Feel free to ignore this if it doesn't spark your interest but worth a shot. Can I ask what breed of dog Jesus was in your dog world?
I think dog Jesus predates most of today's dog breeds. Realistically he'd probably be some kind of mutt, probably with vaguely Canaan dog looks. But European depictions of Jesus have always been very localized, and I tend to think that in Medieval, Renaissance and Baroque art he'd usually appear as a Spaniel of sorts, although it varies from piece to piece. Gun dogs more often than not.
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Okay, my brain refuses to think about anything other than Murderbot, so I looked at every use of the word "friend[s]" in TMBD and... created some pie charts. Normal human activities.
Some Thoughts™ I had while putting this together (under the cut):
In All Systems Red, Murderbot notes that the PresAux crew are all close friends (twice! and goes on to explain their internal relationships which I think is very cute). This is pretty much the only use of 'friends' in ASR, except for when Murderbot says that SecUnits can't be friends with each other.
It seems that this may be one of the first times Murderbot has ever really been around a group of friends before? Murderbot notes that this is not the norm for its contracts and admits that the fact that they are all friends and the way they interact with each other make it actually enjoy that contract (before!!!! the hostile attack, so it already enjoys this contract before they start seeing it as a person etc ghghhhh). [Inference: Friendship seems enjoyable.]
The first character that calls Murderbot its friend is ART in Artificial Condition. Murderbot immediately refutes this (and then goes on to call ART its friend to its clients for the rest of the book). [Inference: Maybe ART is Murderbot's friend. And maybe that is... agreeable]
Rogue Protocol has more than twice as many instances of the word 'friend' as any of the other novellas. Why? Miki. Friendship and its implications for non-humans are a central theme because Miki is friends with everyone. Murderbot initially scoffs at the notion that Miki and Miki's humans are friends. At the end of the book, after witnessing how desperately Don Abene tried to stop Miki from trying to save them, and her grief after its death, Murderbot has to admit that she had in fact been Miki's friend. [Inference: Humans can be friends with bots and can sincerely care about them]
In Exit Strategy, Murderbot tentatively uses the word "friends" for its humans for the first time (several times actually). It questions whether it can actually call them its friends or not and later realizes that it had been afraid what admitting that the humans are its friends would do to it. At the end of the book, Mensah tells Murderbot the PresAux crew are its friends, which is the first time a human has directly said that to it (at least on-page). [Inference: Humans can and want to be Murderbot's friends]
In Network Effect, Murderbot seems to be more habituated to the word 'friend', confidently calling ART and Ratthi its friends, like it is no longer just trying the concept on unsure if it fits. There are many instances in which other characters refer to MB as ART's friend or the other way around and Murderbot's humans refer to Murderbot as their friend several times. Generally, there seems to be less hesitancy, because yes, all of them are Murderbot's friends, why wouldn't they be. [Inference: SecUnits can have friends. This SecUnit has friends. They care about it a lot.]
Conclusion: The Murderbot Diaries tell the story of a construct that does not seem to consider the possibility of friendship for itself and is fine with that - until it accidentally starts caring a little too much and suddenly more and more people annex it as a friend (ew) to the point where it can no longer deny that this is happening and has to begrudgingly admit that yes, it has friends now and maybe that is actually not a bad thing.
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Day 4 : modern day
Oups, double post for Sanji with his angry Ratatouille... But these two fanarts are designed to work together. After drawing the Parkour Sanji, I really wanted to draw entierly his Octopus tattoo.
Sanji lives in Paris, he works for Le Jules Verne (it's on his t-shirt "LJV"), a very expensive and high-standing restaurant situated on the second floor of the Eiffel Tower. During his free time he enjoys doing Parkour on Paris rooftops (and every kind of extreme sports with his bf Zoro -they are adrenaline addict). He lives in a little room where he occasionally has arguments with a hot tempered rat... (Btw, I'm part of the croissant au chocolat team).
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King’s Landing is a doomed city. It was raised in a hurry by Targaryen overlords without any planning and regard to the actual people who will and have come to live there. It was built to be destroyed and it is going to be burned. There will be no Kings Landing by the end of the series. It is just as much a symbol of violence and repression as the iron throne is.
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I HAVE A FIC IDEA vol.10
Tony tries to get Peter to call him by his first name. Peter hits him with "the only way I'll ever call adults by their first name is adding "uncle/aunt" before that."
Tony somehow despises the idea. He also has no idea why that is.
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Outing myself as a Genshin rarepair lover just to say that what I love best about Diluven isn't the "boy and his god" dynamic (though that is very good, chef's kiss yes yes)--what I love most is that both Diluc and Venti (literally, in Venti's case) are characters shaped by their grief, characters who have responded to loss in different and yet equally unhealthy ways.
Venti hides his grief behind a light-hearted veneer, using laughter and antics to dissuade people from taking him--and the things he's experienced--too seriously. He asserts a carefree (sometimes careless) exterior while internally hiding away the pain of his personal losses and the immense pressure of being an archon.
Diluc is the complete opposite. By all accounts, he used to be a happy child, but he's allowed his grief to completely reshape his external self, from a boy who smiled all the time to a quiet, brooding young man who feels best fit for the dark of night. Diluc carries his loss and his deep sense of atonement outside himself for everyone who knows his past to see. It's a weight he can't let go of and doesn't even try to hide.
But who better to help you heal than the person who has faced the same kind of suffering and chosen a different path?
Through Venti, Diluc can learn that a legacy of loss does not have to mean sacrificing joy and companionship in the present; that letting yourself freely express happiness here-and-now isn't a betrayal to the memory of those who are gone.
Through Diluc, Venti can learn that there's no shame to showing one's sadness nor selfishness in sorrow; that you aren't ignoring what was gained by mourning what was lost--that no one will begrudge their god for the times he doesn't feel like singing.
Until until, one day:
A Diluc with reasons to smile unreservedly.
A Venti with someone to sit beside his silence.
So yes, it's about a boy and his god. But also: it's about two people who have experienced the same profound grief and who both, in their own ways, are the exact type to soldier on under the burden of their duties to Mondstadt at deep cost to themselves.
It's about healing your mirror in order to heal yourself, and it doesn't get any better than that.
Like goddamn, what a dynamic.
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