Dumbledore Is Someone I Find Hard To Hate.

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idk what ricks daemon would be but i feel like their relationship would be really volatile cus ricks got a pretty self-destructive personality also pretty sure mortys daemon hasnt settled yet (but itd be cool if it was usually a guinnea pig cus that kinda works with the whole being used in mad science experiments thing)

ah definitely! i can see their dynamic as being very unbalanced though.. i feel like rick’s dæmon would be pretty ruthlessly cruel to him (”jeez rick why did you fuck that up!” when he makes a mistake; ”hey remember that time you fucked up!” when he’s trying to relax–probably one of the reasons he drinks so much is to sedate her & get her to shut up)

meanwhile he’d be kind of affectionately grumpy towards her, but idolize her too? because she’s this purely intellectual being who ultimately doesn’t have to take any responsibilities for her actions, just perch on his shoulder and theorize & scheme, and i think he’d envy her detachment and kind of put his own wisdom & knowledge on a pedestal you know?

also he gets a raven because.. i enjoy obvious mythology cliches, and like..

“Odin, the father of all humans and gods, though in human form, was imperfect by himself. As a separate entity he lacked depth perception and he was apparently also uninformed and forgetful. But his weaknesses were compensated by his ravens, Hugin (mind) and Munin (memory) who were part of him. As a god, Odin was the ethereal part—he only drank wine and spoke only in poetry.” -x

(also a guinea pig for morty omg–me and janin were thinking some kind of sad little rodent too? janin says a rat, but also i like the idea of a hamster, because hamsters look so harmless, but they seem like they are secretly bloodthirsty..)

i will never forgive popular UT fanon for using chara as a scapegoat in the genocide run and making "sans recognizes them and attacks them on sight regardless of what run they're in" headcanons so pervasive.

mostly because "restless spirit of a long dead child who's obsessed with the concept of cosmic retribution and facing consequences for your actions" + "guy whose job is just that but he treats it on par with his hot dog sidegig" is potentially one of the most hysterical dynamics you could come up with

I still have thoughts about this, so to continue in something of the same vein as last night…

The thing about Rincewind is, he’s not really a character who ever becomes a hero.

I know we can argue all night about the definition of the word hero, but he doesn’t consider himself one, and other characters don’t consider him one, so there’s that. But what I really mean is that he doesn’t have a hero’s journey.

I sometimes see people talking about the Rincewind books in the context of facing your fears. That’s fantastic; whatever you get out of it is good, of course, that’s what fiction is for.

But Rincewind himself doesn’t get brave. He doesn’t really learn to face his fears. He doesn’t slowly grow into someone who thinks of it as his solemn duty to save the world. He is always and foremost a cowards. The entire span of the books, this is true.

Mostly he just gets more resigned to how the world works. In The Last Hero he has a genre-savvy knowledge of how things are going to end up, so he volunteers; but it’s not out of bravery, it’s out of weariness. He knows how his life works so he just skips all the fuss and gets on with doing something he still, really, does not want to do.

He doesn’t get what most of what he wants. He doesn’t learn to use magic. He doesn’t develop any extraordinary skills. He doesn’t get a love interest, which is fiction’s common recourse when rewarding a hero (a device which bothers me immensely, so personally I’m glad of that). His major reward after the conclusion of his independent story arc is, essentially, a semi-peaceful retirement from adventure.

Rincewind is a mess. He is a coward, and he will admit that freely. When he does save the world, it’s because no one else is going to do it, and someone has to, and he doesn’t want to die. He doesn’t get rewarded, except possibly by continued living. He doesn’t learn to be brave, except in the desperate last-chance way he’s always been. He doesn’t learn to be good at what he loves.

That’s important. That’s very important. That’s what makes him stand out. Because - where do you go, when you’re too tired to be a hero, when you’re exhausted from people telling you to be brave and stick it out, when you’ve been trying so hard and you still can’t do well? When heroes only remind you of how inadequate you are, how much you can’t be them? When you don’t, especially, want to be inspired, because you are just trying to get by. Who do you turn to then?

That’s Rincewind. You may be down in the mud and unable to pull yourself out, but at least he’s down there with you, sighing and talking about how this always happens to him. And it’s okay. It may or may not get better, but you’ll be okay, for a given value of ‘okay’. You’ll survive. That’s an achievement

That’s what he means to me.

sssdd

big compilation some of doc ock x rosie fantasy au art bc this story is dear to me

Play me a memory--A sigma fic

Summary: Sigma hopes to transcribe the universe’s melody, in hopes of awakening his true powers, but gets more than he bargains for when the government facility he has escaped from has found him once again.

Read it here, or find it on AO3

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Sigma sits in front of a piano. Not the Bechstein studio grand piano that used to sit in his apartment in The Hague but a cheap, upright Yamaha instead. He knows it is old just from the touch, the damp thud of the keys and the slow responsiveness of the pedals. Most aggravating of all is the tuning, the way the notes sound off to his ears. He does not have perfect pitch, and he never will, but if he concentrates hard enough, he can feel the shape of a note. Middle C is a yellow circle, and if he rises it up to a D, it transforms into an orange triangle. He hypothesizes that his abilities over gravity have given him a sensitivity to the electromagnetic waves that make up sound, but he cannot test this without rigorous testing. The beauty of these powers is that there are so many potential experiments and possibilities.

It’s been a long time since he’s played. Or at least, he thinks it’s been a long time. The last time he had touched a piano was one week before he went up to the international space station that caused his accident, but time is no longer linear and memories no longer make sense and he cannot say how many years have already passed since then. Has it been three years or longer? He cannot say.

He very much prefers listening to music rather than playing it, but he does not have that luxury. Talon is many things but it is not a musically inclined organization. His previous request for an parabolic microphone must have fallen upon flat ears for the next day he gets a regular microphone, the kind used for karaoke parties. It didn’t even have the batteries in it. So it is a miracle of sorts that his request for a piano got through. It was probably salvaged from a nearby dump, but it is still in working order, and he is grateful for whatever gifts Talon bestow upon him.

His body suddenly stiffens as he feels a shift in the air. He turns his head slowly, eyes wide as he finds himself staring back into his face. Only it’s not his face but another version of him, decked out in the orange jumpsuit that government facility crafted specifically for him. His copy smirks sinisterly.

 “Gravity is like sanity. All you need is a little push.”

“W-w-what?”

 “They called the geniuses of old insane back in their times.”

He is frozen in fear, staring into a face that is his but not his. The other approaches him and places his hands on his shoulders. He can feel the energy being sapped away from his body, his twisted mirror image growing larger, impossibly larger than him. As the energy leaves his body, he can feel his mind clearing. As his mind clears, he can see this twisted alter ego for what it truly is. It is sin, the devil in disguise. And behind that disguise is the black hole that destroyed his career and his mind. And it laughs. It laughs so viciously.

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in(nie) and out(ie)

Been thinking about Lumon/Kier’s obvious disdain for nature. The aggressive sterility of the severed floor. Dieter’s connection with nature being something to be shunned. His natural sexual urges something to be divinely punished, the punishment being a violent reclamation by nature of his body.

Gemma’s “life” being unnaturally extended into Ms Casey. Gemma always being pictured surrounded by nature, Ms Casey’s office being a thin facsimile of it. She tells Irving that he’s a talented lover, she stops him from sighing in pleasure.

Irving admits that their status as people without histories is “unnatural”. He worships a man made god, and when he finds something organic to love in Burt, they make a secret space for each other surrounded by greenery. It’s as close as they can get to feeling normal.

Persephone the goddess of spring, kidnapped to the underworld. Demeter protests, throwing the earth into an eternal winter, awaiting her return.

Irving saw the outside world blanketed in snow one day. He tries to get Burt back. He wakes up almost half a year later, he’s told. He goes outside again and it’s still snowing.

This part of Snape's memories that he gives to Harry has been talked to death, but please indulge me while I dig it back up because meta rests for no man. Emphases in the below excerpt are mine:

The corridor dissolved, and the scene took a little longer to reform: Harry seemed to fly through shifting shapes and colours until his surroundings solidified again and he stood on a hilltop, forlorn and cold in the darkness, the wind whistling through the branches of a few leafless trees. The adult Snape was panting, turning on the spot, his wand gripped tightly in his hand, waiting for something or for someone … his fear infected Harry, too, even though he knew that he could not be harmed, and he looked over his shoulder, wondering what it was that Snape was waiting for - Then a blinding, jagged jet of white light flew through the air: Harry thought of lightning, but Snape had dropped to his knees and his wand had flown out of his hand. ‘Don’t kill me!’ ‘That was not my intention.’ Any sound of Dumbledore Apparating had been drowned by the sound of the wind in the branches. He stood before Snape with his robes whipping around him, and his face was illuminated from below in the light cast by his wand. ‘Well, Severus? What message does Lord Voldemort have for me?' 'No - no message - I’m here on my own account!’ Snape was wringing his hands: he looked a little mad, with his straggling, black hair flying around him. ‘I - I come with a warning - no, a request - please -‘ Dumbledore flicked his wand. Though leaves and branches still flew through the night air around them, silence fell on the spot where he and Snape faced each other. ‘What request could a Death Eater make of me?’ ‘The - the prophecy … the prediction … Trelawney …’ ‘Ah, yes,’ said Dumbledore. ‘How much did you relay to Lord Voldemort?’ ‘Everything - everything I heard!’ said Snape. ‘That is why - it is for that reason - he thinks it means Lily Evans!’ ‘The prophecy did not refer to a woman,’ said Dumbledore. ‘It spoke of a boy born at the end of July -‘ ‘You know what I mean! He thinks it means her son, he is going to hunt her down - kill them all -‘ ‘If she means so much to you,’ said Dumbledore, ‘surely Lord Voldemort will spare her? Could you not ask for mercy for the mother, in exchange for the son?' 'I have - I have asked him -‘ ‘You disgust me,’ said Dumbledore, and Harry had never heard so much contempt in his voice. Snape seemed to shrink a little. ‘You do not care, then, about the deaths of her husband and child? They can die, as long as you have what you want?’ Snape said nothing, but merely looked up at Dumbledore. ‘Hide them all, then,’ he croaked. ‘Keep her - them - safe. Please.’ ‘And what will you give me in return, Severus?’ ‘In - in return?’ Snape gaped at Dumbledore, and Harry expected him to protest, but after a long moment he said, ‘Anything.'

Firstly what stands out here is that that Snape is the first one to refer to Harry and James and not just Lily, not Dumbledore. Snape says, "he is going to hunt her down - kill them all" showing that from the outset he was aware of not just Lily's fate, but her husband's and son's as well. His warning to Dumbledore takes them into consideration too, so from the outset we see that Dumbledore's assumptions are likely biased.

It's Dumbledore who assumes Snape is only thinking about Lily and doesn't care about her family. Although Snape is clearly more invested in Lily, focusing on her as Voldemort's target when he first speaks, he doesn't exhibit the selfish tunnel vision Dumbledore accuses him of. In fact, immediately after Snape says "them all" it's Dumbledore who changes the conversation to be specifically about Lily again. It's understandable that Snape is more concerned about Lily - she's the one he grew up with and was friends with, although it's likely Dumbledore doesn't know this, and may never learn the full extent of Snape's relationship to her, not even to the extent that he shares with Harry in his final memories. Snape refers to her as Lily Evans, not Potter, likely because he's so used to Evans being her name, having spent his whole childhood knowing her by it. His relationship with James was one of victim to abuser, so it's understandable that in this moment of panic and anxiety, James Potter isn't the most important thing in Snape's mind.

It's important to how the dynamics between Snape and Dumbledore play out in this scene that Snape is terrified. He's described as "panting, turning on the spot" and his fear is so palpable that even Harry feels it, though he knows he's safe and in a memory where he can't be harmed. Snape is coming into this conversation out of desperation, and trusting a man who didn't seem to care much when Snape's life was threatened by a fellow student in his fifth year at Hogwarts. To Snape, Dumbledore is the man who let Sirius' prank slide even though it could have killed him. Years after this scene on the hilltop, when Sirius escapes from Azkaban, he still asserts with viciousness that Snape deserved to die just for being too nosy about him and his friends. So to Snape, Dumbledore is the man who let that attempt on his life slide, and who invited Sirius and James - both his attackers, as far as he's concerned - to join the original Order of the Phoenix.

To Snape, Dumbledore is someone who doesn't care if he lives or dies, and who trusts and respects people who, as far as Snape is concerned, are violent and ruthless. This is compounded by the time he's spent in Voldemort's ranks, where's he's seen firsthand what people like that - violent and ruthless - are capable of. He likely sees Dumbledore as a leader who is just as volatile as Voldemort. Since we know that Voldemort doesn't believe in light and dark, good or bad, only in power and weakness, we can assume that Snape has taken on some of these ideas. His perspective may also be informed by his experiences with the bullying of the Marauders, who claimed to hate his proclivity for "dark" magic while perverting innocent spells like scourgify to enact violence (if you've ever tried to eat soap as a kid, you can imagine how vile that might be, let alone if it's blocking the airflow in your trachea). So in Snape's eyes, Dumbledore is probably not the light to Voldemort's dark, but a rival wizard fighting for power, and therefore someone he likely assumes will resort to similar brutality.

As far as Snape is concerned, Dumbledore could strike him dead just for being there. And yet he walks into this meeting, the arrangement of which is already a mortal risk, knowing he might not leave it alive. His first words to the man are, "Don't kill me." Even if he were there just to plead for Lily's life and not care about her family, his willingness to sacrifice himself to save her is already an act of bravery and frankly, I think it's a much more complicated moral dilemma whether one can choose who to give their own life for than Dumbledore's harsh condemnation makes it seem. Can we expect a man to risk his life for a friend? That's a question with a complex and multi-faceted variety of answers. Can we expect him to risk his life for an enemy, or an abuser? That's a long and complex answer with even fewer clear conclusions.

Dumbledore, meanwhile, sees himself in Snape. We see through the HP series, especially in this reveal at the end, how intertwined his relationship with Snape became. We learn that Dumbledore spends his life carrying the guilt and pain of his sister's death and his direct or indirect role in it. It's a pretty common reading of his and Snape's relationship that Dumbledore understood the depth and irrevocability of Snape's regret and guilt firsthand. Knowing all this, it's hard to read Dumbledore's judgment of Snape on the hilltop, and his immediately conclusion that Snape is only interested in protecting Lily - despite warning that Voldemort intends to "kill them all" - as being objective. I read it as Dumbledore projecting his own guilt and anxiety onto Snape in that moment. In addition, as @said-snape-softly pointed out to me very aptly, the prophecy was overheard in the Hog's Head, which is run by Dumbledore's brother Aberforth, adding onto Dumbledore's personal baggage coming out in this moment. Dumbledore's own feelings are loaded and he makes assumptions about Snape's goals and motivations out of his own anxieties about himself.

And Snape lets him. He's been under Voldemort's thumb, a murderous sociopath who throws unforgivable curses around like most people sneeze. He's desperate and terrified and isn't going to argue with Dumbledore. Dumbledore says, "Could you not ask for mercy for the mother, in exchange for the son?" and Snape replies that he has. But as we've seen already, Snape has included Harry and James and Dumbledore - as the person with all the power and leverage in this conversation - has changed the subject to focus on Lily. Snape is in no position to argue about semantics in this moment. The same way he brought up Harry and James to Dumbledore only for them to be ignored by him, he may have brought them up to Voldemort only for him to react similarly.

Given what we know about Voldemort as a character, once he has decided to go after Harry and not Neville, there's no changing his mind. Any effort made to sway him would fail and only add the asker to the pile of bodies Voldemort leaves in his wake. James and Lily are both targets, because canonically they have defied Voldemort three times and are members of the Order fighting against his cause. Snape may be able to beg for Lily's life - and we see that Voldemort assumed it was because he "desired her" - but James' is almost impossible to argue on behalf of, even if he wanted to. Snape can't claim any intimate connection even if it's a lie, because James is in the Order and enough of an enemy to Voldemort that he was targeted on the basis of Trelawney's prophecy. The fact that Snape went to Dumbledore means that he is asking for Lily's whole family to be protected, not just her. It's not just extra insurance in case Voldemort decides to kill everyone in his path to Harry, it's an effort to save Lily and the people who matter to her as well. Snape knows that Dumbledore will give them a fighting chance where Voldemort won't.

When Dumbledore accuses Snape of not caring if they live or die, Snape says nothing. He doesn't confirm or deny this accusation, and as we've seen, he's terrified and Dumbledore has already twisted his words and judged him, so it's reasonable to assume Snape is worried that if he says the wrong thing, all will be lost. Dumbledore could have just accepted Snape's warning and told him to leave. He could have accepted the warning and asked why Snape gave it. Instead, he jumped to conclusions and threw them in Snape's face, a frightened man risking his life who learned quickly in this conversation that Dumbledore hates him and is judging him, and who learned while still at school that Dumbledore doesn't value his perspective or even his very life.

And then Dumbledore asks him, "what will you give me in return?" Snape is caught off guard, because as far as he knew, he was already doing Dumbledore a favor. He's offering him free information that will enable him to protect two of his Order members when the Death Eaters already outnumber them twenty to one, as Lupin said in OOtP. Again, Snape is risking his life - if Voldemort finds out he had this conversation with Dumbledore, he's definitely dead. As far as he knows, Dumbledore could kill him, as his opening sentence in this scene shows. And yet, Dumbledore turns this around - like the tactical, manipulative military leader he is - and posits the situation as being one in which he's doing Snape a favor by heeding his warning. As if he were choosing to protect Lily and her family for Snape's sake, not his own, and not theirs. Many years later, Dumbledore will ask Snape how many people he's watched die, and Snape answers, "lately only those I could not save." But in this moment on the hilltop, that's already what Snape is doing.