asuka and kaworu should've hung out sometime. it doesn't really fit with the themes of the show or the canon narrative at all but in my head kaworu showed up at the apartment one day expecting to meet shinji, only to be told in no uncertain terms by a thoroughly fed up and spiritually crushed asuka that shinji had been called over to do some tests at NERV last minute and she doesn't know when he'll be back, nor does she care. kaworu asks if he can come inside anyway; he doesn't mind waiting, however long it takes. asuka reiterates that she doesn't care, and leaves him standing there to do as he pleases as she turns back to where she was playing a video game on the tv in the living room. kaworu observes silently for a while before asuka tells him to sit down and come play with her because she's getting creeped out by him just standing there. she practically throws the controller at him when he sits beside her. after a few silent, tense rounds of multiplayer, she snaps at him that he doesn't have to let her win. he asks her with a small, strange smile on his face why she thinks that he would try to lose on purpose. asuka realizes that he's being serious, and expresses genuine derision at his lack of skills, berating him and belittling him with a spark of her old passion. she then insists on teaching him how to play properly, backseat gaming him excessively and at times snatching the controller out of his hands in a fit of frustration at his inability to follow what, to her, are simple instructions. by the end of the day he's passable enough to get soundly thrashed by her without offending her by losing, and, for a moment, it's almost normal. they're just two kids hanging out, playing games at the end of the world.

𝑶𝒏𝒆 𝒕𝒉𝒊𝒏𝒈 𝒂𝒃𝒐𝒖𝒕 𝒎𝒆 𝒊𝒔, 𝑰 𝒔𝒆𝒆 𝒚𝒐𝒖 𝒘𝒊𝒕𝒉 𝒎𝒚 𝒔𝒐𝒖𝒍 𝒏𝒐𝒕 𝒘𝒊𝒕𝒉 𝒆𝒚𝒆𝒔...𓂀

some of the less nice thoughts about being aroace

extras below the cut

sketch

closeups on my favorite panels

bonus: adios

There's something about reading really great writing that's so relaxing. You can just sit back and let the words wash over you, knowing that you can trust the writer.

Thinking abt body horror as romantic. Body horror as intimate recognition of the self and the other and the other as the self. Body horror as an encounter with the divine.

✿༉ reader core in upcoming shunsui kyoraku fic, back at your door

i really really really love the idea of wei wuxian revolutionizing modern cultivation over breakfast and conceptualizing these different theories simultaneously because the adhd brain has no brakes and the only reason it took him a decade to publish all these ideas was because he could not stick to a single train of thought long enough to finish (verbalizing) it, let alone put it down on paper coherently.

the only reason he even got to publishing them eventually (and enrolling to cultivation theory grad program to get on that track) was because one morning, his undergrad thesis advisor, lan qiren, finally got fed up and sat him down for an early morning progress check-in because it was midterm season and wei wuxian still hadn't decided on a topic.

wei wuxian, fueled by an unhealthy amount of redbull and three all-nighters, finally word vomits all his 'convoluted' ideas which he'd thought were uselessly obvious and redundant (because he's gone over these like a bajillion times, it's very plain-as-day to him, so he probably just hasn't read the articles that say these exact things).

lan qiren, teacup frozen halfway to his mouth: ...first of all, i only understood half of how you got to these conclusions, which only means they are indeed too convoluted and will need to be pared down; secondly: you have never mentioned any of these ideas before. why.

wei wuxian: oh. haven't i? oh well, i just thought, xyz, because, obviously, abcde. which is really what the 2 centuries old law on ghjkl was alluding to, right? and so, logically, xyz.

lan qiren: [mind blown, screaming, good gods this is the same child who's always tardy and spent freshman year pulling on the metaphorical pigtails of my straight-laced nephew?!?!??!??!?!] ..again, why...how have you never even spoken or submitted these ideas?

wei wuxian: because!!! they're so obvious!! surely, it's been published somewhere already? i can't be the only one to connect these dots, surely??

lan qiren: incredibly, you are. no one else has even thought to question tradition nor pursued more thoughts on the law of ghjkl, with half as much...sound arguments as you seem to have. in the past century, the focus of modern cultivation has tended towards practical uses and tools, some fine-tuning, perhaps. not entirely new theories.

wei wuxian: huh....

lan qiren, sighing, feeling a migraine: your problem with your thesis is not a lack of focus or ingenuity, but likely to be more a lack of recent, evidentiary sources. you will need to become very familiar with the university archives and dig deep for sources that will back up every argument you make.

he jots down notes on a paper. "you will also need to strictly adhere to the structure and methodology of these articles, especially given how radical your thesis will be. if you are diligent enough, you may just be able to submit your thesis without too much of a delay." he slides the list of materials to a gaping wei wuxian. "depending on your output then, we can discuss the possibility of submitting this for peer review."

"peer review." wei wuxian repeats. "as in, that thing where some uppity committee of old coots put their stamp of approval for it to become the reading materials of undergrads like me. you're joking."

lan qiren chooses to ignore the sentiment about peer review committees being uppity old coots, especially considering how he can't completely deny it on account of some of his colleagues, but also as a member said peer review committee, he isn't exactly pleased about being lumped in the same category.

wei wuxian backtracks at his unamused look. "right, you're not joking, of course you're not." he slowly inches the list towards himself. "right, yes, i guess i'll uh, get to it then. ok bye."

----

idk, just, waves hand at wei wuxian candidly explaining new modern cultivation theories over cheerios at 2 in the afternoon to lwj who's trying to help him structure his grad thesis, getting mind blow dick hard at how this messy genius who's talking with his mouth full of half eaten cereal is the object of his affection....

wwx: --oh, oops, your highlighter fell

lwj: mn

wwx: ...aren't you gonna get that?

lwj: it's fine; i'll pick it up later. finish your thought.

wwx: right... i'll pick it up for you!

lwj, fighting for his life, trying to think unsexy thoughts: NO! sit. finish your meal, and then your thought.

and i think... i think that’s what a father is - a blade that never stops cutting.

the new york times, ‘carlos sainz jr learned early to be the hunter, not the prey’   ++   e. schwab, the invisible life of addie larue // marla miniamo, ‘sea salt’ // hermann hesse, demian // frank bidart, ‘the third hour of the night’ // katherine angel, daddy issues // [x] // leah horlick, for your own good // hera lindsay bird, ‘mirror traps’ // mario puzo, the godfather // andrea gibson, ‘i sing the body electric, especially when the power’s out’ // [x] // [x] // deaf havana, ‘caro padre’ // [x] //  [x] // [x] // [x] // rachel mckibbens, blud // [x] // [x] // ocean vuong, ‘someday ill love ocean vuong’ // molly brodak, ‘bee in jar’ // eleanor hsieh, ‘the last scene in the movie’ // andrea abi-karam, villainy // the national, ‘blank slate’ // rainer maria rilke in a letter to lou andreas-salomé // etel adnan, ‘untitled’ // [x] // [x] // [x] // myther, SPEAK FOR YOURSELF, OR SOMEONE ELSE WILL // [x] // [x] // rainer maria rilke, letters to benvenuta // richard siken, ‘little beast’ // erin slaughter, i will tell this story to the sun until you remember that you are the sun // [x] // sigmund freud, die traumdeutung // rachel mckibbens, blud // silas denver melvin - nov 4 2021 // desireé dallagiacomo, ‘origin story’ // james baldwin, ‘they can’t turn back’ // [x] // traci brimhall, come the slumberless to the land of nod // natalie diaz, ‘grief work’ // alain de botton, essays in love // [x] // richard siken, ‘the dislocated room’ // sylvie baumgartel, song of songs // ocean vuong, 'dear peter.’ 

some more ideas for the totk rewritten project (botw2);

underground general ideas i thought about what to theme the underground after, and since its vaguely like underwater in canon i thought id push it much much further, you cant actually dive and while id love that i do want to stay within a certain possible range of it still being a sequel to botw and somewhat based on totk- so im putting the low gravity effect away from the sky and instead in the underground, the ENTIRE underground, that way it is distinctly different in the way you have to play since you gotta work around the low gravity effect, the entire plant life and enemies will also be based on deep sea creatures- anglerfish like ones that half burrow and lure you with their light, those fish (or are they worms?) that hide underground as soon as you step too close, maybe they hide initially but only to make you go closer and try and snatch at you

much more glowy things too, basically everythings got some sort of light on it, there are different creatures flying around that all feature some sort of glow, so there is stuff to see but you cant immediately know what it is, theres a unique kind of plant that when you bother it spews out a dark cloud of spores (kinda like in tp) that dims any light you had; there are some landmarks you can activate or repair with the help of zelda but there is no way to illuminate the entire map and the lil light ferns expire slowly too

i also want it to be way more wet, not full with water but maybe a thin layer of water at most places and some drops from stalactites that fall constantly

there are shadowy ghosts there as well but they CAN aggro (still working on it), either by taking a weapon from their grave or some other things; also considered them or some other enemy that stalks you for some time and the only clue you get is maybe double sound of your steps or something at the very edge of your screen but you can never catch it when looking around (i dont want to make it a horror game but do want the underground to stay as creepy as when you first get down there), something elusive and shadow based that is rarely encountered but stays creepy for longer than the miasma hands sicne it cant get stuck on anything and the only way to be safe is while in the air

maybe some miasma reanimated corpses of ancient shiekah killed when the ancient hyrulean king turned on them (only foudn in the underground in this way; there are others but unposessed in alot of the broken shrines and old laboratories so seeing one suddendly move and crawl after you is probably pretty scary, kinda like the vroken guardians sometimes being still functional)

the dongos are the main friendly animal you can discover there and tame (still working out more details) they can climb around, always emit a little bit of light and the shadow enemy wont latch onto you as long as you are near a dongo, maybe even most enemies will leave you alone if you are riding one, as they are slower than horses, with the exception of gigamas (or a similar enemy ill redesign for that) as they are the natural predator of dongos; when you get to close to one it will react to it and if a fight is initiated it burrows away (you can call it and it comes back to you if you are out of range of that enemy)

tameable animals since i played skyward sword recently i just realized again how much fun it is to fly on a bird, sicne im already dividing the three map layers a bit more i thought it would be cool to make these layers more distinct, in some part by the tameable animals- the sky has birds (based on dinosaurs), the surface has horses, the underground dongos- neither of them can follow you to one they dont belong and the way to call them switches as you switch layers

im not sure yet if those birds should be ridable or are only able to give you a small boost upwards when you call them

magic bar so instead of actual batteries i planned to, as i said before, to put that into links shiekah arm prosthetic, and instead of giving you literal battery symbols on the screen it would be a bar right below your health and next to the symbol of the current selected arm ability

krog seeds a bit more to the krogs- as i said before they are no longer the way to make your pockets bigger- among an armor set i also thought about making the most expensive reward OR the end reward for finding all of them be the eponator zero- maybe it went missing during the cataclysm and maronus (engl. hestu) finds it at some point, so you get your bike back but its locked behind something bigger so you are unlikely to exploit it early on

(EDIT) (forgot to mention the dragons- im putting them each in one layer of the map- eldra in the underground bc gan is there and youknow, demise coming from the ground and fire being associated with the ground etc, farodra on the surface GREEN etc, and naydra in the sky, bc wisdom and owls and gods and all that weeeeee)

(on a sidenote im also thinking about ditching the building mechanic to some extent since i dont think it fits very well as a whole and it makes it too easy to completely skip stuff- i want the main way to move things or to get around be the hookshot/grappling hook part of links arm; still working on all that though .. so far it does seem likely like it will be much more limited)

B'Elanna, Neelix, Tuvok and Chakotay needed to star in an episode where they just talked about their different beliefs and approaches to spirituality/religion. Paired off and all together. I need to gain more insight. I need characterization and I need it to be messy.

hi! your blog is one of my favourites and i absolutely adore reading your thoughts. my grandfather recently passed away and it feels like i lost myself with him. how do i continue living after this? there is this constant weight on my chest and it feels like an emptiness has made a home inside of me. how do i go on when it feels like the world crashed on my shoulders?

hello, love! this is so very sweet and kind of you, and i hope you're treating yourself gently and kindly right now - there aren't words for a loss like this. that heaviness is difficult, and hard, and painful. it's okay if things don't feel okay, right now, or even soon - i think that's something that a lot of the people i know that have gone through similar grief feel: like they should be able to get back to a relative 'normal' in a [insert far too short period of time].

but it's okay if it hurts. that's where i'd like to start. you're allowed to feel that emptiness, that world-crashed feeling that goes beyond words, beyond time. don't feel like you have to rush this to feel some sort of better. things get easier with time, i promise you this, but sometimes painful feelings are important to feel, too. cry, scream, feel your emotions. they're a part of you. grieve.

it's perhaps a little silly, but when i think about death i always think about a couple of space songs: mainly drops of jupiter by train and saturn by sleeping at last. there are perhaps others that speak to the emotions better, but these two have always hit something a little deeper for me, and are popular for a wide-reaching reason.

and while personally i don't know much about grief like this, i do know a lot about love; and i think they're a lot of the same thing.

the people we love are a part of us, and this is why it takes from us so deeply when we lose them, because it does feel like we've lost a part of ourselves in the wake of it. but it's because they were so central to our experiences of living - our lives, that the separation introduces a hollowness - a place where they used to be. a home that now goes unlived in.

an emptiness, like you said.

but just because they're not here physically, doesn't mean he's not still there, in your heart, in your life, your memory. you can hold him close in smaller ways, as well: steal a sweater, or cologne/scent for something a little more physical and long lasting for remembering. hold onto the memories you cherish, the things that made you laugh, the ease of slow mornings and gentle nights. write them all down, slide a few photographs in there, go through it and add more when you miss him. keep them all close, keep them in your heart.

you're not alone, in this. he's still there, with you, it's just - in the little things.

he's with you in the way you see and go about your daily life, in doing what he liked to do, in the ways he interacted with the world that you shared with him. the memories you recall fondly when the night is late or the moment is right and something calls it into you like a melody, an old bell, laughter you'd recognize anywhere.

but i think, perhaps most importantly above all others - talk about him. with your family, your friends, his friends, strangers; stories are how we keep the people we love alive. the connections they've made, the legacies and experiences they've left behind, and so, so many stories.

how lucky, we are - to love so much it takes a piece of us when they go. grief is the other side of the coin, but it does not mean our love goes away. it lives in you. it lives in everyone who knew him, in the smallest pieces of our lives.

the people we love never really leave us, like this: they're in how we cook and the way we fold our newspapers, our laundry, in the radio stations we tune in to and the way we decorate our walls, our photo albums. they're in the way we store our mail, organize our closets, the scribbled notes in the indexes of our books. the meals we love and the drinks we mix, the way we spend time with one another. they've been passed down for generations, for longer than history - and we are all the luckier for it.

think about what you shared with him, and do it intentionally. bring him into your life, like this, again. whether it's crosswords or poetry or sports or anything else. if one doesn't help, try another. something might click.

i hope things feel a little easier for you, as they tend to do only with time. i hope you find joy in your grief, even if it is small and hard to grasp at first. know that your hurt stems from so much love that there isn't a place to put it properly, and that it is something so meaningful and hurting poets and storytellers have been struggling to put it into words and sounds that feel like the fit right for eons, and that it is also just simply yours. sometimes things don't have to make sense. sometimes they just are - unable to be put into words or neat little sentiments, as unfair and tragic as they come.

but i promise it will not feel like this forever. your love is real. and perhaps, on where to begin on from here - i think it's less on finding where to begin and just beginning. and you've already started. you've taken the most important and crucial step: the first one. wherever you go, after that, from here? you'll figure it out. you always have, and you always do. it'll come, as things always do. love leads us, as does light - and you're never alone in your hurt. in your grief, your missing something dear to you. i think if you talk about it with others, you'll find they have ways of helping you cope as well - and they have so much love of their own to spare, too.

as an aside, here is the song (northern star by dom fera) i was listening to when i wrote this, for no other reason more than it makes me think of connections, and love, and how we hold onto the people we love and how they change us, wonderfully and intrinsically. it's a little more joyous than the others i've mentioned, and plays like a story, and it made me think of what is at the core of this, love and stories and i am here with you, and maybe it'll bring you some joy, if you'd like it. wishing you all my love and ease 💛

Human societies stretching out their holidays is nothing new and historically apparent. This is because many holidays were, historically, seasonal observances- and there were A LOT more of them.

The preparation for certain events surrounding holidays could take weeks, if not months, and could be a source of communal pride- i.e parade costumes, community theater, flower arrangements, baking and cooking, etc.

What IS new, is late stage capitalism and the fact that many, if not all, of us work during the holiday seasons- and thus all of the preparation that goes into celebrating a holiday feels like a chore that we want to end. This combined with the fact that preparation is no longer a communal effort, but either- 1) something you're supposed to buy with money you don't have, or 2) something you're meant to do individually, in order to wow and impress- makes it feel like we are being ran to death for the culmination of one day that always seems to fall short of expectations.

Personally, I feel the decreasing number of holidays we celebrate, and the expectation that we shift gears directly after doesn't seem particularly empathetic to the very human desire for something more than the mundane.

It is completely normal for human beings to want to linger in the mindset that they have spent weeks cultivating and turning their hearts to, and it is completely normal for humans to want to continue to play and remain in a state of joy.

Like, those are really beautiful and admirable traits of human society.

Hi!! Your art is so fucking cool! Can I ask what the process looks like for form line? Ex. What do your sketches look like when they are really rough? How do you go from idea -> final product. 💕

Hadih, thanks so much for your question!

Honestly, it's sort of hard to explain? I do have some sketches to sort of give an idea though.

This sketch I posted a couple days ago is a pretty good example of what my initial concept sketches sometimes look like.. As you can see, they're pretty chaotic and very rough, and usually these sketches are more about getting the idea down then actually making the formline itself. There aren't formline shapes just yet, although I do sometimes sketch out elements or shapes like eyes or bodies or paws/hands that will usually have an ovoid in it, because those elements tend to be a focus or centerpiece. The sketch is obviously not final, and things can change along the way to account for space and balance as well as what I'm trying to convey. (These sketches aren't entirely accurate of course because they're for pieces that are meant to be fusions of character illustrations and formline art, but they're the best thing I can find on my pc at the moment)

The rough sketch helps me figure out the flow of the piece, and once I'm satisfied with it I try and get to putting down the shapes and silhouette, and it's here where I try to find the balance with my rough sketch and how the shapes can fit and behave in the piece to the best of their limits while also still conveying the message I want to send. The most common shape I start with is the focus shapes, which are usually ovoids.

This rough of my harbor seal formline which I sent to my aunt for review sort of gives a better Idea of what I mean when I say I try and focus on where the centerpoints will be. Ovoids are usually a focus, so you can see them pop up a lot; in the body, the head, the eyes, the tail, etc. Ovoids are so important and probably the most common shape in formline art, and one of the most common feedback I get from my aunt is to adjust how the ovoid looks in any one of my pieces; she often compared them to a loaf of bread! You don't want your ovoids to look like a loaf of bread! (Her words, not mine). I feel like I've gotten better at drawing ovoids though, because she gives it as feedback less and less nowadays. Ovoids usually also have to have a bit of weight/perspective to them; it's hard to describe but essentially the top of the ovoid should usually be bigger/thicker/have more weight then the bottom.

From ovoids, the next shapes are usually circles, u-shapes and crescents, then usually y-shapes/trigons. It can be difficult, because the key is to make sure the shapes flow together and feel cohesive, as well as to make sure the negative/positive space balance feels right. Also a fun tidbit, trigons are most typically used to essentially fill space; it's always important to make sure that they are binding bigger shapes like u-shapes and ovoids and not stealing all the space and attention.

The lines in this stage tend to be very rough and messy, and I always try to go over the next rough draft with a smoother and cleaner pen.

Once the initial shapes are done, I'll usually send the piece to my aunt (sometimes I send them earlier on, when I'm in the middle of working out the shapes) for feedback! I am still a student in formline work after all; basically all of my teachings come from my aunt, who has a lot more years of work in formline art then me. She'll give me feedback and tips of what she thinks I should fix or experiment with. I adjust and fix and sometimes even completely delete and redo parts of the piece with her guidance. The list of things she tells me to change decreases with each piece, so I like to take that as a sign that I'm improving!

Once the black and white version of the design is done, I move onto coloring. Usually I already have a color scheme in mind when I go into a piece, so I'll mess around and put down colors and see how well they contrast before I color it. Typically, a piece will have about 3 colors; one for the background, one primary color, and one secondary color. I use a clipping layer to color the entire formline piece with the primary color, and then go in with the pen tool and bucket tool to use the secondary color. Adding in the secondary color is tricky but important because it once again falls into balancing positive and negative space/colors and the transitions between the two.

Once coloring is done, the project is basically finished! Unless there are some other plans I have for it, ie using it for an overlay in a bigger piece, colouring is usually the final stage.

And that's about it! I hope this helps you understand a bit; this isn't a perfect explanation as this is just from my own artistic POV and other nations and artists have their own process, but I hope it helps nonetheless!!

Edit: I forgot I posted other WIP formlines here before 😭 here and here!! You can sort of see me figure out the flow and balance of the designs in between the WIP and the finished piece!

i actually really like how the raven king is written, like the ordinaryness of the action 'as a parent who cleans something from a child's face'. it's such a good piece of description work

Okay but like. Two things about the volume 8 statue [redacted] chapter.

Firstly. By god no amount of "yeah it was unhinged" comments on this website prepared me for whatever the fuck that was. I need at least 5 business days to process.

Second, was I the only one who read that scene as:

Hua Cheng, teeming with self-satisfaction to see Mu Qing near writhing with scorned disgust and fury: this was a 100% successful trip

Xie Lian: our statues are fucking in Mu Qing's palace oh god oh fuck what do you m e a n successful

Hua Cheng, smirk getting even bigger: this was a 100% successful trip

Been a fan of your fics for YEARS. I was just telling my friend how despite how much I read fics I never actually love them, with some of your fics (especially TMA) as the exception. Felt the need to reread some of them and saw you reblogged some ISAT fanart. So. Any thoughts on ISAT you'd like to share?

Hope you have a wonderful day!! So happy I found your fics again!!

I avoided answering this for a while because I was trying to think of a way to cohesively and coherently vocalize my thoughts on In Stars and Time. I have given up because I don't want to hold everybody here all day and I have accepted that my thoughts are just pterodactyl screeching.

I love it so much. I have so much to say on it. It drove me bonkers for like a week straight. I have AUs. It's absolute Megbait. They're just a little Snufkin and they're having the worst experience of anybody's life. Ludonarratives my fucking beloved.

I am going to talk about the prologue.

The prologue is such a fascinating experience. You crack open the game and immediately begin checking off all of the little genre boxes: mage, warrior, researcher, you're the rogue...some little kid who's there for some reason...alright, you know the score. You're in yet another indie Earthbound RPG, these are your generic characters, let's get the ball rolling.

Except then you realize that these characters are people. You feel instantly how you've entered the game at its last dungeon, at the end of the adventure. They have their own in-jokes, histories, backgrounds, adventures. They get along well and they're obviously close, but not in a twee or unrealistic way. They have so much chemistry and spirit and life. I fell in love with them so quickly.

But Sif doesn't. Sif kind of hates them, because they will not stop saying the same damn thing. They walk the same paths, do the same things, make the same jokes, expect Sif to say the same lines. They keep referencing a Sif we do not see, with jokes we never see him make and heroic personality he never shows - they reference a Sif who is dead - and Sif can't handle that, so he kills them too.

They become only an exercise in tedious frustration. Sif button mashes through their dialogue, Sif mindlessly clicks the same dialogue options, Sif skips through the tutorial, Sif blows through the puzzles. Sif turns their world into a video game. Sif is playing a generic RPG. Sif forgets their names. They are no longer people with in-jokes, histories, backgrounds, adventures. They're the mage, the warrior, the researcher, and...some random kid.

I did not understand the Kid's presence at first. I had no idea what they contributed to the game. They didn't do anything. As a party member in a video game, they're a bit useless. Why is the Kid there?

Because Sif's life isn't a video game. Because the kid isn't 'the kid'. They're Bonnie. Bonnie, who the party loves. Why is Bonnie there? Because they love them. There is no room for Bonnie in the boring RPG that Sif is playing. And then you realize that Sif is wrong, and that they've lost something extremely important, and that they'll never escape without it.

Watching the prologue before watching ISAT gave ISAT the most unique air of dread and horror, because you crack open ISAT and you see the person Sif used to be. You realize that Sif used to be a person. Sif used to be the person who made jokes, who gave real smiles, who interacted with the world as if they are a part of it. And you know you are sitting down to watch Sif lose everything that made them a person, to lose everything that made them a member of this world, and turn them into a character in a video game who doesn't understand the point of Bonnie at all.

At the climax of the game, when the others realize that something is deeply wrong and that Sif physically cannot tell them, they realize that there is nothing they can do. So Bonnie declares snacktime. And for the first time they have snacktime.

What is snacktime? Classic JRPGs don't have snacktime. There's literally no point to a snacktime - not in a video game, and not in Sif's terrible life. It's not fixing this, because nothing can fix this. But Bonnie gives Sif a cookie and Sif eats it.

It's meaningless. It's a cutscene. It didn't save Sif and it didn't change a thing. It will make no difference in the end.

But it did make the difference. It made all of the difference in the world. Bonnie is a character who you really don't understand the point of before you realize that Bonnie was the entire point.

ISAT is about comfort media. Why do we play the same video games over and over again? Why do we avoid watching the finale of our favorite shows? What is truly comforting: a story with no conflict, or a story where you always know what is about to happen? Do you want to live in a scary, uncontrollable world, or do you want to play Stardew Valley? Do you want a person or a character?

When I beat Earthbound for the first time (and if you don't know, the prologue/ISAT battle system is just Mother) and watched the ending cutscene where the characters part ways and say goodbye...I felt a little bit sad. I wanted them to be together forever. But that's something only characters could ever be.