They are so fun to draw 🥺 help
A speedpaint video of this will be available at my Patreon on sept 1st!
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[ID in ALT] I've made posts before about Talia/Dick co-parenting Damian moments (will never happen but let me dream) and this came to me in a vision. Took me ages to finish for some reason 😭 and then even longer to post
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I think that before Gortash and Durge started working together, they were both very lonely. And part of why their relationship is so intense is that they both see the other as the only person in the world who can handle them. The only other person in the world who could possibly understand them or be on their level, and to some degree, chosen as they are by evil gods, they're not really wrong.
Because as worshipers of dark gods, both Gortash and Durge have very specific paths laid out before them. As a worshiper of bane, gortash needs to become a tyrant - he needs to end up on top of the world. And as they said in the Prayer for Forgiveness, Durge is well aware that Bhaal created them to be the last soul alive.
But both of those things, being on top of the world and being the last soul alive, are very lonely ways to be. And I think both Gortash and Durge have both had periods in their lives where they were very lonely - Gortash in the house of hope (or frankly even before that, his parents hardly seemed loving) and Durge was likely treated more as an instrument than a person in the Bhaal cult. Neither of them want to be alone again, and after meeting the only other person in this world who can possibly be on their level, they seem to immediately set out to find ways to work the other person into their rigidly planned out lives.
Gortash genuinely plans to share power with with Durge, to rule alongside them. He gives you, his co-conspirator, his partner in crime, half the credit for the plans - calling them "our" plans. He's happy to hear you're alive, he's genuinely pleased to see you again, and he's ready pick right back up where you left off. He tests your resolve with the netherstones because he very specifically doesn't want another flunky, he wants an equal. He doesn't want to be alone up there on top of the world, with no one who could ever hope to understand him. He wants Durge right there with him and he's willing to commit a Banite sin (sharing power! the horror!) to get it.
And Durge, well, we saw the Prayer for Forgiveness. Durge plans to kill Gortash on Bhaal's altar, the same place they hope to die. I do think that Durge intended to kill Gortash last, and kill him slow. So that when they kill themselves he'll still be there. So they can die together, hand in bloody hand on that altar. Because being created to be the last soul alive is such a lonely fate, to know that you'll die completely alone, without even someone to hold your hand. And that is Durge's sin, the one small comfort they'd allow themselves - not dying alone, but dying with Gortash, holding his hand, knowing that there was someone there who loved them as they both breathed their last. Imagining dying in a loving embrace instead of alone in a cold world.
It's interesting to see how they both can't escape their gods plans for them (ruling and dying), can't bring themselves to imagine any other ending, but also go on to explicitly sin against their respective gods in the name of their relationship (ruling together, dying together). They're both drowning and they know they can't escape but goddammit they're going to go down together, the only two people in this world who can handle each other, the only two people who matter.
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controversial opinion, but i love second-person pov in fic. in this case, i specifically don't mean x-reader; that seems like a different kind of story that scratches another itch.
i want you to be a fully-fledged character, familiar, recognizable. the thing i love about second-person is not that it inserts me into the story as a reader, but that it inserts the narrator as this omniscient, invisible, inescapable force.
in present or future tense -- you do this; you will do this -- the repeated you becomes a back beat of inevitability. the character is being moved from page to page by the voice of god, and we can see god's shadow on the wall. the you is so bound by the constraints of their own character, their own nature, that they could never have chosen another path. it creates an undertone of horror in any genre for me. the story is that there could be no story other than the one the narrator chooses to tell.
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finally watched Decked Out 2 Lackey Shenanigans, about which i am SO normal,
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No but I gotta talk about Medusa for a minute actually.
It's been. A very long time since I read the PJO books so I don't exactly remember how Uncle Rick presents Medusa in the book. But the way the show introduces her myth? Fascinating. For me as a Greek mythology enthusiast, that is.
The show makes Medusa a victim of Athena. Of course, the show is mainly for kids, so they can't exactly say that, hey, kids, Medusa was Athena's priestess and she was raped by Poseidon, YEP, or protagonist's father, IN Athena's temple, nah, that's neither kid-friendly nor does it endears us to Poseidon. Not that Poseidon is very dear to us viewers/readers at this point, our narrator/protagonist can't stand his own dad.
But still what fascinates me is that even though they twisted the myth to ft the narrative they still managed to evoke Athena's curse as being actually a gift, and Medusa not feeling wretched over her condition but blessed.
Which is not a modern reading of the myth, actually. Saying that Athena couldn't punish Poseidon for his transgression and could only punish Medusa, but did so in a way that would give Medusa weapons to defend herself against whoever and whatever would try to harm her again, is a narrative that exists since Antiquity.
My point is that the re-framing of Medusa's myth, departing from the traditional, non-kid-friendly version while still incorporating both classic and modern elements, is a good frame of reference for the series (book and show)' entire approach to mythology. And I guess I'm saying that mostly for the non-book readers who are discovering this world, many of whom might be Greek mythology fans and might have gone "wait, why is Hades AGAIN presented as the bad guy when he's the chillest, most normal, most stable god in this entire pantheon", because that's a conversation the book fandom has been having (over and over again) for more than a decade.
Anyway, yeah. As a long time book fan and a show appreciative, here's my advice to anyone who knows WAY too much about Greek myths and still want to enjoy the ride without going every five minutes "wait, that's not correct": reframe. Contemporary rewritings, modern audiences and Fantasy genre.
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realized a thing about some dean ships today
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There’s a weird recurring take in D20 fan circles that Zac doesn’t play “complex” characters and that people are just waiting for the day when he “finally” plays an asshole, which kind of baffles me. Quite apart from the idea that only morally grey characters are complex or compelling, are you sure we’re watching the same show?
In Fantasy High, we have Gorgug, an adopted biracial teenager whose journey includes realizing his self-worth, coming to terms with his rage (literally), seeking out and navigating new relationships with others (his birth parents, the Bad Kids, Zelda), and discovering what he’s capable of.
From The Unsleeping City we have Ricky, a second-generation Japanese-American, who has a very personal struggle across two seasons between doing the dutiful/sacrificial thing for other people’s benefit and expressing his own needs, wants, thoughts, and feelings; it’s a very particular exploration of immigrant generations and the relationship between the sacrificial model of your ancestors and the culture you grew up surrounded by which emphasizes the self.
There’s A Crown of Candy and Lapin, whose snark and one-liners are honestly less interesting than the way he engaged with and sought to understand religion and faith; the different yet similar ways in which both the Sugar Plum Fairy and the Church exerted control over their followers, and the search for spiritual meaning beyond these figures/institutions.
Then there’s Cumulous, whose every character aspect navigates a space of tension - the ultimate war guy who made himself hardened (literally) and pragmatic to get the job done but who also remains soft and caring and empathetic at the same time; wielding the power of death without glorifying or giving into it; the cousin who both is a member of the family and yet who remains at somewhat of a distance from the centre; a literal warrior-philosopher who is single-minded in battle and quietly thoughtful about the mysteries of life and death outside of it.
As for actual assholes, we have Norman Takamori in A Starstruck Odyssey, a bitter man who is the living embodiment of both the Superior Orders excuse as well as scapegoating. On a side note, the amount of absolute vitriol and double standards which people threw at Norman during ASO for being an unapologetic asshole -and he had less than two full episodes of screen time- kind of underscores the calls for Zac to play a “real” asshole. Zac can and will play whatever type of character he wants, but is fandom really ready for him to play an asshole if that asshole doesn’t have a secret heart of gold?
From the same season, we have Valdrinor/Skip, who starts as the “prince running from his destiny” archetype with a dash of brain slug possession, has a humorous yet oddly profound exploration of what humanity is and what it means to be human, and springboards from there into “wait, who am I really and actually, why are we doing things (brain slug possession) this way when there are other ways to engage with the universe.”
Most recently in Neverafter, we have Pib, who apart from the fascinating meta element of being a literal character archetype, constantly straddles the line between self-absorbed self-interest and putting himself on the line to help others; his repeated demonstration of both at various points throughout the season is a subtle yet intriguing manifestation of free will and choice-making in a story all about lacking free will and agency.
So, I mean, lack of complexity where? Does a character need to be an asshole in order to be deep or compelling? And because I’ve heard this specific rebuttal quite a few times now, does a character need to vocalize their innermost thoughts loudly and frequently in order to prove their complexity? If a character is “less vocal” compared to other characters, does that mean they lack interiority?
Also, other people have brought this up before, but I am once again asking that people remember the difference between fictional characters and real life people. Zac playing one (1) himbo on the show does not make him a himbo in real life, nor does it make him incapable of creating or playing complex characters (especially as said himbo is himself an extremely complex character), nor does it make him a lesser player than other cast members. You don’t have to find all or any of his characters interesting or complex, but can we stop conflating character with player?
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a pawn twice over
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not to be a hater but certain medias should simply never be found by the actor x reader crowd and saltburn is a perfect example
because with that array of fascinating characters and insane displays of queer psychosexual depravity? imagine being like yeah actually the most interesting part is the math nerd with 5 minutes of screentime
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hi can i get a character who's associated with fire, has had rough beginnings due to being cast-out from society because of their appearance and struggled with their femininity, went on a journey seeking power and to become stronger, ultimately being blinded by their thirst for revenge, have killed several people and at some point got betrayed by someone close to them?
all in no particular order
and make it a double, please 🙏
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We always make fun of Tim for being Not normal about Kon (and rightfully so) but it overshadows Kon being absolutely not normal back at him
i was going to put a bunch of caps here of "moments kon has been Super Normal about tim" but by the 4th one i was like oh this post is going to get obnoxiously long and changed my mind hksfhjd but like. it is absolutely mutual.
mr kon "hey bro haha your voice gets so deep when you're being authoritative haha" el. guy who goes to bother tim on patrol when he's feeling lost and uncertain. guy who loses his powers and his second choice of who to ask for help learning to fight without powers, after guardian, is "maybe robin" (this idea makes me insane, btw). guy who (with bart) gets So Mad when anyone's being shitty to tim. guy who just likes to pick tim up?? wf3 kon i see you.
and do i even have to mention how fucking bonkers robin!kon is???? like that's before cissie even leaves the team. he's already that insane about tim. okay!
and uh. lest we forget. "you're my robin. always will be."
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girl-shaped thing and thing-shaped girl...
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for instance i feel like a valid criticism of she ra is that it uses its war as a narrative backdrop that it doesn't take seriously or flesh out very deeply. which doesn't ruin my enjoyment of the show (because the show is not "about" the war!!) but it exposes cracks in the writing from time to time. however saying that, this is a show intended for children and teens to teach them about love and self worth and queerness so I think it's really up to each viewer how seriously they wanna take the war aspect given it never intended to go that deeply into the concept.
apparently some people wanted to take that aspect very very seriously!! and thats okay because critical thinking about a text is a good skill to have!! yay for sure!!
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it's been a bit funny to me the couple of times i've seen people suggest that grantaire actually did do what he was assigned in 4.1.6, bc after all we only see enjolras's perspective on it for like a minute. theoretically that's plausible but come on let's be serious for a moment
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