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#idk its midnight and im rambling
aquared · 4 months
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heres a little fun fact the felt trolls in my au dont have regular hemospectrum blood colors , theyre technically all mutants because their blood matches the canon colors of their hats
the only troll i can imagine passing off normal enough is doze his colors close enough to indigo
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stupidusernamepolicy · 5 months
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sometimes wish i could like. kms temporarily like kenny southpark. like i just press a button and explode and then wake up the next day with all my stats replenished to 50% like "well got that out of my system time to face the day"
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what-aboutno · 8 months
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The idea of romantic chiluc is great honestly but qpr chiluc hits different. Having such a unique relationship dynamic only they understand,,,
They both learn to understand each other. Move past the titles and the names they've known each other as. It's no longer Tartaglia the tsaritsas vanguard but just Ajax. And it's no longer Diluc Ragnvindr of Mondstadt, just Diluc.
They don't have the same pressure when they're with each other because there's that understanding they have. They're both 'different' both been through a lot, but they care for each other.
Maybe the care looks different to everyone else, more romantic than intended but as long as they understand it doesn't matter. Because no one but then need to understand
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yume-fanfare · 8 months
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saw this question in a graffiti months ago and ive been wondering
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volos-wish · 10 months
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I see people are theorizing that Clive is alive, and rewatching the ending, it does seem like he could have simply passed out from exhaustion. But Jill running out and crying feels like it leans towards him being dead, mainly because Eikons can sense whether they're alive or not. Like when Clive knew that Jill was still alive after fighting Odin. So wouldn't Jill have known for a fact in that moment that he was dead, and if not then why cry?
Unpopular opinion but I do actually want Clive to be dead. I like tragic endings without "happy" endings.
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jojotier · 1 year
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working on a couple og fiction projects and i think i'm slowly coming to understand why Hussie shit the bed so hard after cascade like, metatextually
because like [S] Cascade was a full on Culmination right. a good amount of the plotlines up until that point had reached a sufficiently gorgeous climax, there was the possibility of it developing even more, and the stakes had been overcome even though they were at an all-time high.
like they had to destroy two entire universes for this sun! three of the main characters die and come back as Gods! the score is absolutely banging and thematically appropriate, the visuals are stunning, the way the website itself changes is insane. Newgrounds fucking Breaks. homestuck becomes the webcomic that breaks Newgrounds
But the thing is... how do you top that, narratively?
Hussie has already established that death kinda doesn't mean anything. It has now been established that entire universes can be destroyed without the really main core cast being hurt. It's a taste of the 'escape the narrative' end that Homestuck was always building to but the problem is, this time, even when they escape their own narrative-
they're just stuck in another narrative. back to square one. and like, there's something to be said about that! about escaping your narrative (the beta session) and then finding yourself in someone else's (the alpha session)- but that never really gets utilized to its full potential in Act 6.
so like you're Andrew Hussie and you're seeing that everyone is expecting incredible things from you. your little webcomic has somehow attracted legions of fans, ensnared a team of musicians and coders and artists who are in love with what you have built, and changed fandom culture also. that is a Lot Of Pressure. so how do you continue the story after Cascade?
I feel like the impulse of the artist is to escalate. It is always to escalate. And that's all exasperated by the nature of continuous long-form content that has an audience to give its reactions in real time.
It's an impulse I struggle with a hell of a lot, because the thing is, there's a certain expectation you as an artist, you as a writer, have set in place for your audience. You have promised an experience and it is your job to deliver that experience. And it's not that you've promised to give fans the experience they expect, or even want necessarily, but you've promised to give them an experience in line with your vision.
But the thing is, sometimes your vision needs to be reworked along the way. Sometimes your ambitions get the best of you and you aim slightly too high, and when you look to the future every carefully laid plan is a kinked out mess. But you can't share those fears because just as you have given the audience the expectation of what your art is, you have given them an expectation of who you as an artist are, even indirectly.
if you have this veneer of irony and insincerity, people will expect it. if you give the veneer that you know exactly what you're doing and that everything is part of a grand plan, the audience will believe it, at least at first. if you have just created one of the biggest cultural phenomena in recent memory, they will expect you to be the kind of person who would have been able to create such a thing.
I don't want to speculate about what Hussie might've been personally feeling because like, I was 13 when Cascade dropped, nor do I want to speculate on any arrogance or insecurities he might've had, because that's real personal shit that has no place in the conversation.
but I can tell you that when you don't expect something to blow up, and it does, there's a certain fear of the thing you have created. You see the audience reaction as you write and there will always be the question in the back of your mind: where is the point where people lose interest?
so the impulse of the artist is to try and escalate and to keep attention on them at all costs. and thus, the impulse of the writer is to jump straight into finding the next bigger thing- the next white whale- the next thing to top their Cascade- while forgetting the important fact that when telling a story, to reach that higher climax, there has to be trust in the continuity that they're building.
You have to trust that you already have every tool in your box, and that you'll find new, creative ways to use them. You have to step back and look at all the new ideas you're getting and figure out which has something that could be useful and which you're just using to distract yourself from your own story. You have to stymie your own urge to self-sabotage your work with bullshit implicit bias or flights of whimsy.
More than that, have to trust that what you've built is enough for someone to love it, not just for flashy visuals or catchy music but because the story you're telling is one that is resonant to someone.
To have trust in your audience isn't only limited to trusting that they're smart enough to 'get it'. It means trusting that they will experience and continue to want to experience your work. It means putting your faith in the fact that people want to hear you out. It means swallowing your pride when they don't- and it means learning new techniques to tell the story you wanted to tell in a way that will communicate what you want to tell them better. It means trying to meet people where they are in such a way that it doesn't compromise what you want.
Or maybe Hussie just didn't know what the fuck he was doing. Maybe I'm just projecting too hard because I loved Homestuck and now its spectre haunts me with every comic script I write. Maybe I don't even really know what I'm saying.
All I know is that if media is a conversation, we've lost contact with Andrew Hussie years ago.
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cuz-reasons · 3 months
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Cleaned my whole fuckin room be proud of me
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bluezeri · 1 year
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anyway I think mikey opening the portal to save Leo should've been way more dramatic,
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neptunesailing · 4 months
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new theme..? might change it later
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foulfaced · 2 years
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*blows the dust off this blog and gets a coughing fit* i have ren brainworms and its incurable also minors BEGONE from this!! 
anyway hello everyone!!! :D as soon as my schedule calms down i will return with more ren art. i will NOT be stopped !!
@14dayswithyou 
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gemharvest · 1 year
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Tbh it is very temping to disable reblogs on that Art Fight shitpost since it has definitively left the circle of people who actually know what Art Fight is, but I know if I do some guy is gonna repost it and that makes me more uncomf than like fifteen people going "whats art fight" in my notes.
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buko-pandan · 2 years
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I could be completely off lol and I'm probably gonna sound corny
but what I really liked from midnight mass is despite things not working out and everything going to shit it didn't veer towards "humanity is inherently bad". I'm not a big fan of that and I'm tired of seeing it
like no love wasn't able to conquer all, but it was a driving force for so much of the bravery and selflessness that happened in the story
horror can so easily become about nihilism and despair. I'm not saying midnight mass inspired hope or anything - but it was so nice to see love and humanity juxtaposed with the horror
I really enjoy character driven media for this reason
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phantom-does-a-thing · 11 months
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admittedly idk anything about slaughterhouse five apart from what you’ve just posted but I am interested to hear if u have any ideas for what bitb in that style would look like?
PHANTOM IS LITERALLY THIS RN AS WE SPEAK
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ok listen ok ok ok. Slaughterhouse five is a war novel about wwii and it's told through a series of moments out of chronological order in a meaningful way that keeps jumping back and forth enough that you don't have a solid timeline of what's going on. It tells the story of Billy's life and his experience in the war but everything is jumbled out of order as Billy gets stuck and unstuck in time. And I think that would fit with BITB so well.
I don't know who it would follow, my thought would be Rand although I think there could be some really interesting stuff for Rolan. But Rand is my target here, he is my billy pilgrim in this situation. What's interesing about slaughterhouse five that I just noticed is that while everything is out of order and jumbled, The bombing of dresden and the experiences getting captured in wwii is the ONLY thing that is told in chronological order. It is cut up into pieces and sandwiched between other moments in Billy's life. Everything else is out of order and just smushed together, but the main narrative is still in chronological order which while there are still bits that jump between past and future, it leads the reader to believe that the present is supposed to be wwii. And that's what it would be for Galloway.
The stuff that happened in Galloway would be the main timeline, the main focus, the main plot. It would be the only thing told in chronological order but broken up enough that it doesn't really feel like it's that way, snippets of things from the past and the future keep coming back and forth to fill in the gaps. But as well, there's a thing in Slaughterhouse Five where "so it goes" where everything bad that happens is treated apathetically because there's an idea that comes up later in the book that even if someone dies, they're still alive in memories and for the Tralfamadorians time is stacked on top of each other, it's not linear. Everything that happens has happened and is going to happen, and has to happen. It's the entire notion of doomed by the narrative before doomed by the narrative was a THING.
This person is supposed to die, but they are still alive in the past, and since the past is happening at the same time, they aren't really dead. And that's what it would be like with what happens at Galloway. Everything is told in a way that makes no sense, but looking at it all together it would be... not understandable... but it would idk it would make a meaningful world.
"There are no telegrams on Tralfamadore. But you're right: each clump of symbols is a brief, urgent message—describing a situation, a scene. We Tralfamadorians read them all at once, not one after the other. There isn't any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no cause, no effects. What we love in our books are the depths of many marvelous moments seen all at one time."
That's the central idea, the story being told all together, no beginning middle and end, but everything happening at once with the knowledge of what is going to come.
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yume-fanfare · 6 months
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💪💪💪 now time to get tomoya thru points
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ssolarcalendarr · 2 years
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i have sensitive hands and so does hunter yeah i get that
people keep saying that hunter has sensitive hands but what if like. they're just always hurt. like. what if he has wounds there that never fully heal because he keeps training and training and training. like he doesn't have magic so he makes up for it by learning hand-to-hand combat, along with attacking with his staff too. he's agile, swift, and can put up a pretty good fight but because of that what if he just has hurt hands. what if they're cuts, bruises, or scars even that having a glove helps with? maybe he wants to hide the harm he has given himself but also so it doesn't get easily infected. he does have a first aid kit in his room and he must use it since it's left open when we see his room. when you have wounds, it makes sense, especially if it's somewhere like your hand (i think we've all had experiences with wrapping our hands with bandages or putting on band-aids on fingers). also what if belos made those scars and it just made them really sensitive? like any sort of extreme pressure like a handshake makes his hand hurt? what if he has gloves to hide the scars that are there from training and/or belos ? what if he wears gloves to help touch, pull, push, and punch things because of scars and injuries on his hand ??????? maybe when he's nervous he can't control his hands as much and bc of the injuries it makes it more noticeable? i know when I'm nervous people never really see my hands shake but if it's hurt? it's way more noticeable so... maybe I'm just projecting my clumsy, always hurt self here but i feel like there's just. another reason why hunter wears gloves other than. he has sensitive, shaky hands
anywho idk i have really abused hands (like I'm always managing to hurt it somehow idk) and ik when i punch stuff they hurt a lot and i got burned today on my hand and my hand just like really hurts all the time and i swear gloves would be the answer for me for real but idk maybe hunter really does just have really sensitive hands
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casperghosty · 11 months
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"We're not queer" was necessary bc they know they're giving us a whole ass romcom complete with three trials to reach each other, basically their love story likeeeeeee be louder
I have heard a few thoughts and ideas about the reasoning behind it, I have to say one of the things I believe is that it's them singing it as if they were in 1984, meaning they would've said things like that. Because what about the whole "but I won't tell you I love you cause that might make it weird" they have said ily before they've grown from being afraid of being perceived a certain way, platonic or not they love each other and have said it before.
"like another significant other" is just them acknowledging the "old married couple" energy they always have.
the whole song was so romantic, it's also a great date idea a scavenger hunt where at the end you meet up in a way that is meaningful.
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