There’s something horrifyingly beautiful about Tess’s final moments. In the midst of the most dire chaos, as she waits for her death to come rushing past so she can blow it sky high and give cordyceps a big fuck you one last time, one of the infected stops. It looks at her, really looks. Her own mortality is personified in this infected. It’s death that’s looking at her, and it sees her. She looks her own death in the eye, and the suspense is so high as it approaches. But then, it doesn’t bite her throat out like we all expect it to.
It kisses her. What’s more, it kisses her gently. And I think it was a brilliant choice on the writers part, because it reminded me that the infected aren’t supposed to be evil. Sure, they’re scary as hell, but really, they’re just trying to survive. They’re connected to one another, they can feel each other from miles away. They seek out and want to be close to their own kind, just like the human survivors do. And when they do find each other, they kiss hello.
And after so long apart from a loved one, someone you know and trust with every instinct in your body, wouldn’t you want to kiss them too?
15K notes
·
View notes
My Coronabeth Dominant Twin manifesto is simple and it's as follows: there's no way the twins could have planned for Canaan House.
John requesting new Lyctors wasn't something anyone in the Houses would've expected to happen in their lifetimes with any meaningful probability. This means that when the Tridentarii started the double necromancer ruse, they expected to carry on for life. It was an arrangement that benefited Corona vastly more than Ianthe.
What Ianthe got out of it, as far as we know: Corona would rule Ida, which she isn't keen on (as per NtN). But it also meant that Ianthe signed up for a life in her sister's shadow, with everyone regarding Corona as the perfect heir and Ianthe as the lame spare. Worse, for Ianthe, everyone believed Corona was the better flesh magician (as per As Yet Unsent). There's a lot more in for Corona in this arrangement and a lifetime of mild humiliation for Ianthe. As we see during the reveal in GtN, she was just dying to tell anyone that SHE is the necromantic genius of the pair, actually.
On their relationship with Babs: in GtN, Gideon notices that Babs obeys Ianthe's orders over Corona's. She also notices that Corona looks shocked about this — to me, this means that it's NOT something Coronabeth is used to. Pre-Canaan House, they are equals in their ruse. At Canaan House, it becomes obvious that if Ianthe ascends she'll leave Corona in the dust, and their relationship has to change. I don't think the way they act around each other from Canaan House onwards is at all representative of their relationship back on the Third, and I don't think Babs deferring to Ianthe over Corona is something that has happened often before, if at all.
There's the bit where Corona routinely threatened suicide to get her way since they were teenagers. In NtN she's doing it to save Camilla's life, but she reminisces fondly about it like it was something she did often to get her way, like it was a fun mind game they played with each other.
You've also got Ianthe calling Corona a bimbo and insulting her and whatever, and me arguing that Corona pulled the few strings doesn't make Ianthe good but as things stand I'm much more inclined to believe that, before Ianthe attained Lyctorhood, Corona was the one in charge — and I’m also firmly convinced that she’s using BoE for her own ends, and we’ll see her Fuck Shit Up in AtN.
641 notes
·
View notes
I sort of love that Van is reliably a dick to Jackie the whole time they’re in the woods. This is a character with a reputation for being sunshine, but Jackie left her for dead ONE TIME and that lesbian was like “fuck it, it’s on sight for the rest of eternity.”
There’s an alternate reality where Jackie survives to be rescued, and Van rolls up 25 years later with booze to share with everyone, “except you. You know what you did.”
915 notes
·
View notes
keep thinking now about the idea of the ancient greek stage building as a doorway into death, which is separated from the stage (the space of the living) by the screen of the skene. cassandra calls it as much ("the gates of hades") when she enters the house of atreus. by convention characters cannot die on stage but must exit, usually into the skene, to be killed. cassandra's just extra explicit about it because of her foresight, but every entry into the stage building is a step into death. and then some people come back out of it!!!
352 notes
·
View notes
Hey!!! So in your Murder Drones AU After Death, what is Uzi and Vs goal (I’m guessing CYN is just tagging along!) and how’s N doing/in his quest?
The AD Crew’s goal is just about what you’d expect, Stop the absolute solver, Save the universe.
And N?
Oh he’s doing great!
Bonus doodle below the cut:
195 notes
·
View notes