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#and I still want to reread it
bigfatbreak · 29 days
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fun fact, when mlp first came out in 2010, I had an entire comic I'd been drawing by hand with markers about my pony ocs which were guards in the royal castle. I still have the original 62 pages. fucking insane. anyway here's redraws of two of them lmao
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Garden ("En") the "painted pegasus", who's mother was a zebra and who's pa was a pegasus. he was protag of the comic and YES I shipped him with princess luna WOOO LETS GOOOO
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this guy was actually a background character more than anything. he was used here and there but he wasn't one of the central characters at all, he was friends with two other captains who WERE central characters. but I popped off with him so-
BEHOLD!! OLD ASS ART... FROM MY BEGINNER DAYS....
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sysig · 2 months
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Permission to headbutt: Granted (Patreon)
#My art#UT#Sans#Papyrus#Ft. something smol and I do on a regular basis ♪#This could be Handplates or it could be classic Undertale I leave that up to you lol#I definitely picked up a lot of the style quirks lol - but there are some of the ones that I like myself! Like Papyrus' darkmode clothes lol#And Sans' shorts having the stripe in the front haha - little details ♫#Realistically it probably is Handplates tho just based on where my head's at lol - I love the Handplates dynamic :D#Handplates#I talked myself into it! Pfft ♪#I found myself relating a lot to Sans especially while rereading - I want nothing more in the world than for my siblings to be happy! <3#So I gathered up a bunch of ideas of things especially me and smol do together and this was the most obviously cute one haha#Easiest to do! Tho I did still go a little extra on this lol#I'm trying to do more digital stuff ♪ It wasn't the best art day and I'm still a little nervous to jump right in :')#Not doing any sketches on paper beforehand feels weird but I guess it is thematic in a way lol#And I'm still pleased with how they turned out hehe#It really does feel nice to be drawing them again <3#And doing silly sibling things! Hehe#I dunno how clear it is since it's so ingrained into how smol and I talk to each other lol family language!#One of us will literally just announce ''bonk'' and the other will prepare for/lean in for a headbutt haha#She is a tiny bit taller than me - it's not quite /this/ extreme but she does lean down for me! S'cute <3#I like to think Papyrus would do the same hehe ♪ Let your lazy brother headbutt you! He can only reach so far!#On minimal effort anyhow hehe#It's just a fun way to be silly together ♫♪#Also yes I did show this to her and she cosigned lol - ''Cute'' -smol
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tumatawa · 1 month
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I wish she had more scenes... Whateva
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nikoisme · 4 months
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the odyssey by homer save me. the odyssey by homer. save me the odyssey by homer.
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wooliris · 1 year
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Something that honestly blows my mind about canon bkdk is the shift of Katsuki's mentality about Izuku's eyes. Izuku is starkly remembered/characterized with them, by Bakugou, all the way back in the infamous river scene in Ch 9.
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As well as with the sludge villain (not directly, but implied.)
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These two occurances expand upon Ch 8 where he first expresses anger at his expression.
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And then when the fight reaches its climax, he can't help but mention it again.
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We get to see another taste of just how much this bothers him, as he implies that he would purposefully be cruel to Izuku when they were children because Izuku wouldn't stop looking at him and go away.
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To skip forward a bit, I've always found it very strange that Katsuki decides to waste a hand to shove Izuku's face away at the end of the Deku vs Kacchan 2 fight. It's honestly not the best way to pin someone, it's kind of inefficient.
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But god, in the context of their relationship at that point, I really do think the thought of being that close to Izuku and having him stare at him probably unnerved tf out of him.
It's the biggest aspect of Izuku that he actively dislikes at this point in the narrative, the part of him that Bakugou had thought (until their fight) meant "I'm better than you" rather than "I admire you".
Then Katsuki gets his introspection arc while Shie Hassaikai happens, we get to see some glimpses into his own mental state, Izuku and Katsuki being able to hold very minor conversations, Katsuki waiting up late until Deku comes back (until Kaminari calls him out on it). We know that they're more actively trying to coexist and things don't seem like they've shifted too drastically. Izuku is now comfortable (and happy) at being able to compliment Katsuki. And then we get to see Katsuki's response to all this in the Class A vs B scene.
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I'll be honest, I originally was an anime-only, and when I first found out that the anime had fudged/modified these lines to only be "Just watch, Deku", I didn't think it was a big deal.
But in the context of how Katsuki himself has previously dealt with and contextualized Izuku's feelings and actions, this is extremely important.
He's always seen Izuku as having his eyes pinned to his back which consistently angered and freaked him out in equal measure. He's never WANTED Izuku's attention and has, for the majority of their childhood, seen it as a negative. But now we have a genuine case of Katsuki wanting Izuku to not just look at him but to KEEP his eyes on him, to keep watching him, to not look away.
We also get to see just what exactly he wants Izuku to see, and its Bakugo accepting Izuku's part of being a hero, to Win by Saving. And then we get another iconic panel that further implies that Bakugou's change is due to Izuku (which was, again, removed from the anime).
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And then finally we get the end of the fight where we get more of Bakugou being a disaster unable to take a compliment and reflexively yelling at Izuku (which also wasn't clear in the anime…).
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It's honestly kind of funny bc this idiot literally cannot still directly handle Izuku, but wants Izuku to look at him.
And then we get to see Izuku parallel Katsuki's thoughts, wanting Katsuki to watch him as well (although Izuku doesn't realize it).
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drawnfamiliarfaces · 10 days
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i... wrote a smol fic (っ´▽`*)っ
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also!!!!! If you haven't seen it - shoutout to first ever published fic in Ninja Showdown/My Immortal Soul tags - Lustrous Red by @missadmyre !!!
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akai-anna · 2 months
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project "i'm totally normal about this guy and his wardrobe"
a work in progress
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spookybeandoodle · 11 months
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Blue Skies~!
Recently replayed the portal series after years of not playing it and now I’m sucked back in to my obsession of this series. It’s sooooo gooooood! So I did a doodle to celebrate me getting back intoy obsession with Portal! There’s a bit of a reference to a certain *cough cough* popular fanfic-
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familyofpaladins · 6 months
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Some Fanart for the Lovely fic Summer Storm by @dawntreaderflynne (Flynne) on Ao3
I love Flynne's 2003 TMNT fics so much, and I saw them answer an ask saying that if they got fan art, they'd like the sleeping turtles
I also really liked the image of April looking at the incoming storm clouds and decided to draw that too as a bonus
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slimyshield · 11 months
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lockwood & co is great bc you have a group of teenagers who are all at this point in their lives highly trained individuals and capable and experienced and it shows in how they operate. but they are also teenagers and chaotic and disorganized and struggling with altogether too much pressure on their shoulders and it shows too. they're marching around London acting like they know what they're doing and they do but at the same time they don't, because they hunt ghosts and have for years but they're only sixteen and that is so young. you don't know anything when you're sixteen. and they have the health and safety of a nation resting on their shoulders, and they squabble over who gets the last cookie.
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pa-pa-plasma · 8 months
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#polls#tumblr polls#fanfiction#fanfic#archive of our own#ao3#believe it or not this isn't actually for like. me needing to know about hiatuses#this is just a sneaky way of finding out. something else#Danny Phantom#;)#on an unrelated note how do you feel about waiting somewhere between 2-9 months for a fic to continue on its original course?#it's probably closer to 2 if i actually do it#i mean the fic would still be updating but it would be. uh. spoiler alert cant say it'd just be 2~ months til the main storyline continues#i've been given the go ahead from someone who knows about it all but i need to know how people feel about rereading#it wouldnt be rereading but there would be an element of things repeating. it would seem to be repeating at first but isnt#oh my.... wait no.... i think i just realized where i got this idea from & it's killing me how i failed to see this sooner#literally listening to the soundtrack & watching all versions of it bro. i'm an ADHD stereotype#anyway the reason i want to know this is that. this part of the fic can be skipped. you dont NEED to read it#but you would need to wait for the rest of the fic to continue if you choose not to read it#it IS kinda important. it's just. A Lot#okay saying it's skippable but also important seems weird but trust me it's all in the name of beating this kid to the ground#''character development'' no. character deterioration#how can i make him better if he isn't super fucked up#he can't have a mental breakdown if he's happy. & i need him to have a mental breakdown#yeah im going the psychological torture route#also this isnt about timeloops btw. it might sound like it but it's not
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love-leah · 7 months
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little soulmate au that came to me as a saturday morning laying in bed trying to get back to sleep vision :)
Max on his canonical arms wide open @ the ocean two week Australia trip from 2017 or whatever, but Daniel's not his teammate, or an f1 driver at all. It's just. When max was a kid looking at maps or pictures in the atlases his mom bought him, he always thought Australia seemed like the best country. Their cool animals, and the ocean everywhere, and just. Max didn't even know, really, he just always liked the idea of it; used to beg to go on vacation there when he was little, but there was never enough time between races.
And so then his first chance, when he's there for the second time ever for an f1 race but this year his dad's not with him, because he's not allowed to be this year, Max stays for two weeks after the race. By himself, in a way he realizes a couple days in he's never been in his whole life. Raymond is back in Monaco. Max's family is all in Holland; none of his friends are here. Everyone else from F1 has already left. It's just Max, in a series of little hotels, finding his own places to eat and going out at night if he wants to and walking around through whatever city he's in that day just--alone, but it doesn't feel lonely.
And then it's his last night. He's been in Perth for two days, thinking about how his trip is almost over. How Australia is so far away from home that their seasons are different times down here; how practically no one has recognized him his whole trip. He keeps feeling--thrumming, thinking about all that; like there's an engine inside him.
And so his last night he dresses in his swim shorts, because they're small, and a t shirt that's almost see through, and he goes to a bar.
He orders a drink from the girl bartender and blinks around, twisting in his seat, and then. He doesn't know what he was expecting. That some--some guy would just come up to him and say, I want to fuck your ass? He feels stupid, that he finally can have this and now he has no idea how to get it. How to look at someone else and tell if they're--like that.
He drinks his stupid sweet drink he ordered, his face hot, his eyes locked on his phone where everyone is already texting him about when he gets back, and when his glass is empty and he sets it down, a new bartender stops in front of him; asks him, in the same accent Max has been hearing for two weeks but that suddenly sounds new, "Want another?"
Max blinks up at him. "No," he says, without thinking. "Something else."
The guy laughs really big, his teeth showing all the way to his gums; his head tipping back on his neck. He has tattoos, all up his arms. On the fingers he has sitting on the bar in front of Max.
"I'll save you from Cara and won't tell her you just said that," he tells Max, and nods over to where maybe the girl bartender is. "What can I get ya?"
Max wants to say. Anything; whatever you like best; what takes longest to make, but he knows that just will make him seem young, and he doesn't--the guy is older than him, maybe almost 30. He asks for a gin tonic.
The guy nods, steps back and ducks down a little to grab one of the bottles behind the bar, then stretches up to the shelf above him for a glass.
Max watches him so much he knows it's creepy. The way the curls of his hair are shiny under the lights, the lines of muscle on the inside of his arm, the tan of his skin.
He's been here for two weeks, he thinks insanely, and I'm only just now here.
After his second drink, the bartender tells him his name is Daniel. When he's making Max's fourth, he tells him a joke, and winks. After Max's fifth, he stops walking away; just leans his arms on the bar top between them and asks Max questions about his trip: what's his favorite thing he's seen; when's he going home.
And then it's last call, and it's as easy as Max thought it would be when he first came here. Daniel looks at him closely, and then glances around for a second before he looks back and asks, "Wanna come home with me?" and Max just had to nod.
He follows Daniel the few blocks to his house, already hard in his shorts, and as soon as they're inside the door, Daniel turns and puts both hands on his head and kisses him.
Max has kissed girls before, and thought it was the same, and it's not. Daniel's body is sturdy against him, his hair silky in Max's fingers, his breath hot and wet against Max's face. He puts his thigh between Max's and grinds it up, and Max's body shakes, overwhelmed.
Daniel touches him all over: his cheek, the point of his throat, on his nipples through his shirt, at the top of his ass under his shorts.
They don't go into Daniel's bedroom. Max thinks about that a lot later; that he never got to see that, got to smell where Daniel slept.
Instead they crowd closer against the door, and Max gets on his knees on the cool tile floor, and watches Daniel unzip his jeans and pull his dick out.
It's huge, thick, and when Max reaches out and cups it in his hand, it shocks him how--how heavy it is. He wraps both hands around it, his one thumb bumping into his other pinkie, the edge of one hand pressed against the rough curls of Daniels hair there, and still there's enough it makes him feel filled up when he takes it between his lips, the thick, smooth head rubbing against the roof of his mouth.
It must be obvious to Daniel that it's Max's first time, but he still just lets Max touch him. Puts a hand in Max's hair and one on his shoulder, rubs his thumb under Max's eyes when he chokes too many times and it makes him cry. He makes good noises.
When he comes, he says Max's name, warning, twice, and then pushes Max off at the last minute, puts two fingers in his mouth right away for Max to keep sucking on, and keeps watching Max the way he was the whole time while he jerks himself off and comes hot against Max's neck.
"Fuck, sorry, I'm a piece of shit," he says right after, breathless, picking Max's shirt where it's wet with Daniel's come and sticking to his skin.
Max shakes his head, presses his teeth into Daniel's knuckles when he tries to pull out. He has a hand inside his shorts, the hem pressing tight against his wrist.
He wants--he wants Daniel to show him everything they can do, but he can't wait, and he can't take his dick out now when it's so much--when Daniel's was so--
He comes, Daniel's fingers working against his tongue, Daniel looking down at him like he's amazed.
Daniel keeps moving his fingers in and out for a long time after, letting Max suck.
He must notice as soon as Max gets tired, when his mouth loosens a little around Daniel, because he pulls out right away, cups Max's cheek instead.
Max can feel the leather of Daniel's cover against his jaw. He can feel his own all the sudden, too, rucked up out of place where his whole hand is still inside his shorts.
He feels on fire. He thinks. It will be Daniel. It must be, and that's why Max always wanted to come to Australia and why he's here and why he can't like girls and why even the sharp pain in his kneecaps right now feels better than anything he's ever felt.
He turns his head against Daniel's hand and kisses his palm, smiling.
When he reaches for Daniel's cover, Daniel stops him, his other hand, the one that has come drying on it, jerking to close over his wrist, to stop Max from looking at his mark.
When Max blinks up at him, frowning, he looks terrified.
"I will, first," Max says, and pulls his hand out of his shorts, but Daniel turns away before Max can show him the little pattern of freckles under it.
"Sorry, mate," Daniel says, and his voice is like they're back at the bar, like it's the first drink he gave to Max again. Max shoves the leather band of his own cover back into place.
"If we you think definitely aren't, then why does it fucking matter if you see," Max says, angry and humiliated, to Daniel's back; the logo of the bar on his t-shirt.
"I don't," Daniel says slowly, and then turns so he's looking at Max again, his fingers still wrapped around his wrist, like he's scared Max is going to, like, attack him, make him show it. "I don't definitely think we aren't," he says, and when Max looks at him, he looks sad and scared; younger than he had at the bar.
He makes Max another gin tonic in his kitchen. There's no table, so Max drinks it just standing, while Daniel leans against the counter and watches him.
Daniel tells him, seriously, "I know who you are," and then, "I didn't mean-- obviously I'd not tell anyone," and then, "Even if we were--I can't do any of that right now, like, with a--"
Max finishes his drink, more bitter than the one at the bar, with the cheap bottle of gin from Daniel's counter, the mostly flat tonic from the door of his fridge. He sets his glass in the sink.
He should tell Daniel he gets it, probably, because kind of he does. He's always been scared thinking about his soulmate being a guy, too. Has been scared of how much he always wants to do everything he just did. But it doesn't help to not know.
He says, "Okay," and turns to go. His phone is on the floor by the door somehow, so he bends to pick it up, turns it in his hand to see how many hours until his flight.
Daniel followed him from the kitchen, so he's right there when Max grabs the doorknob to let himself out.
He covers the hand with Max's cover with the hand with his own.
"Max," he says, "I can't. I just can't know, right now, okay? I'm sorry that, like. If I am. Your one. Then I'm sorry you got such a cunt." He laughs a little, mean, breath close against Max's skin.
And then his face is pressing against the back of Max's neck where he's sweaty. He can feel the curve of Daniel's nose, the soft shape of his mouth, the way his eyes are squinted shut.
"if you want to," he says, and turns his wrist up for Max.
Max blinks at it. Daniel's cover is worn, sunbleached along the top but darker by the stitching at the edges.
Max grabs Daniel's wrist, and fits his thumb between the cover and Daniel's skin, rubbing back and forth. Behind him, Daniel shivers.
Either way, he's flying out tomorrow, and going back to being a Formula One driver, and living hours and hours away from here. Either way, Daniel doesn't want him.
He nudges the cover down, and looks, just for a quick second, holding his breath and tensing all his muscles so he doesn't accidentally tell Daniel; so Daniel doesn't feel it where he's pressed against Max.
And then he shoves the cover back in place, and goes out the door.
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jamietwat · 20 days
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Jamie and Roy spending ridiculous amounts of time together and Phoebe knowing about it definitely means that Jamie’s around Phoebe a lot more in the off-season when she’s off school and Roy’s off work but still being Jamie’s personal trainer for free (and she definitely likes bossing Jamie around just as much as Roy does and finds the ridiculous shit Roy makes him do hilarious)
And you know that thing where kids love to randomly go watch this, I can do a somersault or want to see me do a cartwheel? and then you just have to awkwardly stand there and be like wow whether they actually can do them or not (and sometimes several times in a row have to try to think of something new to say the fifth time they do the exact same thing and then look to you for a reaction)
I’m just saying at some point they’re in some park and Phoebe definitely pulls a look how good I’m getting at cart wheels, Uncle Roy! around Jamie at some point and while Roy just stands there like 🧍‍♂️ and gives compliments that gradually get more and more deadpan and debates turning it into saying how much more impressive that is than anything Jamie’s done all morning but he doesn’t because he’s 90% sure that would just lead to Jamie getting all indignant and competitive and proving he can cartwheel too as if Roy isn’t already annoyingly aware of that from when he was dying trying to keep up with Jamie in Amsterdam while he was cartwheeling and practically skipping
But obviously Roy not saying anything doesn’t matter anyway and Jamie turns it into being like watch this to Phoebe and cartwheeling too and turning to Roy after like well go on, tell me how good I am at that too
Roy deadpans somehow it’s far less impressive watching a grown man cartwheel for attention. It’s just sad, really
But Jamie isn’t offended at all and just shoots Roy an obnoxious smirk and insists you’re just saying that because you know you couldn’t do one. Even trying would probably end with you needing a hip replacement or something
But before Roy can even properly argue or say something bitchy back, Jamie’s turning back to Phoebe with a how about this then? But even though it’s her he asks, it’s Roy he looks to the moment he finishes running a few steps and doing a one-handed cartwheel
And Jamie’s like well now are you impressed??? And god, Roy resents that he is and he could make a dig about how useless of a skill it was as an adult and how that wouldn’t accomplish anything on the pitch and he’d just look like one of the kids that picks flowers on the pitch instead of playing or even paying attention to where the ball is, but instead he rolls his eyes and says yeah okay
And Jamie beams but he doesn’t have time to properly gloat and give Roy shit because Phoebe’s already bossing him around telling him that he has to teach her how to do that too
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djatsbrainrot · 1 year
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unpopular opinion: i don’t think the show misunderstood the point of the book at all, Actually. i think it captured the spirit quite well while still being palatable and coherent to an audience that isn’t familiar with the book.
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baeshijima · 25 days
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bitches will still be crying over the high-cloud quintet at 2 am months later and never get over them
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its me. im bitches.
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fragmentedblade · 1 month
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Can you expand more on Ratio's philosophical influences? You seem super knowledgeable!
I've been sitting on this for some time because I didn't know what prompted this message and thus I didn't know what to answer and how. I guess it may be the comment I wrote about him having a socratic but also a sophist air?
There are a lot of details in Ratio's overall design that point towards philosophical references. I want to draw attention to the fact that since this is a vague message on anon I don't really know what to focus on or what could I skip because it's information already known, so what I'm going to say is a very brief summary of many ideas, which of course makes such ideas but the shadow of an echo of themselves, so faint they almost become untrue. I fervently advise to look more deeply into any of this if something catches anyone's interest. And I also want to point out that the problem of knowing a little bit of something, even its existence, is that seeing turns to seeking, and an excess of seeing is also a blindness; what I mean by this is that I'm not sure how much of what I am going to say was intentional by the developers/writers and how much is just me suffering the blindness of seeing too much haha
However, I also want to clarify that I do think many of the things I’m going to say are present even if perhaps not intended by the writers/designers. This is due to the fact that Ratio’s main influence is platonism, and platonism is everywhere in western philosophy and in general western culture; once you see it you cannot unsee it. So perhaps I am reading too much or making correlations between things in his design that were not meant to be linked, giving a depth to the character that is probably incidental, but that I would say nonetheless exists because it pertains to a certain philosophical tradition in which the elements stem from each other. I hope this will become clearer in its development if it isn’t right now. 
Ratio has an Apollonian air. At first that and his mask made me wonder if he was going to be linked to the Mourning Actors, who alongside the Masked Fools for now remind me a lot of the Nietzschean Apollonian and Dyonisian dichotomy. This was conjecture on my side so I won't go on about this on this ask.
Ratio retains however the Apollo air. When I saw his splash art he reminded me instantly of the Belvedere Apollo, down to the strap under his chest like the sculpture has the quiver's strap. His sixth eidolon too recalls that sculpture, since it seems to be a mix of the pose in Michelangelo's David with the cloth in the Belvedere Apollo. Among other things, Apollo is a god linked to truth, medicine, archery and divination. The owl seems to be a reference to Athena, though. 
Ratio also has the laurel or bay branch on his head, which is one of Apollo's traits. Laurel on someone's head became linked to victory as well as academic and artistic merit (I know in Italy people still use it when graduating, for instance; I mean, that's where the word comes from). The fact that he has half of it is most likely due to an aesthetic choice, especially given how the character designs are pointedly asymmetric in this game; however, I think it works well with how, no matter how much he achieves and how hard he tries, Ratio is never gazed upon by Nous nor accepted by the Genius Society with the frustration, bitterness and questioning that brings both himself and others.
This last point, being ignored by something akin to a divinity, works also with his Apollonian air, I'd say. Given his Apollo look, his snake-like pupils made me think instantly of Delphi. Delphi was where a temple to Apollo was (linked to a mythological snake, and snakes thus became associated with Apollo in imagery), and it was famous for its prophecies. Socrates (the master of Plato and main figure in his dialogues) is said to have started the habit of questioning he is mostly famous for because a friend of his went to the temple in Delphi and was told by the Oracle that the wisest man in Athens was Socrates. Socrates was perplexed by this because he knew nothing, and started posing questions to supposedly erudite people about the matters about which they were experts, only to come out of that feeling unsatisfied with the answers. Thus, Socrates thought the Oracle may be right after all, but he was only the wisest man because he at least knew that he knew nothing. 
This works very well with Ratio because Socrates starts the journey by being distinguished among his peers, gazed upon, by a god (Apollo was supposed to possess the Pythia, or at the very least the prophetic power came from him), while Ratio never gets that recognition, and seems resigned to that already ("If this day I have not gained the recognition of Nous, it stands to reason that I never will at any point in the future" and "One day, I received a letter from the Interastral Peace Corporation (...). I could tell the solemnity of the invitation, so I excitedly passed it on to Mr. Ratio. Yet, he said nothing. I could sense his heavy silence even through the headgear. He then politely asked me to leave. The moment I closed the door, I heard a grim sigh followed by a self-deprecating laughter... Perhaps he realized he would never be accepted into the Genius Society..."). The mix of arrogance and humbleness, although enhanced in Ratio in a comical degree, is already somewhat present I would argue in the way Socrates talks in Plato's dialogues. Arrogance was also a trait Heraclitus, the author of the line cited in the name of his banner (“Panta rhei”), was famous to have.
So Ratio takes the position at the IPC. The Intelligentsia Guild is "often seen as a vendor of knowledge", and is looked down upon by the Genius Society. This is where I think the philosopher/sophist dichotomy comes in. Sophists were teachers, and were paid. They also were known to use rhetoric to convince (I would say there's a reference to this in one of Ratio's daily messages). In the political landscape of Athens, they were very useful for young men interested in politics. Some sophists became quite rich and famous. Usually philosophers, who didn't receive any money and did everything for the "love of knowledge" itself, looked down on them. At least in the texts of Plato that's often the case, although some sophists are portrayed under a better light even there; btw many of the things I've been saying come from Plato, but since this is an intricate subject on its own that isn’t directly pertinent to the ask I won't dwell on it right now.
Education in ancient Greece consisted of both intellectual and physical training. Intellectual education included music, poetry, mathematics, astronomy,... Physical fitness was held as something very important in a young man's curriculum as well. I think this is where the fanservicey choice of making Ratio so fit and pretty comes from. And I say “pretty” because beauty too is an important concept for Plato, and ancient Greece in general. It is also part of what linked the need of a young man to develop himself both intellectually and physically. Beauty is linked to harmony and order, both on an individual basis and cosmologically, often in some philosophical trends to a mathematical level; pythagoreanism has a lot of this.
Indeed I think pythagoreanism has to do somewhat with Ratio's design, considering his link to mathematics and geometry, and given his name ("Ratio" made me think of the golden ratio and in general pythagorean ratios even before it made me think of "reason" tbh), but in general the main philosophical reference in Ratio seems to be Plato, who was influenced greatly by pythagoreanism; this is one of the perhaps unintended indirect yet present links I mentioned at the beginning.
Platonism is very present in many ways in Ratio. It's noticeable even in his visual design, with how buff and handsome he is, arguably the references to Apollo and Athena, the geometry imagery, and even the sculptures he creates with his technique, but the influence is seen throughout his entire character, story, dialogue lines,... Part IV of Ratio’s character story, the way he talks with Roseth and what he says, has in my opinion an echo of platonic dialogues, as does his line “To spread knowledge, we must first make people realize their folly” recall Socrates. In the Trailblaze mission the main character had to argue for their innocence, which to me brought to mind the Apology of Socrates. On the other hand, the way this was done was very reminiscent of the socratic method, both in the discussion and counterargument mechanic of the game as, and especially so, in the use of memory. The main character had already the knowledge they seeked, yet they had forgotten about it, and had to retrieve it through memory guided by the intense questioning of Ratio; this, if applied to the research of a more essential knowledge instead of circumstantial, is the core of Socrates' maieutics. Maieutics is "midwifery". Socrates called by that word his method because he thought he was helping give birth to truths or knowledge that were already present in people's minds, if forgotten. It's what Ratio's skill, "intellectual midwifery", references. 
The fact that Socrates' method, the "intellectual midwifery" to put it in in HSR terms, works in platonic philosophy is because it is taken that there are eternal truths, something Ratio believes as well (“The beauty of truth is that it never changes, even when no one understands it. Well, that's true for me, at least”). This has to do with what is called the theory of Forms or the theory of Ideas. The world that we see is but the shadow of that other conceptual abstract world, of which we have but forgotten memories and that we can access only with the mind's eye. Our soul once saw/was part of that other world, which is why it can remember it. Plato was influenced by the pythagorean view of a sort of journey or reincarnation of the soul after dying, to put it some way. This is also extensive, it has to do with orphism, is at the core of a lot of philosophical and theological western traditions, and thus I will say only this, even though it feels very close-to-fake simplistic haha. To summarise, there’s the other abstract perfect world of which everything in this world participates from and is but the shadow of (everything beautiful participates on the Idea of Beauty, eternal and inextinguishable, but it’s never as perfect as that Idea, only but its echo). The idea that the world is but the shadow of the other world is present in Ratio's English line when he is ko-ed, "Mere flesh…" (in Chinese, though, if I’ve understood correctly he says “«Mediocre»… hah”, which is very different if still lore-heavy). This of course implies a strong ontological dualism. 
In this sense it is extremely interesting to me that Ratio’s banner is named “Panta rhei”, because Heraclitus is the epitome of the defender that all things were in constant change yet all things are One, the process of “becoming”, the constant struggle, at the core itself of reality (this too is harmony). He was pointedly monist, and is often contrasted to Parmenides, who spoke of eternal unchanging truths and beings. Both are cornerstones in the development of western philosophy and influenced Plato, but the choice calls my attention. In the Japanese wiki the line was linked/took to the buddhist concept of impermanence; while not necessarily related to that, this wiki suggestion made me wonder whether the choice of making “Panta rhei” the name of Ratio’s banner was done to further enhance another aspect of the many parallels between him and Ruan Mei, who also talks about life as something seemingly diverse and changing, hopes to obtain permanence, and talks about a something that transcends the multiple faces of life and that unifies them all (“Life is countless and varied in form. I firmly believe in that. Its beauty is like a myriad of flowers, and I want to pluck the one that never wilts”; “I wish to discover "the true essence of life," something that all individuals possess unknowingly, whether it is the materialism of their existence or an unknown entity beyond corporeal realms”; “The core of all existence is unity”). Even beyond that, in the context of everything else Ratio has going on, the mention of Heraclitus brings very intriguing food for thought to the table; yet I think this may be another instance of things that are, yet were most likely not meant by the writers.
Moving on, I’ll give a quick comment on the more explicit philosophical references we can find in Ratio’s traces, attacks and voicelines, and will dwell a bit only when I think they work well with the subjects and concepts I already commented Ratio plays with, otherwise this response will be eternal.
Summation (trace): in Chinese this is more clearly linked to the inductive reasoning, which in context it is obvious this is what this trace references; I don’t know why they chose to translate it this way. It is a method of reasoning that comes from the observation of particularities to generalisation, hence “summation”. It works well with Ratio causing more damage per debuff, and with the references to empiricism in Ratio’s attacks. The consequences in inductive reasoning are not truly ensured by the premises (the typical example is how you can’t ensure that all ravens are black by as many black ravens as you observe). 
Inference (trace): this baffled me because again it is more clear in Chinese that this is referencing deductive reasoning, but every language translates “inference”, whereas in the “deduction” trace the characters are exactly the same as the ones in the Chinese wiki for “inference”, but every language translates “deduction”. I don’t know what’s happening here, I wish I knew Chinese and found this less confusing, but at least both words are present in his traces. Deductive reasoning is the one that goes from premises to conclusion. It is heavily linked to logic and it doesn’t necessarily require empiric knowledge.
Deduction (trace): this is what is called “inference” apparently in Chinese (if someone knows about this I would love to know what is happening in Chinese in these two traces). Inferences are, well, the process of reaching conclusions. It can be either through deduction or induction (or abduction, some would argue, but that’s another can of worms).
Mind is might (basic attack): in latin this is “scientia potentia est”, and while at this point the line is very detached from its context, initially it was linked to Bacon and Hobbes. I honestly think this is just a very convenient name for an attack of a character following a philosophy/sciences/knowledge thematic.
Intellectual midwifery (skill): Socrates, and platonism. I talked about this before.
Syllogistic paradox (ultimate): Syllogistic paradoxes were one of my favourite things when I was studying. Syllogisms are a form of logic reasoning, which consist of two premises and one conclusion. Though the premises may be true, and though the reasoning may be sensible, at times contradictory or illogical conclusions may be reached. This is a syllogistic paradox. Why this happens is because of a myriad of reasons, like the differences between natural and logical language, or the development of theories (the paradoxes in set theory are among my favourite things ever). I personally like to draw a strong distinction between paradoxes and contradictions. Anyway, I have a lot to say about this haha In general, this is what the name of the ultimate is referencing. It works well with Ratio’s traces. It also goes well with some of the other subjects present in his characterisation, like platonism, Descartes and such; there are a lot of paradoxes that arise from many of the theories that play with such topics. I think reading Alice in Wonderland’s apparent madness through the lenses of logic makes us see that most of those incongruences are actually pretty logical; many of them iirc are syllogistic paradoxes. Carroll was a logician. I mention this because this, as well as many other ideas present in Ratio, work extremely well with Penacony.
Cogito, ergo sum (talent): this is a line by Descartes, a rationalist. This too is something that fits Penacony incredibly well. Descartes starts doubting knowledge, ends up questioning pretty much everything, establishes inspired by mathematics and logic a method of acquiring the truth, and in the research of true knowledge he starts doubting everything with a methodical doubt to be able to tell what knowledge stands after being hit by doubt, and why, and try to reconstruct knowledge from there. Ratio’s lines about “seeking answers with a negative hypothesis in mind”, “When one is immersed in academic research, scepticism comes more naturally than belief” or “Pursuit tinged with negativity is still pursuit, and it is capable of leading us to the right conclusion” reminded me of Descartes’ method. One of the steps in the process is doubting one’s own existence, but since I (pardon the “I”, but the first person is very important in Descartes) doubt, then I think, and since I think, then I exist; cogito, ergo sum. This is closely related to platonism in some senses, and while Descartes’ philosophy comes in part from a criticism of scholasticism, it still has ties to it, but Descartes was a massive breakthrough in the history of Philosophy. I also won't dwell on this, but this is fascinating imo haha 
Anyway, Descartes’ doubt about the existence of reality, of the world, is heavily linked to dreams, because in dreams we believe things are real but are not, so equally we could be at every moment in a dream and not be aware of that; only the existence of oneself is clear of this doubt (Zhuangzi’s text about the butterfly plays with this too; I comment this because butterflies have appeared in Penacony and the Zhuangzi’s text seems to play in an interesting way with the concept of “I”, taking it a different route than Descartes, which is a very intriguing idea but I don’t know much of Chinese philosophy at all). The concept of simulated realities, Matrix-like settings and such, all are strongly linked to this conception of Descartes, even though similar things existed previously (such as Plato’s allegory of the cave), and this works very well with Penacony again. Obviously, Descartes’ theory is strongly dualist, and it’s even established a body-mind dualism. The idea of the ghost in the shell also comes in great part from Descartes. Descartes’ view of the body was not too unlike that of a machine. 
This was in a time in which clockwork and automatons were quickly advancing and fascinating people. Physic theories started to look (even more) like clockwork, with the universe as clockwork and god as a watchmaker that put it into place and then let it run its perfect course, needing or not (depending on the theory) adjustments from the watchmaker from time to time. I said before that harmony was linked to both the cosmos and the body, with the body in part being a reflection of the cosmos, and even linked to it by the harmony of the spheres. This new way of approaching the cosmological and human issues and developing Physics still has echoes of that. Newton, who is referenced in one of Ratio’s idle animations, is one of the epitomes of this concept of the universe as clockwork. Again, I don’t know how much they’ll do with these ideas nor even if they were written on purpose, but it all works so well with Penacony it would be a pity if they did nothing with this.
Another thing I want to note about Descartes is that besides mentally detaching himself from everything while doubting in his deconstruction and construction of knowledge, seeking undoubtable truths, he famously did so physically as well for some time when he first started thinking about the matters in his Discourse on the Method one night: “having no diverting company and fortunately also no cares or emotional turmoil to trouble me”, while he “spent the whole day shut up in a small room heated by a stove, in which I could converse with my own thoughts at leisure”. This reminded me a lot of Ratio’s head and how he uses it: “with the headpiece on, isolated from my five senses, i can think without interference”, “he put on a headgear to keep away all external distractions and completely focus on thinking? Who else in the world could manage that?”.
Mold of idolatry (technique): this links mainly again to the theory of Forms of Plato, with that representation of something else that is what is real. The name of the technique and what it does works well also with the idea of idolatry, especially of idolatry of false gods, idols or even falsehood in general, and how Ratio criticises people’s blind infatuation with geniuses. It also reminds me of Nietzsche’s Twilight of the Idols, or, How to Philosophise with a Hammer. Among other things, Nietzsche heavily criticises platonism and platonic philosophy, and mostly all western philosophers (he has kind words for Heraclitus, for instance). 
Wiseman’s folly (ultimate’s effect): the idea that knowledge or beholding the truth brings to something similar to madness or ends up leading to foolishness is a very common one. Many of the Ancient Greece philosophers were said to have been extravagant. Diogenes the Cynic and Heraclitus were two such examples. Democritus was said to have plucked out his own eyes. Empedocles is said to have killed himself in a volcano. There’s Nietzsche, Georg Cantor, Kurt Gödel. It is the idea of the wise ending up being very much like the fool, but also the idea of the wise ending up losing sight of basic truths I believe, in that alienation from the world.
Know thyself (eidolon): this is what was inscribed in the temple of Apollo in Delphi I spoke of before. This is linked to Heraclitus, Socrates, Plato and platonism, of course. I think when it comes to Ratio that’s it, really. But this maxime has had a lot of implications and interpretations in different contexts and at different times. It could be seen as just a salutation, recommending temperance, the idea of knowing oneself and one’s limitations as key to succeed when approaching subjects or problems, the first step of getting to know anything at all, humans and the world being closely linked and even reflection of god so studying one helps studying the other, etc.
Vincit Omnia Veritas (eidolon): the translator says this means “eternal truth” in Chinese, which would play way better with the philosophical ideas and concepts present in Ratio while still playing with his name, “Veritas”. I won’t dwell on this because I’ve already talked about the link between eternal truths and Ratio a lot, and besides I can’t even confirm this is the true meaning because I don’t know Chinese.
Eidolon “The divine is in the details” seems to be a reference to a Chinese idiom that comes from a book. I don’t know if it has greater significance, but if anyone knows I am all ears. The other eidolons obviously work with Ratio, but I don’t see obvious philosophical influences so I’m skipping them.
Esse est percipi (ultimate line): “To be is to be perceived”. This is a line by Berkeley and linked to his philosophy. He criticises both dualism and materialism. The core idea is that the world’s existence is entirely dependent on the mind, that things don’t exist unless they are perceived and thought. His justification for one’s own existence seems to come from this perception, as Descartes’ came from thinking: “I do nevertheless know that I, who am a spirit or thinking substance, exist as certainly as I know my ideas exist”. Parmenides has a similar idea in his poem. I don’t think this was intended to be read too much into when it comes to Ratio, but I think it fits nicely with the other topics he has going on, and the dichotomy they often entail. It also works well with Ratio’s plaster head, with how he says “I don't have to set eyes on stupid people. Of course, they don't want to see me either”, with how he uses it to go unnoticed or unrecognised in both Herta’s Space Station and Penacony, and I think it could be overread or taken to more exaggerated levels in a juicy manner reading this under the notion of nothingness, mediocrity and being disregarded by Nous. 
One of the listed researched achievements of Ratio is in the field of epistemology. Epistemology is the field that studies knowledge. Although studied in particular at times, it is of course often linked to ontological conceptions; all the philosophical theories I’ve stated carry with them epistemological implications as well as ontological. In one of Ratio’s character stories there’s a mention to epistemic logic which is, speaking broadly, a logical approach to the analysis of knowledge. 
Another one of his listed achievements is in natural theology, which is the study of god through reason and logic instead of things such as transcendental experiences or revelations. This is very common in philosophy in general. It often has to do as well with the world as a harmonious whole, god as watchmaker/the universe as clockwork, and teleology. I will mention Newton and Darwin here because Newton is referenced in Ratio’s idle animation, and Darwin because he broke up with the teleological tradition when it came to the world. Ratio’s work is named Aeons: A Natural Phenomenon, and the title and its description, how its “Aeon non-theism”, makes it seem to me like he wrote of Aeons as if they were just another form of life or something that pertains to nature itself and not detached from it, which although very different from Darwin’s ideas did remind me of how he dismissed teleology in nature. This also clearly links, in my opinion, to Ruan Mei.
Other than that I also want to note Ratio’s final speech to Screwllum about inspiring doubt and scepticism when it comes to established ideas and geniuses. It reminded me of Socrates, how he was said to have “perverted” youth inspiring all that questioning among other things. It reminded me of Nietzsche, how he fervently encouraged individuals to use critical thinking, question dogmas and preconceived ideas they could have, and come up with their own conclusions that does not mean necessarily negating absolutely everything they held true before the questioning (this exchange between Screwllum and Ratio: “Screwllum:  «You wish to uproot the researchers' blind worship of geniuses».  Dr. Ratio: «I am only laying out my questions».”). It also pointedly reminded me of Kant's “Sapere aude!”, “Dare to know!”,  and his text What Is Enlightenment?, in which among other things Kant talks about the lack of courage, not of intellect, of people to think for themselves, how humanity lives in a constant immaturity or adolescence of the mind, and urges them to get out of that state, to dare to know. Kant was greatly influenced by rationalism but said to have awaken from the rationalist slumber thanks to empiricism; the plays on rationalism and empiricism, deduction and induction, and the presence of idealism in the rest of Ratio’s writing as well as this fervent push for people to snap out of their lack of criticism and dare to think for themselves are what made me think of Kant here.
There’s more things to talk about Ratio, like his view on mediocrity and geniuses, and how that view is constructed and described in traces through fragments in his lore, the character stories, snippets of conversations; how he seems to be so similar in character and drive to geniuses, but never accepted as one, and how he is regarded as very different and eccentric by “normal” people, even in the Guild. In short, how he is detached from both the “normal” people and geniuses, like suspended between both states without being either completely, and how it makes so much sense in this context that he tries to breach the rift between both. I couldn’t help but mention this, to avoid forgetting this aspect of his characterisation in the future, but I won’t dwell on this because it isn’t really directly linked to any philosophical influence that I can think of.
I think this is it. Hopefully I didn’t forget anything important. And I’m sorry it is so long, but I really tried to summarise. As I said, I may well be reading too much into some of these things, but I also think that since Ratio plays with many of the core authors and concepts in the history of western philosophy, some things I expect were not intended by the writers still are present somewhat, because mentioning this or that thing alongside this or that other thing ends up having implications if you know a bit of the context. 
I hope this was clear enough. However, I can try to explain myself better or further if I wasn’t. Philosophy may look unapproachable and dry at times at first, but it really isn't, it just needs one to get accustomed to some basic terminology, and it becomes fascinating and beautiful, and lifechanging haha. I would love it if Ratio is making people get a little bit more invested or interested in it, or open to explore it. The Stanford Encyclopedia of Philosophy is a good place to check the main ideas, texts and authors that may spike someone’s interest if anyone wants to read further about anything I've said or compare sources, but tbh I think even Wikipedia can be useful with getting a first feel of some basic ideas to know what to look for.  And although I am not an authority or the most trustworthy source at all, I will help as best as I can if someone reading this has any further question. I recommend reading the texts firsthand though, with historical context in mind and footnotes perhaps if possible, and making one's own mind about everything.
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