Everything is exciting, particularly existence. Existence is the most thrilling fact of all.  

I think I have a comprehensive list of my Homestuck ships.

Note the Karkat/Dave/Terezi/Nepeta quadrangle.

  • Karkat: <3 Nepeta, <3< Dave, <> Kanaya
  • Nepeta: <3 Karkat, <3< Terezi, <> Equius
  • Terezi: <3 Dave, <3< Nepeta
  • Dave: <3 Terezi, <3< Karkat, <> Rose, and he’d probably rely on Nepeta to keep track of who’s vacillating in what direction.
  • Kanaya: <3 Rose, <> Karkat
  • Equius: <> Nepeta, <3 Horuss
  • Latula <3 Mituna
  • Eridan: <3 Cronus, <3< Sollux
  • Vriska <> Meenah
  • John <3 Roxy seems cute, but he doesn’t seem to be paying attention. Also, if I could get Dirk to draw me some John/Jake, I would appreciate it.
  • Also I ship Jake <3 Alix, my Time Agent OC (Doctor Who). Jake seems to be a sort of Time Agent wannabe.
Reblogged from ilikedoctorwhoproject  11 notes

Why I like the Foretold


Despite being one of the classic monster types, mummies just plain aren’t that scary.* They lack the romance of vampires, the inexorable overwhelming horde-ness of zombies, the confrontation with the monster within element that makes werewolves so interesting - and the conversion horror of any of these. They’re slow, solitary, kinda racist, and rooted in amazingly squicky victorian erotica. (I’m so sorry, but I am not making this up.) It is therefore pretty surprising just how impressively well the titular Mummy on the Orient Express actually ends up working.

First off, it’s not a mummy - at least, not an Egyptian or any other kind of terrestrial mummy. It’s specifically covered under alien mythology. I thought that was a really cool touch - other places have mythology too. It also evokes the Orientalism that drives mummy myths, locating the Foretold as foreign, something alien and other.** And yet familiar! It sure looks like a mummy, possibly by design, all corpsy and wrapped in tatters. And, like a mummy, it has been intentionally preserved.

The Foretold relies on a wonderful juxtaposition of the slow and the fast. I really like the 66 seconds gimmick. Use of real time in a context that typically does not use real time can be really cool and actually putting it up on the screen enforces that. I love that it’s not a minute - that would have been needlessly anthropic. It’s an alien mummy in space, why would it care about our time measurement conventions. And there’s ultimately a good reason why it takes the time it does, which is doubly awesome. But the time is just long enough that you know what’s going on and can be well and properly terrified, but short enough that you can’t do much of anything else. The Foretold is slow-moving, but cannot be outrun. Inexorable is just plain scarier than fast. Always Right Behind You is something used to great effect by monsters and Warner Brothers (and the Warner Sister) for time immemorial. And so it can take its time but the victim is always in a hurry. And because it only interacts with its victim, it can’t be prepared for - by the time you know what you’re dealing with you only have about a minute to find a solution. It is isolating in the middle of a crowd. You can’t fight something you can neither see nor study.

I really do like all the mechanics of the Foretold. It teleports. It phase shifts, which, wow, that is not a concept that gets thrown around nearly enough. It was very reminiscent of Omega’s anti-matter blob monster in that way. It has rules, and the rules are an effect of something. It’s immortal, unstoppable, and unkillable. Undefeatable - and I respect so hard that they don’t defeat it. Its advantages don’t get undermined by the necessity of the plot. But also - somebody made it this way. Somebody gave it tools, gave it life, and then, for some reason (it might have been someone else) dressed it up to be perfectly mythological. Nobody asked if it wanted to. The name is curious - the Foretold. Someone had to do the foretelling. I have to wonder who. I’m also super intrigued by its time and place of origin. Both the “scroll” and the matching scrap of cloth inside the Foretold’s frame are written in Cuneiform - which is a terrestrial writing system designed to be pressed into clay tablets. The idea of Akkadians and Sumerians achieving spaceflight and building a technologically advanced civilization somewhere else is very appealing to me in a sort of Stargatey way. It pulls in that juxtaposition of ancient and futuristic already in place with the anachronistic Space Train.

The Foretold is extremely effective as a monster, but the Reveal is just as effective, if not more so. A soldier that has outlived its usefulness. It’s almost as if that’s a running theme this season… Killing only to live, but living only to kill, forced to keep fighting a war that ended a long time ago. And, okay, yes, there was a bit of Bat Deduction involved to get to that point, but when you’ve only got 66 seconds a little Bat Deduction can be forgiven - and all the seeds were planted earlier in the episode. And I mentioned it above, but I LOVE that they don’t defeat the monster. Quite the opposite - the magic word turns out to be “surrender.” And it makes complete sense - a soldier, too, has rules; only a monster kills an opponent who has surrendered. The Foretold wins. Not only does it “win” the war, but it gets the thing it seems to want - an ending, at last. Freedom, perhaps. Nobody likes being a mummy. I love love LOVE that salute at the end - an acknowledgement of equals, one old soldier to another.

There has been a theme or pattern this season of giving the villain/monster what it wants, helping it rather than fighting it. It’s Pareto Efficient, as it were - best for everybody. And this is different from Talking the Monster to Death, although the resolution of “Deep Breath” has elements of both. Very few of the monsters have been monsters per se - and it’s not an issue of being “simply misunderstood” either. The Foretold is genuinely monstrous - it kills an awful lot of people, and needs to be stopped. But it’s ultimately being used as much as anybody else on the Orient Express. It’s absolutely terrifying and weirdly sympathetic at the same time. I like it.

* monster mummies, that is. Real mummies, for whatever reason, terrify me. I cannot handle dead things.
** I do not mean to portray this exoticization as a good thing - I think it is (mildly) set up and then (equally mildly) condemned. The expert in Alien Mythology is not, after all, portrayed particularly sympathetically, and his dismissal of Earth Mythology ultimately proves to be true of the Foretold as well…

Reblogged from ittigerburningbright  33 notes



This is one I wish they would find.  Evil of the Daleks.  Victoria’s first episode

They need to find this one for many, many reasons. Not only is this Victoria’s first episode, but I think it represents a major turning point for the Second Doctor, both personally and in his friendship with Jamie (who has turning points of his own in this one.)

*sigh* I think I’ll end up watching this one again this weekend just because there is so much to dig into with this story-line. I really hope Philip Morris has some good news for us about this one soon….