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#thesis ref
its-your-mind · 2 months
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*deep breath in*
the fears 👏 have always 👏 been (in one way or another) 👏 parallel 👏 to 👏 desire 👏
let me explain.
so many of the statements given by actual avatars center around some sort of need that was met by their entity. Lots of them even had a positive relationship with the fear that drove them.
Jane Prentiss is an excellent example - the Corruption has always been about a form of toxic and possessive love, but she personally has a deep desire to be “fully consumed by what loves her,” and finds a perverse joy and relief at allowing herself to be a home
Jude Perry is another - she fucking loved watching people’s lives be utterly destroyed. The Desolation only offered her a power of destruction on a grander scale, and then gave her a more intense rush of joy as she did its work. When she tells Jon that he needs to feed the Eye before it feeds on him, it’s almost as an afterthought; she was happily feeding the Desolation long before it burned her into a new existence.
Simon Fairchild. Every time that old loose bag of bones wanders into the picture, he is having a fucking EXCELLENT time playing with the Vast. He loves showing people their own insignificance, and he loves luring them into situations where he can throw them into the void as he smiles and waves.
Peter Lukas (hell, the whole Lukas family (except Evan. RIP Evan.)) hated. people. all he wanted was for them all to go away, to leave him alone. The Lonely only fulfilled that desire.
Daisy, Trevor, and Julia, all devoted to hunting those things they deemed monstrous.
Melanie, holding tight to that bullet in her leg because on some level, she wanted it. It felt good, it felt right, it felt like it fit right alongside the anger and spite that drove her to success.
Annabelle Cane first encountered the Web when she was a child, running away from home in order to tug on her parents’ heartstrings in just the right way to have them wrapped around her little finger. Later on she volunteered to be the subject of an ESP study. Hell, she’s the one who dangled the “Is it really You that wants this?” question over Jon’s head in S4.
And that brings us to Jon, beloved Jarchivist, the Voice that Opened the Door. Ever since he was a child targeted by the Web, he was looking for answers. He joined the Magnus Institute’s Research Department looking for them, he stalked his coworkers in search for them, he broke into Gertrude’s flat and laptop out of desperation for them. And when he realized that all he had to do was Ask to get truthful answers to his questions? It was only natural for him to jump at that opportunity.
Elias told S3 Jon that he did want this, that he chose it, that at every crossroads he kept pushing onwards, and the inner turmoil that caused was one of the focal points for Jon’s character through the rest of the podcast.
There’s a certain line of thinking in many circles about the power of the Devil: he’s not able to create anything new. All he’s able to do is twist and warp that which was already present, making it something ugly and profane while still maintaining the facade of something desirable.
Jon didn’t choose the Eye. But he did wander into its realm of power, exhibiting exactly the qualities it was most capable of hijacking and warping to its own ends. Jon didn’t choose the Apocalypse. But Jonah picked at him little by little, pointing him towards each Fear individually. Jon didn’t want to release the Fears. But the Web tugged on his strings just so and laid a pretty trail for him to follow until he reached its desired conclusion.
Jon didn’t choose ultimate power, or omniscience, or even his own role as Head Archivist. But he said “yes” to the right (wrong?) orders and kept on pushing for the right (wrong?) answers. He wanted to succeed at the work he had been assigned. He wanted to protect his friends. He wanted to rescue them when they were lost. He wanted to prevent the apocalypse, to save the world. He wanted to know why he was still alive, when so many had died right in front of him.
The Great Wheel of Evil Color that is the Entities might not fit as neatly into categories in this universe - maybe there was no Robert Smirke trying to impose strict categories on emotional experiences, or maybe the ways they manifest in the world has turned on its head (goodness knows many of them have been showcased and blended in some very fun and new and horrifying ways so far) - but their fundamental foundations seem to be the same. Hell, in episode one we learned that there had been enough individual incidents to create a distinction between “dolls, watching” and “dolls, human skin.”
Smirke’s Fourteen isn’t going to be relevant as common parlance, RQ said that already, but I don’t think that means the Fears themselves (and their Dream Logic-based rules) are different - I think it means that the levels of understanding, language used, and personal connections among people “in the know” are going to be entirely unfamiliar
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viiriidiian · 11 months
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caleb page to ignore the empire siblings’ unknown status post-apogee solstice... anyways! everyone say big stretch to frumpkin.
i made a matching beau page here for all you lesbians out there
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rocicrew · 8 months
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more shippy doodles : the girls edition
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demi-pixellated · 21 days
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//OC road work ahead
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oofuri2003 · 1 year
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as promised - the phone charms comic!
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11syrups · 2 years
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(Scribbles)
I actually hate them, I hate them so much (lying)
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skitskatdacat63 · 9 months
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It you liked my Napoleonic au, here is some Fernando from it :)
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Under the cut: process
him face:
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(I absolutely had to draw his Theee Musketeers look, that's honestly why I did a Ferrari alt)
I mentioned earlier how every time I opened the drawing, I'd just completely change it. Here's what I meant:
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The Renault suit really lends itself to the Hussar uniform! Also the Ferrari one is kinda stunted a bit comparatively bcs I accidently drew over the Renault one so I had to recover the backlog and was afraid to touch it any further LOL
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wyrmgeard · 2 years
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fagmegumi · 1 year
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if you don't mind me asking, what was your thesis on? :o
OH bestie im still writing it😭 barely
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vodka-and-ocs · 2 years
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wanted to paint today... didn't have the energy
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hello and welcome to the devolution of my sanity in real time
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razz-berry · 1 month
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A quick little claudeleth while I stress about my thesis defense tomorrow
pose ref by mellon_soup
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feartoxinjelloshot · 4 months
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i opened tumblr to post my superman ref and realized that apparently i never posted my WW ref either!!! so here are both of them. i'm not terribly interested in creating DC lore outside of gotham, but I spitballed the wonder woman design a while ago and it got the ball rolling in my brain for a couple of characters i am interested in occasionally (superman, WW, cheetah, livewire, etc) so i decided to design them for fun :^) i imagine that in a perfect world where clipsverse is a critically acclaimed batman tv show, they would have a special end-of-season crossover episode or maybe a direct to streaming movie if we all got lucky.
under the cut: livewire & cheetah, superman costume concepts
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my thesis for superman's costume was more or less "cowboy king". the cowboy part stemmed half from my dislike of his traditional costume (sorry superman ily im just not with it) and half from a desire to give him a gimmick that tied more into the small town kansas workin' man part of his archetype. the royalty part i thought was a fun kind of nod to his weird alien royalty/savior of the people aspects - it doesn't need to be entirely practical because he's so superpowered that he can get away with having a big flowing cape on him and such.
cheetah and livewire are pretty self-explanatory. this image of livewire is mostly just fanart of her btas self, and cheetah i wanted to give a more naturalistic "feral" look and less "cheetah fur superglued onto a naked human". i like tall furry women can you tell yet
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trans-cuchulainn · 2 days
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unfortunately i think my discovery of a 17th century reference to an 18th century story might actually be significant for the relative dating of them both and. sigh. I really don't want to have to do actual academic work about this but SOMEBODY'S gotta
the thing is. this edition was done in 2008 but it's an unpublished thesis. it doesn't reference that story at all. the most recent thing written about that story was published in 2009, by somebody who did know about this thesis (he's mentioned in several footnotes) but who didn't cite it in that article and who wasn't really focused on the aspect of the story that corresponds with this other text. so. essentially the scholarship on these two texts has not yet overlapped
which means i might be the only person to have noticed that it is very specifically referencing events that only happen in that story
and either this editor fucked up and got the manuscript date wrong by a century... or i'm about to fuck everybody's established dating of that other story. woohoo. which means fucking the dating of another story also since it's been demonstrated they're by the same author. lol whoops.
the GOOD news though is that this text is also written in ulster, like that one, so it is clearly a northern tradition they're drawing on (and arguably could be a ref to some local oral tales that hadn't been written yet so the story could be later even if this is referencing its contents)
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hum--hallelujah · 7 months
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the thing that gets me about Folie is that it opens with a song whose double thesis is, #1, "I'm half-doomed and you're semi-sweet" (sometimes it was patrick, slight ref: to baking chocolate) and "nobody wants to hear you sing about tragedy". and then what starts as essentially a declaration of love then follows to become a tragedy played out in tune. and the irony is, of course, that Pete penned that line, nobody wants to hear you sing about tragedy, even knowing it was a lie. people have always wanted "the old Fall Out Boy" back. Grave or Cork Tree Pete, barely a step away from the ledge. all they wanted was the tragedy. and so as the band was falling apart (falling apart to half-time, as it were), that's what the critics got. the tragic rise and fall of Fall Out Boy. because they do want to hear you sing about tragedy, but only until it leads to you torn apart.
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