#whew that got long
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Your last Devil’s Bastards post was so juicy! I’d never heard about heaven’s people having amnesia.
Now I can’t stop thinking about a pre-reveal scenario in which Nicaise somehow goes to visit the hotel and while she doesn’t recognize anyone, Alastor and Lucifer sure recognize her.
Hey, it could happen! I did set the stage for Nicaise to potentially become a fallen angel, no second death required.
Let's say it happens at some point after the thwarted extermination. Neither Lucifer nor Alastor know yet, but Alastor has some suspicions. When Nicaise is ejected from Heaven for revealing the exterminations to the public, encouraging people to go against Heaven's rules, and questioning the Seraphim, and then refusing to repent, she remembers Charlie Morningstar's hotel and heads there straight away.
Charlie's happy to see her again. Both Lucifer and Alastor are in shock, but since Alastor's perma-smile is still in place no one really notices his reaction. They're all a little wrapped up in the story Nicaise is telling them about how she ended up getting ejected from Heaven. Of course Charlie happily welcomes her into the hotel, and Vaggie's actually happy to have yet another fallen angel among them, to hear that Heaven may actually be reforming from within.
Then Lucifer steps forward and reintroduces himself. Everyone's more than a little surprised to learn that Lucifer and Nicaise have met before. Lucifer explains that whence upon a time he snuck out of Hell just for a little while to actually see Earth, and wound up lost in the middle of New Orleans during the Rex parade. Nicaise doesn't remember the event, so he tells her about how she saved him from being lost and basically acted as his guide throughout the celebration. They both got pretty wasted and he woke up the next morning passed out on top of somebody's rooftop, presumably from attempting to fly home while drunk. Everyone's laughing and having a good time as he recounts the story.
Alastor says nothing.
As Nicaise settles into the hotel crew and helps Charlie with her redemption project, Alastor initially tries to keep his distance, but over time everyone notices that Alastor is different with her. It's not too strange at first. He's always gotten along better with women than with men. But this is different. He almost has an air of respect with her, and he doesn't even respect the King of Hell! He's gentle, he never teases or intentionally scares her, though it turns out Nicaise has a bit of a prankster side of her own and thinks its funny when he spooks other hotel residents. He doesn't hide the fact that he's a serial murderer, or that he's a cannibal, but he does tone down the bloodthirstiness in her presence. His smile is more genuine around her.
Bit by bit, certain things come out about Alastor, more in the few short weeks Nicaise has been with them than anyone's learned in the 6+ months of living with Alastor. Things he and Nicaise share in common. They both grew up in New Orleans, they like to use venison in their jambalaya, play several of the same instruments, have the same taste in liquor, hate tea. They even died within a couple decades of one another. Nicaise wonders if they might have even met one another while alive. Alastor only says he supposes it's possible.
Lucifer, for his part, is delighted to reunite with an old friend. Alastor does not enjoy Lucifer enjoying her company. He compels Husk to interrupt the two of them if he ever sees them getting too 'close.' Encourages Niffty to get under Lucifer's feet. Has his shadows trip Lucifer up, or spill his drinks when he's talking with Nicaise. Lucifer knows it's all Alastor's doing and assumes Alastor's just being a shit again.
"What, you failed to steal my daughter, now you're trying to steal my vacation friend!?"
Husk is the first one to put two and two together. He doesn't figure out everything, but he knows Alastor well enough to know his interest in Nicaise isn't romantic, and to pick up on the familial similarities. He keeps his mouth shut though. The memory of what happened last time he dredged up one of Alastor's secrets still sets his fur on edge. Still, in private he lets himself chuckle over the fact that Alastor is a 'mamma's boy.'
Eventually though, other people start to pick up on Alastor's weird behavior. When Nicaise scolds him for 'picking on' Lucifer - and WOW is it weird to see Alastor letting himself be scolded - Alastor points out to her that Lucifer is a married man. That does put a bit of a damper on Lucifer's and Nicaise's interactions. They weren't intentionally flirting or anything, but Lucifer wonders if maybe he was getting a tad too comfortable. He and Lilith ARE separated (at least, according to Charlie) but he still hopes to one day reconcile with her. And now that Alastor's brought it to her attention, Charlie's starting to feel just a tad uncomfortable with Lucifer's and Nicaise's closeness as well. Just a tad though! She does want her dad to be happy, and he and Lilith are separated...
Privately, she still thinks it feels like a betrayal though.
And it's that feeling that allows Charlie to put things together, and she's a hell of a lot less subtle than Husk is.
There are people hanging out at the bar when she walks up to Alastor in the parlor and blurts out, "ALASTOR, IS NICAISE YOUR SISTER!?"
It came out a lot louder than she meant it.
Lucifer chokes on his drink.
In Charlie's defense, he and Nicaise appear to be close to the same physical age in their demon and angel forms. If anything, Nicaise might have been younger when she died than Alastor was when he died.
Alastor reassures Charlie that, no, Nicaise is not his sister.
Lucifer relaxes and starts to chug his drink to get that terrifying thought out of his head.
"She's my maman."
Lucifer chokes again.
Fortunately Nicaise isn't present for this conversation. Charlie asks why Alastor hadn't said anything before now and he explains he doesn't see any reason to. Once they get her back into Heaven, they'll never see one another again, so why burden her with the knowledge that her son grew to be a mass murderer in life and a cannibalistic Overlord in death? While he may not regret any of his actions, he knows she would be heartbroken by the revelation.
Angel Dust breaks up the sullen mood that's fallen over the room by cracking a joke that, 'the devil wants to do your mom.'
He immediately gets several sets of angry eyes on him, including beast mode Alastor, and shuts up very quickly.
#ask#anonymous#Hazbin Hotel#the Devil's Bastard AU#Alastor#Alastor's Mother#Nicaise (Hazbin Hotel OC)#Lucifer Morningstar#Charlie Morningstar#whew that got long#I was gonna go into them learning that Luci is Al's dad too#but I'll probably save that for another post after all that#the reason Alastor out and admitted Nicaise is his mother in the end when he kept quiet before#is because Charlie had already come so close to the truth on her own#it was only a matter of time before everyone else figured it out#also he's lowkey pissed that Nicaise was rejected from Heaven because now he has an exploitable weakness in Hell#and he's not willing to get rid of her or let her get hurt in order to remove this weakness
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I've encountered at least three books in the recent(ish) past where the premise was more interesting than the plot. In fact, in two of them, the book got significantly less interesting when the plot showed up. I've been trying to work out exactly what's going on there, because my instinctive explanation doesn't make any goddamn sense.
See, what I want to say is that the reason the books got less interesting when the plot showed up is because it was imposed from the outside. But plots almost always are. Like they say: villains act and heroes react. Which holds true whether we're talking villains and heroes or natural disasters and hapless survivors or antagonists and main characters or whatever else. It's very rare for the main characters to actually instigate the plot.
(In fact, outside of treasure hunting/macguffen plots, I can't think of any examples at all. And it's far from 100% even in those kinds of plots. It's roughly as common for the antagonist/villain to instigate by hunting the doohicky or hiring the protagonists to hunt the doohicky.)
Perhaps it's that the plots are somehow the wrong plot. (Which would actually include the third book, as well.) The plot the book actually has is less interesting than a plot that might have organically grown out of the premise. We could have had something slightly different, but, instead, the author opted for a well trod path. A bland, well trod path.
Hell, in one of the books, the main characters don't even seem interested in the plot. It just keeps poking at them until they're finally forced to interact with it. If the characters in the book aren't interested in the plot, why should the audience be?
(Mind, you could probably write a hilarious small town murder mystery where the only person who cares about the plot is the detective, and everyone else in the village is far more interested in the fete, or Colonel Suchandsuch's roses. But even there, it only works if the detective does care.)
Of course, you can have very entertaining fiction in which the main character(s) are annoyed by the plot. Both The Rockford Files and (original flavor) MacGyver made good use of ye old "god damn it, my idiot friend has dragged me into some kind of ridiculous trouble again" plot. But, again, the characters in question do still care either because they care about their idiot friend or because they're in the soup now, too. Or both.
It's also very hard to successfully not care when the plot kicks down your door and waves weaponry at you. One could argue that large portions of the hard boiled detective genre are entirely made of that. (Which would also explain it's presence on The Rockford Files.)
And that might be the issue with the book where the protagonists didn't care. The plot let them not care right up until near the end, and by that time, I was very much bored with the plot's ineffectual efforts to make them (and/or me) care.
It's not just that, though, since that doesn't apply to the other two books. It's like the plot and the characters have to... I don't know... be right for each other? Or the plot needs to be the most interesting thing you could with these characters in this world? (Or at least not the least interesting thing you could do with these characters in this world.)
When I was trying to be a mystery writer, one of the things that frustrated me was the insistence that the detective have a personal stake in the mystery. But if you have the right character, that's not necessary. Or, rather, they will see to it that they have a personal stake. It's like Doctor Who; the Doctor (especially some regenerations) just can't resist poking about, and he invariably pokes his way right into trouble. Now the plot has a personal stake in him.
Hell, there's an episode of Simon & Simon ('80s private detective show) where they investigate a letter that shows up like 30 years late, addressed to the person who had (what is now) their office then. Some people would toss it in recycling, or send it back to the post office, but they (like the Doctor) just couldn't resist poking about. That's why they're the protagonists of a detective show.
... It is about the plot matching the protagonists. If you give the protagonists a plot that they can't resist, it all feels natural. If you give them a plot that they can/could resist, the hand of the author is impossible to ignore. If there are other plots that feel more right for the characters or setting, the audience will notice, and notice that the one that's happening feels forced.
The plot can come from outside in a Watsonian sense, but it cannot come from outside in a Doyalistic sense. The audience will notice.
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random six of crows headcanon of mine: out of the crows, matthias is the one who really likes kids! he's the kind of guy who smiles at babies and give them a little wave when they lock eyes with him
inej is the only one who knows about this. one day when she's walking down the streets with nina and matthias, she notices how matthias is glancing longingly in the direction of all the toddlers and kids with parents they meet 🥺
(months later when matthias is tipsy, he confesses to inej how he would love to be a dad one day. he would love to go back to fjerda, have a wife and a kid and raise said kid in his home country and culture, but he's scared of doing so because what if the same thing happens to that child that happened to him?)
BIG BROTHER MATTHIAS MY BELOVED
elliot this is everything i ever needed. matthias hesitantly waving to a baby, unsure if it'll be scared--he's so different from how he used to be, grown bigger and scarred, but the baby just waves back and grins huge, and the shock, the relief, he feels out in the ketterdam street: this is still the same as when he was younger
maybe nina is distracting the poor tourists on a job for kaz one day and matthias catches the eye of a six year old wrinkling his nose confusedly at nina's wild cavorting, and they laugh silently together
matthias and the baby dregs????? scrappy skinny little things, trying their best to get kaz's approval, eating whatever they can, sleeping less, and matthias tries his best to keep an eye on them, to make sure they don't forget supper, and gradually they all learn he's safe to go to if there's any problem
and inej learning about matthias' dreams and fears! oh my god why is this tissue so damp-- inej is the best listener, and i feel like she'd totally get what he means, and they'd sit together for a while, mourning their ways of life that were lost, and fearing they can't ever get them back...(and then working hard on getting back every bit they can)
also i can totally picture the crows being landed with a toddler--maybe wylan's half sibling?--and everyone's freaking out because they have no clue what to do and then they calm down enough to glance over at matthias who's effortlessly bouncing the kid and singing, and the kid just adores him, like has to be yanked away any time, and will do whatever matthias asks them
#thank you for blessing me on this day!!#whew that got long#matthias helvar#six of crows#soc#asks#jonathanlejonhjarta#elliot
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*Comes out of void while following waterpark au crumbs*
Okay, question.
Why is Y/n back at the water park? And do they try to avoid the boys? And it's just a whole thing of Sun and Moon trying to hunt them down and Y/n just ducking and weaving into crowds to avoid them.
*Sits down in front of you* Thank you for the crumbs...
Answering this question with a part 2!
(Why y/n is back at the waterpark is yet to be revealed :)
Oh no you got caught!
#yeah y/n attempts to avoid the boys but it doesn’t work out so well#too much public attention and a sprinkle of something else triggered y/n’s flight mode#finally got to this ask whew it’s been on the back burner of my mind for a long time#sun and moon are very excited to see you again#so glad your liking the au!!!#waterpark au#WP asks#Waterspark au#Waterspark#Waterspark bay#dca au#sb daycare attendant#crunch art
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Aromanticism in Academic papers (day 1)
A few days ago, I posted wondering about aromanticism in academic research. Well after a search through google scholar and some institutional access (thank you wikipedia <2) I've found some papers. Since it's Aromantic Spectrum Awareness Week this week, I'm gonna try posting about one paper I found each day this week.
So today's paper is The stability of singlehood: Limitations of the relationship status paradigm and a new theoretical framework for reimagining singlehood By Dr. Hannah Tessler (2022) [stable link]
To give a summary, this paper focuses on the idea that the general conceptualization of the term single is extremely limited within the standard definition of a person without a romantic partner. This assumes that a given person's relationship status is binary, that the individual is willing to be in a romantic partnership, that singlehood is a transitory state and not one that some people prefer to be in long term. Obviously, the implications of the term single does not accurately reflect the experiences of many people without romantic partners (like many aromantic people). The paper instead proposes a new framework for classifying singles on a graph of two axes, one for Openness to romance and one for desire for romance. This framework not only allows for the term single to encapsulate more than the normative assumption, but also shows how singlehood can be stable.
Tessler identifies seven populations of singles that subvert the standard assumption:
Singles that perfer singlehood
Aromantic and/or asexual singles
Heterosexual single women who elect to opt out of heteronormative relationships
MGTOWs and to an extent some incels
Singles committed to religion
People satisfied with single life but facing social pressure
and Single people after divorce/widowhood
The section on aromanticism itself is well written and accurate. It describes the state of many of us very well, while acknowledging that there are partnering aromantics out there. For future considerations, Tessler writes: "There is currently scant research on aromanticism, but more scholarship is necessary in order to better understand the intersections and boundaries between sex, romance, and relationships."
All in all, this paper is a wonderful insight that I hope future researchers in the area of romance take a look at and use ideas from. There's a lot of research out there on romance, but not as much on the lack of it. Tessler challenges the scientific community to help fill that gap.
[link to day 2]
#whew. a long post#Give me feedback on this please. if there's specific details you want to hear more about when relating to these papers or anything#feel free to let me know#I've got a few more papers in mind (including some more written by Dr. Tessler) to write about#aromantic#aromanticism#aro#aromantic spectrum awareness week#asaw 2024
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Masculinity In Young Royals
So, in honour of Ke Huy Quan and the team of Everything Everywhere All At Once sweeping the Oscars(been crying about it since morning), I was watching this BRILLIANT video essay(check it out it's so well thought out!) about Waymond(Ke's character) and this gave me thoughts about Young Royals as well, because hyperfixations go hand-in-hand, right? :)
Masculinity, and especially different portrayals and aspects of its prevalent notions is a theme brilliantly explored in the two seasons of Young Royals. I wanted to talk about some characters, and this list will progress from worse to better(not using the word perfect because nuance > perfection).
Note: The traits I will discuss further are not restricted to just a cis or male perspective, anyone can exhibit these traits, but since assertion of masculinity is a constant spectacle in Young Royals, I will associate some traits with it.
1. Vincent
Vincent, especially in S2, embodies the worst traits on the masculinity spectrum, and since his character is understandably not offered the privilege of nuance, he comes off as this typical, toxic, sort of "alpha-male" character, especially after he's elected as the prefect and Rowing Captain. He constantly bullies others, especially Simon, tries to enforce the hierarchy of privilege and class firstly through August and then by himself. As soon as he sees an opportunity shown by Wilhelm to take control in his hands, he doesn't take much time to betray his "friend", August(although August of all people getting betrayed is certainly irony at its best). He kinda reminds me of the Royal Court in some ways- their presence furthering the divide of tradition and social systems in their respective environments.
2. August
The only reason August is not placed higher than Vincent in this list is the privilege of nuance August is provided with throughout the story. This nuance is what sets him apart in the narrative, but is also the thing which dooms him as a character.
August is misogynistic, sexist, classist, obsessed with power and privilege and feels entitled to both of them, set to further the class divide just like Vincent. He stokes his ego like fire, and if someone tries to cross him, he does not hesitate to burn them with the flames, like Wilhelm exposing his money issues and August violating Wilhelm and Simon's privacy in return. He's manipulative, he's calculative, he knows how to scheme things in his favour(failed attempts, though) and he's just a walking red flag of a person. He also falls around the worse side of the spectrum of masculinity.
But, he is offered nuance by the narrative. In S1, it's in the form of familial and personal issues: his dad killing himself, financial problems, addiction issues and possible issues of body dysmorphia. In S2, through his relationship with Sara, we are shown a different side of him- a side that is capable of being vulnerable, capable of being soft, and this almost sparks this hope within the audience that maybe August can change a little, for the better.
But then he's offered a chance of power and his hamartia is revealed to the audience: his inability to change. The greatest tragedy (which is also its brilliance) with August's character is he cannot change for the better. Even if he tries to. He can have opprtunities to grow, but it will be a Herculean labour for him to take advantage of those opportunities and actually change. He is so deeply entrenched in his perceptions of toxic masculinity and power and lost in his conceited, privileged worldview that it's quite hard for him to see the light at the end of the tunnel. And it's what sets him apart in the narrative- despite all his nuance, he is still a terrible person at his core. The nuance is just what separates him from all his shallow and one-dimensional preceding antagonists of the past.
3. Nils
Nils brings a neutral perspective to the extreme hyper-masculine and cishet dynamics upheld by August and Vincent. He's revealed to be queer in S2, but chooses to be discreet about it- which gives him a chance to build solidarity with both his cishet peers(Vincent and August) as well as a fellow queer person (Wille). He's not dismissive of Wilhelm's queerness, but he believes it to be something "better behind close doors". He's one of the few people who actually acknowledges Wilhelm and Simon's relationship, but is also dismissive of it, mainly because of the difference in their social standings. He's devoid of the typical "heteronormative" traits associated with masculinity, especially in S2, but he still uphelds the toxic class hierarchy and privilege.
4. Simon
Simon is a quite interesting character to me on this list because he subverts these traits in a very unique way.
Usually canonically gay characters in media are often stereotyped to possess "feminine" traits, which is NOT a bad thing at all, BUT mostly the portrayal of such characters usually leans more towards the mockery of the "feminine" traits, rather than something which strengthens the queerness of that character.
Simon is actually very different from this famous rendition of gay characters- he's actually very masculine in his behaviour. He exhibits two typical masculine behaviours in general:
1. "Man Of The House", or taking the mantle of emotional(and sometimes financial) stability in a house in one's own hands. He often takes matters in his own hand, especially when Sara says or does something that disrupts the peace of their little family. It's interesting because despite being the youngest person in the family, Linda subconsciously lets him take the mantle on his shoulders, without realizing how heavy it can be. And consequenty, it brings us down to the second trait:
2. "Suppressing emotions", or avoiding being vulnerable in public spaces or with people one loves and trusts. Simon constantly shoves what he's feeling deep in his heart, he refuses to break open in front of people, in front of Wille(S2 E6 gun scene) and would go to lengths to maintain a facade of "everything's fine!" even if he's breaking inside. It makes sense because his backstory alludes to hesitation to open up to people and it can be possibly related to his familial trauma, but it's still interesting nevertheless because he shows incredible emotional maturity throughout the story, much more than his predecessors on this list. He's devoid of both the toxic traits of heteronormativity and elitist behaviour associated with "masculinity" in Young Royals, but he still possesses a different set of problems associated with orthodox masculinity.
5. Wilhelm
Wilhelm is, in my opinion, the closest example to what is emerging as the new definition of "masculinity" in the current media. Wilhelm, through his immense emotional journey and growth in the two seasons, subverts all the traits of masculinity displayed by his predecessors in the list with grace and humility.
He's not obsessed with upholding traditions and asserting heteronormativity like Vincent and August, he is quite indifferent to it in S1, the only "compulsion" he feels to do so is immediately after Erik's death in S1, which he quickly overcomes as well. His "revenge" attempts on August by pulling rank and exercising his privilege stems from a feeling of injustice and anger rather than something he enjoys or feels the need to practice at all.
August's hamartia is Wilhelm's strength. Wilhelm, unlike August, displays great capacity to change for the better, which he constantly does throughout the story. Love knocks on both of their doors as an opportunity to grow, to change for the better, and while Wilhelm embraces it, August slaps the door shut on its face.
Unlike Nils, neither Wilhelm's queerness was never given a chance to be discreet in the first place, nor he ever felt the need to do so. The idea of keeping his and Simon's relationship a secret was more of an idea subconsciously conceived by Kristina in Wilhelm's head rather than his own desire to be secretive.
Wilhelm even subverts the traits displayed by Simon in this regard- the position of the "Man Of The House" falls on him in the form of "Crown Prince of Sweden", and although he understandably struggles with the role initially, by the end of S2, he consciously embraces the role with grace and humility. Compared to Simon, Wilhelm wears his heart on his sleeve, he is not afraid to express his true emotions to the people he love and trusts, and even to strangers.
#WHEW this got long#but yeah#young royals#prince wilhelm#simon eriksson#august horn#vincent young royals#nils young royals#feel free to disagree
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Nameless
Part Twelve - Apostate
Page 2/10
I'm sorry, the only way to visually show Barriss successfully making an ideological transmission towards the future Grand Inquisitor was to make them gaze at each other like two sad wet seals.
Text is taken from the TCW episode, ‘The Wrong Jedi’.
The comic is also available here on AO3.
🡨 Previous Next 🡪
Part I Navigation: 1 / 2 / 3 / 4 / 5 / 6 / 7
Part II Navigation: 1 / 2 / 3
Part III Navigation: 1 / 2 / 3 / 4 / 5
Part IV Navigation: 1 / 2 / 3 / 4 / 5 / 6 / 7
Part V Navigation: 1 / 2 / 3 / 4 / 5 / 6 / 7
Part VI Navigation: 1 / 2 / 3 / 4 / 5 / 6 / 7
Part VII Navigation: 1 / 2 / 3 / 4 / 5 / 6
Part VIII Navigation: 1 / 2 / 3 / 4 / 5 / 6 / 7 / 8
Part IX Navigation: 1 / 2 / 3 / 4 / 5 / 6 / 7 / 8
Part X Navigation: 1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9
Part XI Navigation: 1 / 2 / 3 / 4 / 5 / 6 / 7 / 8
Part XII Navigation: 1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9 / 10
#I'm pointing at their eyes and making you notice the matching little red shine dots in their eye close-ups#nameless comic#barriss offee#palpatine#sheev palpatine#TCW#clone wars#jedi temple guard#pau'an temple guard#grand inquisitor#pau'an inquisitor#also finally some Palpatine! yeah!#fun fact: my Sith apprentice watched me when I was colouring him and declared that he was a good guy#I think I got a good design for him since Palpatine has now successfully bamboozled a toddler#along with Anakin Skywalker and the Republic and etc etc#whew this page was really difficult to make for some reason + took too long - it kicked my ass three nights in a row - so be nice plz
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i love steve and eddie so much no guys wait. WAIT. i LOVE THEM. I LOVE STEVE AND EDDIE SO SO MUCH GUYS WAIT HOLD ON NO YOU DONT UNDERSTAND!!!!$!&!!$!! i LOVE THEM. i love them so MUCHHHH steve and EDDIE AHHHH STEVE and eddiE I LOVE THEM SO MUCH- *crashing* *explosions* *rapid gunfire* *screaming* *police sirens* *more crashing and screaming**glass shatters*
#whew glad i got that out of my system.#i’m so normal about them what do you mean?#guys literally i’m so calm abt my boys like they’re so chill to me#yeah i’d rip my skin off one limb at a time then reattach it in the order it was removed to see them kiss on screen together#and hold hands and live long happy lives together sharing their love but like#that’s so normal guys wdym#like other than that i an SOOOO chill#stranger things#eddie munson#steddie#steve harrington#stranger things 4#stranger things season 4#save me steddie munstington…save me.
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old history
1816 // chapter IV // part I
(previous parts here)
#1816#historical fantasy#we are back at long last -- and i admit i got sidetracked for a while there hahaahah love u all <3 and thanks for sticking along#also whew that got lengthy HAAAAAHAHAHAH whoooops
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ok whoops i ended up being a bit busy so i wasn’t able to write this immediately!
we all know that the pale king wasn’t a good father to the vessels because, well. mass infanticide to the point of having an entire pit full of your dead children’s corpses isn’t really a sign of good parenting. but what was he like to hornet?
it’s honestly really hard to tell what their relationship would’ve been like just because there’s not a lot we encounter in game that reveals that. so! i’m gonna do a bit of theory crafting here so take what i say with a grain of salt. this is my personal interpretation of the text in game.
first, hornet never actually talks about the pale king. despite guarding the wyrm corpse, she never mentions anything about her relationship with him. contrasting to this, after breaking herrah’s seal hornet is there, mourning her mother. and while i would like to point out this isn’t exactly a fair comparison because the wyrm corpse isn’t actually the pale king’s dead body i just wanted to put this observation here.
in fact, the main reason why we know hornet is the pale king’s child is because of a line from the white lady
but again, it emphasizes more on her relationship with herrah than anything. (the other clue is hornet’s dialogue in regards to the hollow knight, in referring to them as “siblings”. and since we know herrah is her mother it would just be process of elimination as to who their shared parent is)
also small side note, it looks like hornet doesn’t have that great of a relationship with white lady, or at least not a deep one, if how she refers to her as just “the creature” is anything to go by.
it’s honestly odd how hornet never mentions herself why hallownest is so important to her. she’s the princess of it! she’s the king’s daughter! and she’s spent all this time protecting it, and yet we don’t actually know why she’s doing it. she could leave, nothing is stopping her. we know that the weavers left hallownest and that they still cared about hornet if the weaversong, a charm that was most likely meant for her, is anything to go by. there was nothing that could’ve stopped her from leaving with them. who cares about this rotting kingdom anyway? we know who did, the pale king
the entire reason why the vessels were made was because he desperately wanted to stop his kingdom from falling into ruin. and we know his plan failed. we know hornet is at least a little knowledgeable about the vessels, the seals, the infection. she knows the hollow knight is her sibling, that her father is not above such dire sacrifices. she was raised with a mindset of being indebted. she felt indebted to her mother for being born. could you imagine how indebted she felt to her father too?
knowing this, it’s no wonder why despite all this time, she’s still trying to keep together the pieces of a kingdom long lost to infection and ruin. she’s trying to keep her father’s legacy alive still. to the point where she’s willing to essentially stand by while her mother fades away, gone for good, just for a chance that the kingdom could still be saved.
and this is a bit petty but i think it’s a pretty asshole move to have your child protect your kingdom then just peace out to the dream realm leaving her to fend for herself :/
to summarize: hornet’s relationship with her mother is much more emphasized than the one with her father, despite his kingdom being the one she’s protecting. hornet was raised to basically idolize self-sacrifice, her sibling being the hollow knight, the pale king “sacrificing” his child to be a vessel, her mother sacrificing herself so hornet could be born. this makes for an unhealthy mindset that hornet carries to this day.
#hollow knight#this got long. whew#catty.txt#long post#idk my thoughts are a lil over the place#but i cant think anymore
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Please can we see a comeback of Wild making biscuits 😩 love that funky guy and his funky brothers. Has he ever started kneading someone in the chain lmao?
I have added this to my spreadsheet for upcoming stories! We need more kneading, STAT
(like, that's actually what i put on the spreadsheet)
and YES he has and it's ADORABLE.
The first person was probably Wind, given how quickly the sailor started snuggling up to Wild at night. At first he was ALARMED but then he looked down and saw that it was just Wild kneading at his arm in his sleep.
Well, Wind figured, that was okay. He went back to sleep, snuggling back up to his new brother.
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next was Twilight. Of course. He spent so much time hanging about with Wild, it was only but natural that he would be next. It was the night before he told Wild about Wolfie. Or. Well. Showed him in possibly the least well thought out way ever.
Twi had flopped against Wild after dinner, stuffed to the gills and beyond satisfied with his meal. Sky was plucking at his harp by the fireside and Time was playing his ocarina, and Legend had even been convinced to sing them a song.
It was just so relaxed. That was probably why it started.
Wild was kneading absently at his pelt as he purred along to the music. Twi smiled and relaxed into it.
That was when he decided to share his secret with Wild.
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it went quickly after that. Hyrule then Sky, then Legend then Time then Four and then finally Warriors. They all got used to the way Wild would knead at things when he relaxed, both objects and people.
And aside from occasionally moving him from bare skin to thicker fabric, they think it's pretty endearing, really. Sure, Wild may be different to the rest of them, but he's still their brother, and they love him .
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Just got home after spinnin out something feirce off the highway into the ditch. Hope y'all are staying safe and warm tonight ! Remember to use four wheel drive on icy highways and drive slow for winter conditions!
#knox rambles#whew#its been a long eveningHFHFJFJJG#we got super lucky super blessed this guy stopped immedeatly after to help tow us out otherwise we would have been stuck in the snow HFHFJG#good to finally be home it was like -30 and i was in socks and sandals out there. and thats not including rhe wind chill#the gents who stopped were really wonderful#also im okay no one was injured and there was very little traffic so it went really well#ah wild end to a pretty alright day#seriously tho four wheel drive on icy highways pls--#my jellybeans went everywhere
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hi everyone 🥺
#IK IT'S BEEN SO LONG#HELLO HELLOOOOO LIFE JUST GOT SO CRAZY#it's so entirely different from when i was last on here!#BUT WHEW I;VE HAD THE SECOND CHAPTER TO 'TO TURN A BAD THING GOOD' FOR A WHILE#I JUST LOST ALL MOTIVATION AFTER LIFE GOT SO CRAZY#it legit needs another paragraph or two and it'll be done#i also have a tae pwp i wrote like two years ago and just never released stashed somewhere#i might release that too!#i wanna get back into maybe i do drabbles as well!!#sammy files
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When I think about s13-15 I can’t help but feel that Dabb was simply not interested in telling Sam&Dean’s story (anymore) (if he ever was). s12 is a little rocky regarding this too, but it’s still unmistakable that they’re the protagonists, this story is their story. But it’s evident from the start of s13 that he’s not willing to put in that effort anymore.
He introduces Jack and the rest of the season is focused on him, one way or the other. Even the mytharc of the season is about him, from being trapped in the apocalypse world, making a place for himself with the hunters, trying to figure out who he is. And meanwhile the actual protagonists of the show are…..running around chasing leads but actually accomplishing very little. They take turns being sad, make a few speeches but don’t really do anything. They are not the ones who move the story.
He downplays (if not outright erases) all of the older characters’ intelligence to make them fit the story and doesn’t bother with consistent growth/arc for any of them. He beats and forces them to fit the shape he’s cut out for them to portray in his story instead of understanding them: who they were, how they grew and where they are now and logically advancing their story from that point. He makes them regress or progress on a moment’s notice on an episode-to-episode basis and ignores any preceding canonical events when it suits him.
It’s most noticeable with Dean but he also takes away from Sam and Cas’ characters till they’re almost unrecognisable, bearing only the most superficial of similarities with the characters we have grown to love over 10+ seasons. But at the same time he also relies on this very love to keep the viewers watching, since the plot itself is barely held together by retcons or sudden personality changes/loss of logical reasoning in the characters.
There have been discussions on how, as the show goes on the themes (even the genre) change and how vastly different the later seasons are compared to the earlier ones and while that’s true, there is still some coherence to those changes-a graphical line changing direction erratically perhaps, but a line nonetheless-as the story progresses….upto s12. Forward of that Dabb just-tears the graph to pieces and handpicks a few of them to nail to the wall.
He twists the characters, their history, their personalities, the themes and events of the story and it’s very heart to fit the show he wants to make instead of adapting his writing to the show that he’s actually been handed the reins to. And it’s tiring honestly.
I do believe that when a character behaves in a manner you find ooc, it can be interesting to think about why they may act that way instead of immediately blaming the writing, even if the writing may actually be the issue, because I think it can make for a more entertaining narrative sometimes, and because no one always acts true to who they are. It’s the point of being human. But that can only be applied to particular moments and decisions or behaviour concerning a certain element of the story (another character, an event etc). If your audience can barely recognise any of the characters, there’s only the writing to blame.
#whew this got long#also i feel like i used the word ‘character’ way too many times#but anyway#in this house we hate andrew dabb#supernatural#dabb era#s13#.txt
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New and old art (+thoughts) under the cut!! B)
Recent art:
Emma (hws Belgium) as Manon from my Dead Plate AU!
Really quick doodle, just wanted to test some sort of "creepy atmosphere" in my style b4 going further into the fanarts! Also to get used to drawing other characters other than Port and Eng hihi :')
Old art:
Vampire! Moldova & Human! Sealand AU
This is from last year, i don't really like the art 😭 but i really liked the designs & want to redraw it!!
The first one is more recent than the second, two distinct eras 😭
1° -> is a throwback to my watercolour brush phase
2° -> is a throwback to my pencil brush phase
I like them tbh!!! Would love to redraw their concepts :>
Trigun! AU
Emma -> Meryl
Obviously, i could put her as Milly but idkkkk this was an old AU I still need ot think abt it 💆♀️
Antonio -> Vash
->Yeah </3
Gabriel -> Millions Knives
->It's only destined to be. Twins, one good, another bad. If one good, another bad. The end...
->Thinking back, switching these up would also such a GOOD IDEA OMGOMGOGMMGOGMKG
Romano/Abel -> Nicolas Wolfwood
->This is me being indecisive + contradicting myself over and over about the following ideas:
a) would putting Romano there be inconsiderate or too expected?
b) if i put Abel there would it be too OOC?
DEFINETELY WANNA WORK MORE INTO THIS AUU <33333
And finallyyyy!! 1930's engport detective AU that me and @froggi-mushroom created!!
(I recommend checking out her fics, i think i reblogged some.. just search in the tags if interested!)
My favourite part of drawing Edith and Gabriel in this AU is looking @ the difference between their looks and personality 😭😭
->A how to guide on how to draw them in the AU:
Edith (Nyo Eng.)
-> dirty blonde curly hair and almost olive green eyes, very beautiful woman; she takes good care of herself since she's a famous singer and appearance (beside talent and charm) is key!
Gabriel
-> messy semi (but also not really) curly brown hair and blue eyes, he's thin and has dark circles from overworking. Says he doesn't care about looks since "as a famous detective, no one will remember you for your looks, only achievements and discoveries 🤓☝️"
#dp au#hws belgium#engport#hws portugal#hws england#hws moldova#hws sealand#nyo! sealand#vampire au#trigun au#hws spain#1930s detective au#nyo england#hetalia#mine#au fanart#whew this got long
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I don't normally have much of a sense of humor about the LOTR movies or Certain Choices (all the choices) made with Faramir and Denethor.
That said, I do find it a little bit funny that, in the attempt to make Faramir sympathetic in ROTK, it leans so far into poor teary-eyed woobie Faramir who is regarded with undiluted tragic(??) contempt by his awful and also incompetent and unhinged father. A lot of the rationale for the choices made in TTT came down to "Faramir is too perfect and invulnerable for film." But book Faramir is at his most vulnerable in ROTK, and arguably his most flawed.
He's scared when he rides towards the Ringwraiths (more courageously in the book, to be sure) and contracts the Black Breath. He's still vulnerable, but also far more assertive with Denethor especially (who is far more formidable in the book), to the point that his restraint with Denethor eventually snaps and he lashes out, effectively blaming Denethor for Boromir's death. That could easily be played as a pretty brutal moment that highlights how tragically far their relationship has devolved, despite their pained love for each other. It's not in the movie at all.
Faramir essentially insists that he's opposed to the defense of the river crossing (not a suicide mission in the book! a planned retreat that inflicts major casualties on Sauron's armies!) and will only go if explicitly commanded, maneuvering Denethor into a position where he has to back down or give the order. It's not even certain in the book that Faramir was right in opposing the tactic; it bought the time needed for the Rohirrim to reach Minas Tirith.
Film!ROTK is pretty much uncritical of Faramir (his choice to lead a bunch of men to their deaths on a pointless doomed mission because his terrible father doesn't love him is mainly treated as sad for him). The Faramir of the ROTK-the-book is still treated as deeply admirable, but he's messier, more aggressive, yet still very vulnerable at times. And there is something vaguely funny to me about going from "oh, he's too perfect in the book to be recognizably adapted" to papering over nearly all complexities and flaws in his character.
#not ha-ha funny but ... lol. okay.#yeah yeah film is a different medium blah blah blah it's still diluting him into a totally soft innocent victim#despite the governing rationale of 'he's just too perfect'#anghraine babbles#pj critical#anghraine rants#legendarium blogging#legendarium fanwank#jewel of the seashore#the tragedy of faramir addressing denethor as 'my father' only to leap to 'it was the lord of the city' who got boromir killed... whew#húrinionath#long post
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