for you a sumptuous meal, sit beside the hearth, and share with you my deepest feelings of admiration and passion! Horny for the comingling of two souls intertwined like lace upon the planes beyond mortal understanding! Yes, sometimes I'm also I'm horny for sex! But that is merely one single facet of my depth of character!"

[codacheetah]

The start of the Loop segment of the Siffrin & friends twitter QNA, and the message that flipped Loop's answers from silly to dodgy and blatantly upset.

Loopchat from speaking to Loop 20+ times.

Certified Loop dysphoria post

[vigilskept]

gnashing my teeth thinking about how veilguard talks about the gods only as a joke when they could've gone somewhere truly crazy.... you're so right.

Yeah... you get it. It's just such a missed opportunity!

I don't even mind the jokey tone they use a lot of the time, because we all joke about things we struggle to understand/cope with.

Except Veilguard refuses to let you even try to broach the subject beyond that surface level. In fact, when it does let you engage with it at all, it manages to make things even less nuanced!

I'm just going to talk about Bellara's quest here since it's the most directly linked with the elven gods, and it's already a lot. Fundamentally, her companion quest is asking us two things:

Should elves be blamed for the actions of the Evanuris?

Should they preserve any of their past at all?

The first one is absurd to even begin with. It's not even a good or interesting take on the (very christian!) question: "Are we responsible for the sins of our ancestors?"

The Evanuris are not the ancestors of modern elves. Dalish religion implies that modern elves descend from those who the rebels never freed from slavery to the Evanuris.

This setup is already awful without looking at any of the parallels Bioware has (intentionally) drawn between the elves of Thedas and Jewish/Indigenous people. I have to put the rest of this under the cut because I genuinely don't think it can be shortened without making it sound flippant. In the context of the coding of the elves, the theological/social implications of all of this are so much worse.

TLDR: the indigenous/jewish coding of the elves makes bioware's treatment of elven religion in veilguard thoughtless at best, cruel at worst. they did not have to write themselves into this corner. there was a way of handling this lore reveal without the implication of elven religion (again, jewish/indigenous coded) being obsolete

So, the religion of the Dalish was part of their enslavement. It's the belief they were forced into by the cruel gods they are still devoted to. That's already pretty bad. How could it get worse, you might wonder?

Whether Bioware deviated from their initial inspirations for the elves or not, the implications for these lore reveals in light of those parallels are particularly cruel. Those two core questions in Bellara's quest? Yeah. Those have both been levied against the oppressed groups that Bioware chose to draw inspiration from. Both historically and presently. To justify atrocities against them.

And to be clear, Bioware does not deviate from or subvert the usual indigeous and jewish-coding of the elves in their writing here. If anything, they end up actively endorsing a very significant element of antisemitic and anti-indigenous sentiment.

Indigenous-Coding

Advocates of colonisation have always justified it by arguing they were 'saving' groups of people who were stuck in the past. They had been ‘left in the dark’ through ignorance of Christianity. In the more secular sense, this was framed as Europeans having journeyed through history to reach enlightenment, while the rest of the world was still in an ‘uncivilized’ state.

Christianity and progress had to be brought to these people to save their souls and bring them into the future with everyone else. Their Gods? There were only two possible ways to frame those. Either they were not real at all, or they were evil. Either way, they were obsolete.

In the Americas, these arguments were still used when corralling indigenous children into residential schools or tearing them from communities through the adoption system. Governments pushed the idea that they had to be forced to assimilate because they were 'backward' in their practices and beliefs.

In the settler-colonial state Canada, where Bioware is based, it's still common enough to hear people justify all of this as having been done "for their own good." Even those who admit that the ways colonization was perpetuated were cruel will still try to defend it by telling you, "it was bad, but their ancestors weren't saints either."

Sounding painfully familiar yet? A little uncomfortable in the context of Bellara's questline?

Jewish-Coding

Since the dawn of Christian Church, Jewish people have had a very fraught place in Christian theology. Christianity claims that that the coming of the messiah in the person of Jesus Christ makes the religion of Judaism obsolete. Christians believed the obvious answer to this problem was that Jewish people should convert.

When many did not, they were labeled as ignorant, obstinate, stuck in the past. They were so focused on their history that they couldn't see the truth which had been revealed in the present. There’s a significant legacy of this idea in Christian artwork with depictions of Synagoga blindfolded next to the clear eyed Ecclesia. You still hear echoes of this sentiment in antisemitic language today.

As for the nature of the Jewish God... there is some deviation here. For some Christians, He is God the Father, and He is good. For others — and this idea has been around from early Christianity till now — He is the Creator of the material world, but He is evil.

There are innumerable variations of Christian gnosticism that probably wouldn't be productive to get into on a Dragon Age Blog. What I need to underline here though, is that the idea of the Old Testament God as the devil/the demiurge/fundamentally evil, has been used to justify atrocity towards Jewish people for over a thousand years.

Should elves be blamed then? For the sundering of the Titans? For the Veil? For the Blight? For the evils of this world, created by their Gods?

Implications for Veilguard

Not only is religion in Dragon Age: The Veilguard often devoid of nuance or ignored outright, when the game does engage with it at all, it does so in a way that quite literally draws on these incredibly harmful antisemitic and anti-indigenous sentiments that have been (and still are) used to perpetuate real harm.

To be clear, I don't think the writing here intends to endorse the idea that elves should be blamed for any of what's going on. Bellara's anxieties are being projected onto her people as a whole while she grapples with what this all means for her, I get that. In fact, you could be generous and read some of this as a critique of this particular kind of anti-indigenous/jewish bigotry.

However, I don't think that absolves the writers of any of the implications they've created by confirming that the elven pantheon did exist and was canonically evil.

Elements of Dalish/elven culture might be preserved after all this, but the conclusion the game railroads you into is that their religion is obsolete. Just like Judaism. Just like the many Indigenous religions around the world. Except in Dragon Age: The Veilguard, it’s no longer just the bigotry of outsiders claiming that to be the case. It’s now the objective truth of the setting.

Going forward, the elves of Thedas can keep their culture, but they can’t practice their religion. If they continued to practice, they would be framed the way the Venatori are: evil and stuck in the past. This really can’t be overstated: this is the exact rhetoric that has justified centuries of violence and oppression of Jewish and Indigenous people. This rhetoric is still around and still weaponized.

It’s so cruel to create an in world ‘lineage’ that draws so heavily from their cultures and histories, then validate the rhetoric that has been used to hurt them. At best, it’s thoughtless. But as a company based in a settler-colonial state, this is something they should’ve put thought into, given that they chose to code their elves and Jewish and Indigenous. That was their responsibility, actually.

What gets me about all this is that they actually didn't need to force that conclusion at all. They could have kept the Evanuris as cruel tyrants without demonising the Creators and their worship at the same time.

The Evanuris weren't always Gods. They weren't even always rulers.

In Trespasser, when asked how they became Gods, Solas tells Lavellan that they did so slowly. That it started with a war. That fear bred a desire for simplicity. For right and wrong. For chains of command. That generals became respected elders, then kings, and finally gods.

Veilguard confirms all of this. The addition it makes is that before all this, the first elves were spirits who made their bodies out of the Titans. This all occurred over the course of thousands of years.

None of this needs to be retconned in order to allow for a respectful yet nuanced portrayal of religion!

TLDR pt2: bioware, u could’ve avoided literally ALL of this by making the evanuris part of a priestly class who seized power after the war with the titans. it wouldn’t even have undermined ur lore! u could’ve kept dalish religion alive! u could’ve implied complex political dynamics for your ancient elves without even having to write it! why didn’t you even try?

Trying to Fix This Mess

Say the elves took their bodies from the Titans and settled the lands of Thedas. Say the Titans even allowed this for a time. The dwarves were made from their own bodies after all.

Yet the elves didn't have the same connection with the Titans as the dwarves did. They had no stone-sense, so they couldn't understand the Titans' song.

Generations down the line, some of them took too much from the Titans. More than they were willing to give. That was when the Titans lashed out, making the earth tremble so that all the elves had built crumbled beneath them.

And what if the firstborn among the elves had taken up priesthood to guide the younger ones. They were closer to spirits than the elves that were born into this world, and so the younger ones looked to them for guidance. Maybe they were the ones who were trusted to reach out to the more powerful of the spirits who chosen stay in the Fade, their old kin who preferred to keep their distance from the physical world to preserve the essence of what they were. The spirits of Justice, of Benevolence, of Craft. Those who the elven people paid homage to, and trusted to preserve them in turn.

So when everything seemed to fall apart, the elves turned to their Keepers, their priests, and asked of them what they ought to do. How could they make the earth stop shaking? What would they have to do to be at peace again?

Whatever the spirits themselves may have responded, many of the Keepers (among them the Evanuris) took up arms and chose war. They saw it could be won so they fought, sundering Titans from their dreams and stilling the land.

And yet there was no peace.

Some Keepers sought to hold on to their power as generals, and wanted to wage war on new shores to keep it. Some Keepers thought they had already gone too far, claiming they had acted without the guidance of the spirits who hadn't wanted war.

These Keepers could've caused chaos and endless bloodshed, so the Evanuris formed their alliance to suppress the others. Likely, they thought they were doing so for the benefit of all the elven people. More war meant more death, and it was needless now that the land was still. And even if what they did to the Titans was wrong, it was done and they could not fix it. Better to silence those who meant to stir up fear among the people.

The Evanuris fought until they were the last faction left, naming the few holdouts the Forgotten Ones. They were praised for bringing peace to Elvhenan, and trusting in their guidance their people crowned them as rulers.

Yet some dissent always remained. None of them were infallible. They were no longer spirits, they hadn't been for thousands of years. They were now more accustomed to command than to priesthood after all that war. They had drawn on the power they had stolen from the Titans to gain the advantage over their enemies, and the corruption of the Blight was starting creep in, ever-so-slowly.

Maybe some of the people, unhappy with their rule, started to voice the thought that was expressed by their rival Keepers once more: that the Evanuris had grown distant from the spirits. That Elgar'nan didn't serve Justice anymore. That Mythal had strayed from Benevolence.

So Evanuris took the mantle of godhood for themselves. It was only for peace and stability.

It would be too dangerous if anyone could claim they were deviating from the will of the spirits, so they would claim they were those great spirits. Elgar'nan was Justice, Mythal was Benevolence. They would use their rule only for the benefit of the people, not abuse their power.

And there you go. None of what I've written above can't be neatly incorporated into the existing lore of Veilguard. It leaves the elves of Thedas precisely where they started in Dragon Age: Origins. Distant from their ancient Gods, trying to pick up the pieces of their forgotten past.

[sage-is-in-fact-very-tired]

the fun part about being the icarus poster is that so often any ic thought I have is somehow based in canon or could relate back to and make sense in canon. and today's specific thought is Icarus and hoarding behaviors - not like severe ones but ones that are noticeable. and don't ask me where this thought came from but it happened.

cause okay on one hand you have bird. like icarus is a bird-ish, and they are known in canon to have bird adjacent behaviors. Stereotypical, birds are / can be known to hoard things like food and stuff of that sort.

on the other hand, which would hypothetically contribute significantly more to this, is how Icarus grew up + how their life has gone. They started out as a prince. Typically, princes have access to a whole lot of things, anything they could want, even. Especially considering who Icarus' father is. After that, they were living with their mom and brother, where they had *significantly* less access to those things that they may have wanted. Then there's the years they were alone with just Rae and . they probably didn't do great during that. You have when Fable came by, which probably gave them more access to things but not as much as before, and then you have the teenage on the run period. And then the resets and . Then Quixis. Like slowly over the course of Icarus' life things were just incrementally taken away from them. Please look at that and tell me it doesn't make sense for them to start taking everything that they can get and find valuable and not being willing to part with it . like. In my mind this makes sense because they were on the run so long they just- started stockpiling, but at some point its not *just* stockpiling anymore . or something. like okay you go from having everything (for a few years) to something (for most of your mortal life) to nothing (for *multiple* millenia) and then back to something again and tell me you wouldn't start trying to hold only everything you get and hoarding it because you had nothing for *so long* like. I feel like this before quixis this was pretty down low and kinda tame but after quixis it got- not bad bad, but you can definitely tell they're doing it more than they did before - I'd that makes any sense? like I know what I mean .

anyway . I love thinking thoughts and being like "oh that came out of left field" and then cooking and going . "wait." /silly

[spotaus]

Hi guys, this is usually what a doodle page ends up looking like <3 (oh, and @ancha-aus thought you might like this! Not writing but certainly fuel to my fire lol-)

This one is New Age filled!!! (Close-ups abd Lore beneath the cut!)

1) Night and Cross!

Night is actually very clingy once he's a teen. He doesn't usually realize it, but around the castle he'll snake to be closer to his Knights so long as there's no one he needs to keep his composure infront of is nearby. Cross is the one who's not used to physical touch (when it's not Ink ofc) so Night in his personal bubble makes his heart melt but also scares tf out of him <3

2) Error and Night's Meeting!

Error was carrying his whole life on his back and trying not to get arrested for unintentional property damage at this point, so when he saw the chance to get back at his brother and prove he was strong enough? Yeah, he got that on chance instantly. And was VERY smug when Nightmare chose him. (Also, Error is wearing gloves, so less Haphephobia)

3) Dream and Blue designs!

I think these are good tentative designs! Dream probably has a more regal fit, but he likes to play up that rugged exile look- He's inspired by Archers, while Blue takes on that classic Knightly-vibe. Their equipment is mostly stolen from Night's troops or brought with them from Blue's home kingdom.

Also, Dream is approx Killer's height at this point, shorter than Cross and *much* shorter than Apple!Nightmare. (Hc that Skeletons tend to be tinier in stature thanks to weird monster beauty standards. Horror and Geno's fam are outliers.)

4) Horror and Dust designs!

Horror is naturally a very *large* monster. He's very malnourished when Nightmare meets him, but by the time he's a Knight Nightmare has made sure that's no longer the case. He actually loves comfy, simple clothes, but to play up the whole 'strong mysterious' bit he wears a more barbaric Knight's garb. He doesn't mind acting scary, it's more fun that way :]. Dust is very very small, and envies horror sometimes for his size, but his tiny stature let's him control his body and move a lot quicker. He's very much based on a rogue, and usually covers the lower part of his face w/ a black cloth, and the upper part w/ his hood or mask. Dust only removes both to bathe, eat, or relax in a safe location. (Ignore that I can't draw the stupid gaster blaster lmao-)

These last two were space-fillers, but Cross and his Borzoi (Windmill, otherwise known as Milly (Killer named her-)) and really bad first wips of Ccino! I think Ccino was a chubby, happy toddler, but lost a lot of 'weight' (bone mass? Magic?) due to stress and pressure and bad eating habits. So it isn't until a while after the Coronation that he starts to relax abd feel safe enough to eat normal meals (Nightmare used to guilt him into eating snacks together, but as his boss (and younger brother) he can encourage it more often). By the time Killer shows he's still not quite healthy, but he's better. As more weight is lifted off his shoulders, the better he is. (That 'beauty' most people saw was a more stereotypical slimness, but Killer never stopped seeing Ccino as beautiful-) I think he never looked traditionally underweight, so no one noticed, and it was only much later that Night processed it. (And maybe it's why Dream hardly recognized him later on-)

[egginfroggin]

*yeets this and runs*

My hand regrets my decision to try for more realistic wings, frankly

Transcriptions:

Mabel Pines - Steller's Jay

Dipper Pines - Blue Jay

fledglings

can't quite fly yet

wing's aren't adult-sized yet

Dipper often forgets to preen

Mabel likes to put glitter in her wings (and Dipper's, when possible)

Dipper collects his primaries to make quill pens

Mabel collects their feathers for crafting

Yeah so I'm just gonna drop this here and uhhhhh run, thanks for checking this, and I hope you have a good day

(program: krita; time taken: about 1 hr 45 minutes)

[jewishbarbies]

the idf is filled with rapists

[literaila]

On a scale of one to ten how emotional was readers reaction seeing megumi alive again

8.7 but she never really believed that he was gone. call her crazy but her son isn’t going to blindly submit to some manic gym bro from the heian era

megumi takes back his body and she’s basically jumping up and down with yuji and applauding. a standing ovation for her son, obviously.

and then later she goes home and cries herself to sleep because a. she’s really proud of him and b. the world is a terrible terrible place

[lala-blahblah]

I will never make this because it would be for an audience of one (me) but ever since reading "If we Were Villains" (story about serious drama kids in college who perform shakespeare and deal with a murder) I have been entertaining the thought of a crack fic crossover with High School Musical The Musical The Series where the staff decides they will no longer put on shakespeare after the tragic accident that happened at Thanksgiving, because Shakespeare plays would only increase the tension and drama. So they hire Ms. Jen who decides their spring play will actually be High School Musical (which exists in the 90s in this universe) and it ruins the vibe so much that everyone gives up on being dark and mysterious because they're universally pissed at Ms Jen for making them learn choreoraphed basketball dancing.

[dennistakesamentalhealthday]

dennis is an angry character btw im sorry but he is full of rage but that rage is not exclusive his anger does not negate sadness and fragility and insecurities in fact they work together and dtamhd was one of the first times where his anger was not used as a joke via a surface level rage explosion from him but instead explored the fragility of his anger. the way he keeps reassuring the workers he encounters (and himself) that he's not mad. when he tells daisy he's not mad but he is a little bit upset. dennis is angry and that anger is what makes him so fragile. he was upset and it manifested as rage bc he doesnt know what to do with his own sadness