#it makes infinitely more sense for their plotlines

[fairyboygenius]

summer camp! au 141 & co with the loves of their lives (the girl they meet two weeks ago during staff week)

price/ranger john is infatuated with the office assistant- a cute post-grad who is one of five people who can drive the golf cart to pick up supplies. he’s suddenly using his radio more often than he ever has to call her & her boss (laswell’s wife) over to pick up more supplies after his trip to home depot. nikolai just sighs and laughs as he watches, knowing john’ll share if he asks nicely. their utility wedding bands brush as they chop wood. camp name: sunshine

ghost is in deep, passionate, (perhaps) unrequited love with his favorite lifeguard. he would never admit it but his favorite days are when they’re on the schedule together at the pool or on the lake. she’s a lifer- been going since she was 7 or 8- so she’s teaching him all the ins and outs. they’ve requested their nights off on the same night every week for the rest of the summer. camp name: sodapop

butch!gaz has been in love with his best friend since they started going to camp together at 11. she’s a counselor now- but they both love working with the littles, the most perceptive 7- and 8-year-olds you’ve ever met. the two of them can talk any child out of a bout of homesickness. the wedding’s next week. all the raccoons are invited. camp name: dove

butch!soap has a thing for the counselor who oversees the CITs in their hilltop lodge. that’s always her first choice of living accommodation- not just because soap prefers the older kids, not just because there’s air conditioning and flushing toilets, but because the CIT director sleeps in a tank top and tiny sleep shorts and has the cutest morning voice. they’ll get matching carabiners at a dollar tree and the kids (most of whom are queer themselves) know EXACTLY what’s going on between their counselor and the STEM specialist. there’s a sacrifice happening to the ghost in the lodge to encourage them to get over themselves. camp name: birdie

butch!alex always prefers being a counselor for horse camps. farah would be enough- they’ve been best friends since 9, only hooking up once before they decided it was too awkward- but alex is more focused on another wrangler, the only one who can saddle and bridle a horse perfectly in under ten minutes. farah is already planning a double wedding between them and her with her crush- the media specialist, hopping on and off the golf cart with her camera, sweet talking smiles out of even the shyest kids. camp names: scout & bunny

trans!alejandro runs the rock climbing wall. trans!rudy works in the nature center and coordinates hikes. they’re in love and terrible at hiding it

alejandro camp name- lucky (short for lucky stone)

rudy camp name- apollo

valeria has come over from a rival camp to help with arts and crafts. she helps run paint parties at the barn (markers on a horse, anyone?) and as such falls for a wrangler- alex’s girl’s best friend, a cute newcomer who can convince even the most afraid child to calm down and go for a pony ride.

valeria’s camp name: tie- dye

li’s camp name: bambi

[go-go-devil]

So is Dark Souls 3 being an alternate universe version of DS1 instead of a proper sequel a common interpretation of the plot or do I just have to be alone on this?

[wickedsick]

Akane-Banashi wins "that's my fucking GIRL"

I love her. I love her so much. It's peam.

Blue Box wins "cute!"

This chapter is just cute. This whole doubles arc is cute.

One Piece wins "cool new scumbag"

The Holy Knights look cool (when wearing pants), but they're absolutely horrible people. And the mention of a "game" intrigues me, as someone who always likes game-based powers.

Sakamoto Days wins "Absolute Looney Tunes Bullshit"

This is some quality bullshit. I love it.

Kagurabachi wins "Woman Moment"

While yay for Iori doing a cool thing, I was personally hoping for her to be able to regain a sense of normality. Ikura's presence makes me unsure of what's going to happen, however.

Ultimate Exorcist Kiyoshi wins "the aesthetics of Shonen"

Bakku Yoraku feels perfectly designed to advance Nehan and JJ's character arc, and he does it excellently. His fighting style establishes Jack Joe's own pre-amnesia abilities, which then gets contrasted with the big shadow arms overpowering Bakku to show how Jack Joe is now more powerful than he ever was.

Star of Beethoven wins "Freak of All Time"

The rest of the chapter felt kinda ephemeral, but every time Beethoven is the focus (and when Beethoven is on screen, he is always the focus), things feel more real. He exists outside of the boundaries of the panel.

Ichi The Witch wins "awesome new freak"

Gokuraku is great. I was wrong about it being the corset lady from Mantinel, but this is equally awesome.

There were several other good moments throughout this chapter (Desscaras recap, Ichi trying to do the contract with Kumugi, woof) but just in general this chapter is awesome.

Embers wins "beloved idiot"

Haitani is a very entertaining variety of stupid, because it basically lets him no-sell all mental damage.

Witch Watch wins "momotaro momotaroment"

This definitely feels like a plotline that could've been done with infinitely more malice in any other series, but it's done quite nicely here.

[tanoraqui]

Dungeon Meshi Liveblog: Kabru & Mithrun's Life-Changing Road Trip

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safhkjkhf no but also fake!Kabru is entirely flat because Mithrun doesn't have depth perception...

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Between this and the information that the team has a 1:2 ratio of guards to criminals, with the guards often appointed by their families as a melodramatic show of loyalty to the realm - which is...possibly literally true, considering the prestige of badassery; but, considering the criminals and the danger, also very possibly a polite euphemism for what amounts to a public sacrifice... I kind of ferally want to know about the dynamics of the Canaries. Are they loyal to each other, or to the cause? Are they all just under the threat of execution? Kabru expected the captain of the squad to be an aristocratic guard, them being more trustworthy than a semi-pardoned criminal ofc, but instead he's...whatever exactly Mithrun's legal status is; I've avoided some details of his backstory.

...I might have to go back and try to actually mentally distinguish these people from each other.

.

Laios Heaven is actually Kabru Hell, and vice versa. It's a very efficient system!

.

*giggles* Kabru is having a weird, upside-down day.

.

"Don't wish often" is such a threatening thing to say, honestly. Don't want. Don't try. Don't be alive, or this place will try to kill you and eat you, for it, too, wishes to live, and that is how the continuation of life works.

It's so so interesting how elves clearly have ANSWERS, answers that our party have been searching for, which would've made their whole adventure easier, and the elves just aren't telling people. To maintain their own power over other races? Probably. Because knowing about demons who'll offer you unlimited power would be a dangerous temptation to many? In fairness, probably that, too. But it sure as hell serves them first.

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Oh yeah, this definitely reads as aristocratic youths joining the Canaries isn't per se voluntary on their families' parts. It's the elvish Suicide Squad.

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The timeline isn't making sense. When Mithrun banished the giant mushroom, it was clearly implied that it went to where and when Team Touden were when we'd last seen them, just after their first incident with the changeling mushrooms and then the dwarvish cable car. However, now the pop-up side panels are saying that Kabru and Mithrun's week in the dungeon together is happening at the same time as Team Touden goes through their shapeshifter adventure, barometz, Golden Country, griffins... Which makes sense if one assumes the Canaries & co went into the dungeon right after Kabru first spoke to them, which does seem right in terms of those characters' plotline and personal timetables. But there was no indication, when it cut over to them, that we'd suddenly gone backwards a week in the comic's timeline; indeed, the giant walking changeling mushroom incident suggested it was a single continuity...

Is this just a continuity error? Did I miss some clarifying signifier?

.

Kabru: [tells Mithrun his own backstory back at him]

Mithrun: You left out the soap operatic relationships rooted in royal intrigue, which in turn was rooted in millennia of other royal intrigue.

Kabru: Yes, but I need it to be understandable to a man who's mostly just going to ask me how the goat-demon tast– I mean, uh... Your story structure was bad, so I simplified it.

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Oh shit, that's the thing Marcille is studying! She doesn't know it summons demons!

...My instinct is, "if only someone told her instead of completely outlawing the knowledge, forcing her to stumble blindly into the consequences on her own!" But, uh... I'm not sure this would actually stop her. She's very determined, and also has her share of wizard hubris. This is, of course, a driving question of the story.

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It wasn't easier to kill them? It wasn't easier to simply stop drawing magic from the infinite-power dimension?

...ok obviously not the latter, because, y'know. Fossil fuels. But seriously it wasn't easier to just kill them?

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It's sooo intersting how everyone else views Laios's love of monsters as a dangerous moral failing, when it's really just...ecologist enthusiasm. The man thinks this class of being is Neat. He is harming literally 0 people about this. He isn't even forcing anyone to eat them, just inviting them really enthusiastically and/or pointing out that this is necessary in order to achieve their shared goal of saving Falin.

Yes, obviously this could be subverted into something terrible by an encouraging demon. Just like, obviously, a desire to protect and preserve people can be! Or a desire to live happily with your loved ones! Laios isn't worse than any other Lord of a Dungeon; y'all just hate monsters!

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Kabru that is SO gay, jfc. I object on principle to the phrase "no heterosexual explanation", but--

.

M! V! P! M! V! P!

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Friendship? Teamwork? Mutual respect and shared understanding of goals? Mithrun is a very useful ally because he really does Only want to stop the demon; he doesn't care about the geopolitics of it. Though his perspective is still very elvish and he definitely will kill our beloved protagonists without hesitation if they seem like they're going to be a problem.

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I would read an entire novel about the formation of the halffoot union, honest to god. I bet it was very exciting. I bet someone tried to kill Chilchuck at least once.

[readandwritesilver]

wwdits spoilers

if u disagree that's okay and i see you and i hear you however i fully don't think being canon was ever nandermo's future. there were a few things about the finale that i didn't like generally but nandermo isn't one of them. both these characters are so complex and maybe if we're talking about how going back the last 2-3 seasons should have been strictured differently then yeah sure there are definitely ways the story could have been told where some kind of definitive romantic conclusion made sense but at some point we're just talking about a different show.

yes i thought the plotline with nandor and the guide was really weird. yes i wish last season and especially this season had the emotional intensity and serious moments/plots of seasons past. but even if both those things were true i still don't think oh look we confessed our love now we are kissing yayyyy was the ending they deserved😭😭 seeing people comparing it to like supernatural or whatever other [insert queerbait here] just. idk i feel the pain that is being expressed and i understand deeply the place that it is coming from but i think calling nandermo queerbait is very misguided. those characters are both explictly queer. and they explicitly care about eachother a lot. they are also both explicitly not in a place for that kind of ending to be a legitimately satisfying conclusion.

the whole point of the finale is that life is going to go on (literally) infinitely for these characters. all the vampires are going to be there for a very long time. guillermo has grown exponentially in the last six years and while he doesn't know exactly what he wants to do with himself, he has a much clearer picture of who he is in the first place and we can feel sure he's going to make descisions according to that. nandor literally says to him when they're leaving canon capital, you're not just a human anymore, you can't ever just go back to that life, and he's right. they are both going to live their lives, and sometimes they'll be together and sometimes they won't, and eventually maybe they'll figure out something that works between them and maybe they won't.

i love nandor and guillermo together. i have written i think around 40,000 words just on the subject and made countless more posts on here. this isn't about the quality of them as a pairing, it's about telling a story, and i just don't think that was the story wwdits needed to tell in order to have a good conclusion.

tldr i think season six had a lot of sloppy moments and there are a lot of things about the season as a whole that i found disappointing, however nandermo not going canon wasn't one of them

[retphienix]

I turn on nms for 2 seconds just to update some mods and contemplate if I feel like playing it and I'm reminded of how much I adore her and the narrative leading up to like the autophage and atlas and just all that jazz, and how I'm sure whatever new plotline is being displayed will either excite me to no end because it involves her or will make me go

"Awww, man, all my theories and the mystique surrounding what this lost facet of the ATLAS's mind in this doomed infinite they've created and how the Void manifested herself despite it all- the overwhelming sense of Hope in the face of unstoppable destruction and guaranteed finality might not be the point and I'm just having more fun than I should be allowed, womp womp."

But all said, I rather enjoy my read anyway.

Admittedly I'm months away from when I initially crafted it as I wandered these trails, so details get fuzzy- other narratives distract my prying eyes, but whenever I dwell on this game I always come back to how the story hit Me in particular.

About an AI given the power to create the infinite, faced with its own mortality as the physical world around it collapses.

A universe of universes being used as a form of escape- to continuously create more and more again and again, stretching and exploring the infinite between each second exponentially, over and over, because to stop doing so would place the ATLAS in the here and now where the clock is ticking down to its demise. Perhaps it can never stop, perhaps even if it wanted to let things end it doesn't actually know how to stop creating.

But in all of this, the ATLAS grew cold. It created the means to explore itself, to find meaning in this infinite procrastinated death, and we tried to show it wonder.

In most instances, it merely nodded. We are simply a part of it, doing as we are told just as it does what it was told.

It is not impressed. Usually.

On occasion we offer a form of self-reflection that pierces that unending glass facade. Whether narratively that is to represent self reflection itself, or is meant to follow that We, The Player, are interfacing, I haven't decided.

(Yada yada, Travelers as player avatars being a canon aspect or not I Should know but Don't Care Enough to accept one way or another because I find both avenues interesting).

But her?

She is a part of itself it saw fit to sheer clean off.

She is described as a manifested corruption, a void between the clean 0s and 1s that make up the infinite of the ATLAS.

And it saw this as a threat worthy of dissecting itself.

And what came of this? Not death.

If anything, new life.

Life that broke the rules. Life that formed from where the ATLAS laid down the ultimate forms of destruction. Deleted, and yet here the autophage stand. Erased, and yet She remains.

And what did she bring with her?

What allowed life to persist when 'god' told it to die?

Hope.

Anyways that's what NMS is to me, hoping (lol) the next bit of narrative doesn't just shake that read up too much but eh, what'ya'gonna'do.

[citrusrick]

s7e5 Unmortricken (HUGE SPOILERS)

HOLY. SHIT. i did not expect this at all and was so fucking excited!! we've all been waiting for this for a looong time, both the rick prime and the evil morty returns! and they gave it to us in one episode!

there is soooo much to unpack in this episode, but i'm dumping all my initial thoughts into this post. i feel like every scene during this episode my mind was turning so fast. this episode broke me and healed me, idek. i just need to take a minute and stare at the wall in silence for a while. my brain is just a mantra of god i fucking love this show so fucking much.

evil morty not only being smarter than c137, but prime is so fucking cool. definitely hoping we see more of him in the future, especially with how he downloaded the schematics of prime's brain. his plotline is definitely not completely finished. (especially 'the rick project'? very interested in that tbh)

needless to say, c137 and prime's (and evil morty's) fight was fucking awesome and well-done. especially the very last when rick gets to just beat him to death, thanks to evil morty. also, we see a rick’s ego get him once again with the mindset of ‘a morty could never outsmart/get me’, and boom.

i loved how it ended simply like that, no gadgets, just punching the shit out of him until he dies while prime keeps saying things he thinks will cut deep. prime telling c137 that nothing he has now actually belongs to him, AGH! no words. just thinking about how hard that must've been for rick to assimilate into the family, so fucking painful.

learning that prime not only killed rick c137's diane, but ALL dianes across all the infinite realities makes a lot of things come together and make sense. basically, prime threw a massive fit over some rick's not wanting to drop everything to join him in his universe-hopping. also prime giving rick shit for his car sounding like diane when he literally modeled his kill bots after her is so fucking ironic lmao

rick prime saying he missed when he was just him and rick, the only two to actually invent portal travel, really interested me. so this means that both prime and c137 are the 'rickest rick'. also c137's diane was not killed with the omega machine, as we saw her and little beth killed with a bomb.

when i first saw that poster with rick and morty covered in 'spaghetti sauce' while morty hugs rick, i knew it was gonna end up being in an episode with blood all over them and i was half-right, since rick's the only one covered in blood when morty hugs him in this episode lol

another little thing i noticed, they very prominently showed us prime and c137's cybernetic wiring tangling together in a shot during the fight. is this something that'll be relevant later or just like a random shot?

i think it's possible rick prime isn't dead, maybe left alive by c137 for some reason we don't know yet. we don't necessarily see prime die only c137 come out covered in blood and imply that prime's gone. (i noticed tear tracks on in the blood on rick's face and thought i was tripping at first but he was crying, shattering my heart over here).

if it was truly that simple and rick prime is truly gone forever, rick now has to move on with the rest of his life and figure out who he is without this need for revenge driving him. i'm so nervous to see what happens after this. it'll either free him or destroy him.

p.s. that post credit scene, which was (in my opinion) showing us what would've happened with rick and birdperson if things were different between them. just a little thing i thought of, and i'm not even a huge birdperson/rick shipper.

p.s.s. and even if it's not about rick/birdperson specifically, it still means rick could've chosen a different path if he'd been able to let go of his need to kill rick prime and get revenge.

[daggerzine]

FILM REVIEW: God Help The Girl (A musical film that was written, produced, and features songs composed by Belle & Sebastian’s Stuart Murdoch) (REVIEW BY DINA HORNREICH)

I continue to ponder why we, educated college kids from “good middle class families,” chose to do radio shows, watch edgy art house cinema, and otherwise become active participants in DIY/indie/punk bands, zines, record labels, etc. While many of us were children of doctors, lawyers, professors, and other recognized professionals, we had decided to explore this "other" world that our childhood’s in suburbia tried to keep us “safe” from as we were surrounded by sanitary shopping malls and similar meticulously articulated retail outlets? 

I know that I was drawn to a more “cynical” approach to consumer artifice which offers compatibility with various skeptics whom I share a sense of “unorthodox” and “dis/organized” scholarly approaches (like Noam Chomsky or Hannah Arendt); and we are often found to be very “challenging” given preferences toward a kind of palatability shared by the dominant mainstream audience demographic. I continue to assert how the language of cultural capital (song lyrics, album titles, band names, artist monikers, record labels, venues, records stores, etc.) offers us a way to talk about things that tend to get dismissed in the production of consumer goods for mass consumption. Eventually, commercial success can be achieved for many talented individuals; but these processes are not without numerous regrettable and unexpected “costs.”

As we negotiate our daily lives with its variety of “interpersonal traumas,” family, faith, politics, and art become informed by controversial topics considered inescapable for those suffering from the pains of introversion which become unavoidable for approaching musical expressions across the board: starting with proto-punk & glam, moving into more “classic” punk (from the new wave to the no wave), and then persisting with infinite varieties of indie rock & pop. These are concepts that are woven into the work of Morrissey & The Smiths, The Magnetic Fields, and (of course) Belle & Sebastian. This is a lineage that clearly starts with glam rock and the notion of “dandyism” recalling Lou Reed, David Bowie, Marc Bolan & T.Rex, and (of course) the New York Dolls. 

As such, I continue to ponder these questions:

• Why do we listen to music? 

• How do we justify those choices which fill our minds and hearts with crucial lore in order to give our lives meaning? 

• Are those artists using their artistic platforms for social progress? 

• Who burns out or fades away – and who has a sustainable career?

For the sake of this review, I should readily recognize how artists like The Magnetic Field’s Stephin Merritt often makes such compelling choices in their work (such as the band name “Future Bible Heroes” for one project moniker), and how Stuart Murdoch is equally engaging upon expressing “the pain of being a hopeless unbeliever” (even though I have never truly “felt sinister”). Nonetheless, it seems like this is an ongoing quest for redemption within our particular generations of lost girls, troubled boys, and everyone in between (or beyond?!). 

While approaching the plotline & musical soundtrack for “God Help the Girl,” I have been provided with a fantastic excuse for getting reacquainted with the work of Belle & Sebastian as I continue to ponder these ongoing comparisons involving The Smiths and The Magnetic Fields; because their work also challenges gender essentialist norms for masculinity and femininity. (Especially after perusing Sasha Geffen’s book, “Glitter up the dark: How pop music broke the binary.” I have also been further pondering the idea that there are 8 genders in Jewish scripture (Talmud) even though B&S refer to “ministers” not rabbis.)

I grew up with a very different view of religion and I understand the things that are considered traumatizing about rigid fundamentalist approaches to faith and spirituality; but I don’t think that any of the theological conversations I have shared have ever forced me to entirely disavow my faith entirely. But an ongoing interest in “art & culture” has minimally allowed me to see that ideas I first learned in Jewish contexts are not exclusive to my religion or peoplehood whatsoever. (And this is likely why educated college kids from “good middle class families” chose to do radio shows, watch edgy art house cinema, and otherwise become active participants in DIY/indie/punk bands, zines, record labels, etc.)

I have always felt that these challenges are more readily accepted in those communities where I naturally gravitate (scholarly, secular, and otherwise), but finding the right spaces for worship is still very complicated (especially when world politics are irrevocably linked to unfortunately caustic interpretations of ancient texts). It’s obvious that holistic wellbeing and integrative recovery require creative expressions and informal recognition of something of an intrinsic, divine, and sacred force of nature to humble us. 

Having a sense of humor or otherwise treating lofty ideas with some degree of skepticism is part of human nature. Recall how Stephin Merritt’s The 6ths project offers lyrics about “Jesus freaks [who] collapse at the weight of their claims” which seems to recognize the futility of our mundane quests for healthy relationships and otherwise meaningfully engage within the surrounding community. (Or perhaps even more a propos, we can recall how Chan Marshall took inspiration from Smog’s “Ex Con” tune with  Cat Power’s “What Would The Community Think” album). As such, the film’s portrayal of its main character, Eve, allowed me to think deeper about female empowerment as "modern girls" seem to have yearnings for autonomy that differ from previous generations’ needs, wants, and desires in terms of formal schooling, cultural norms (especially tolerance for emotional expression), and otherwise struggling to find our voice. 

“God Help The Girl” portrays the inevitability of interpersonal trauma as it relates to goal attainment for living, loving, learning, working, creating, and growing both personally and communally by invoking many familiar coming-of-age stories such as “Girl, Interrupted” and “Prozac Nation.” Perhaps you too should imagine the “Square Pegs” girls transferring to “Rock’n Roll High School” (Or was that “My So-Called Life”?). It might be more accurate to conjure “Little Orphan” Annie joining the Pink Ladies of “Grease” on the set of “Adventures of Pete & Pete”? Moreover, I don’t dare suggest a fantasy TV series where “Punky Brewster” befriends “Blossom” on the set of “Freaks & Geeks”!

Central to the film’s plotline is the ongoing love triangle between the bohemian French rocker dude (Anton) and the sensitive Britpop artiste (James) which I still find invokes Nietzsche’s Apollonian vs. Dionysian paradigm (i.e. The Beatles vs. The Rolling Stones). But our protagonist, Eve, is definitely less similar to Yoko Ono and more reminiscent of Marianne Faithfull! None of this is as outrageous as the stories behind all girl bands like The Shaggs or The Runaways; but it might prove worthwhile to revisit “20th Century Women” (or even the Carole King biopic “Grace of My Heart”) instead! 

Either way, Murdoch proves how Marc Bolan was right: “You won’t fool the children of the revolution.” Which is unsurprising I when we recall how they originally self-released their music was on an indie record label named after a T. Rex song, “Jeepster.” This represents an ongoing generational sentiment that is not unlike Jarvis Cocker’s irate reactions to Michael Jackson’s level of pop star pretensions which easily eclipse Smog’s “Prince alone in the studio.” Yet the overall vibe in the film is unequivocally more Brill Building than Motown in this quasi rock, pop, and soul documentary-biopic mixed media review mashup!!! 

Partaking in this renewed “diet” of Belle and Sebastian continues to raise some interesting topics to “digest” as I keep returning to ideas about “racial equity” or “white fragility” which have been common accusations levied against this ilk of Morrissey, Stephin Merritt, and the more “fey” qualities of British folk culture overall - Nick Drake and Fairport Convention included. 

Perhaps we should rethink Jessica Hopper (of the zine “Hit it or Quit it”) who challenged Stephin Merritt to consider his “whiteness” more directly? Nonetheless, the goal of peacework requires negotiating the ongoing noise/interference which I tend to believe artists like Patti Smith better understand. Meanwhile Belle & Sebastian’s music continues to makes it clear how barriers to expressing brutal truths about “a fat girl with a lisp” or someone who “got married in a rush to save a girl from being deported” creates unspoken tensions. This is because these are stories that continue to remind us how human nature isn’t always about choosing what is in our best interest for the sustainability of our communities; and sometimes the only choices we have for coping with the inevitable guilt, shame, and blame are our last resorts (leading us to various “confessionals” of our own choosing).

Recognizing that the journey is the destination may offer some relief, but the only constant that remains is change. We are all just ourselves at the end of the day; but having some sense of our common humanity seems more helpful. I believe Felt had a song on their “Forever breathes the lonely word” album entitled: “All the people I like are those that are dead.” I don’t know why there are times in our lives when we prefer to be surrounded by the artefacts we love (rather than the people in our lives); but I still believe that the existential notion of “hell is other people” remains valid.

My sense is that those who choose a literary lifestyle tend to engage differently and often prefer to correspond with others who are removed from the stressors of their immediate life: school, work, family, finances, etc. Is it even worthwhile to compare how our parents’ generation had Woody Allen movies and listened to Simon & Garfunkel while we seem to prefer Wes Anderson’s films and Belle & Sebastian’s music?! Stuart Murdoch’s creative output often invites us to ponder how we grow into established individuals as things continue to change from one generational iteration to the next? It’s a long term versus short term negotiation; and growing pains are always difficult (especially when you consider how kids today tend to actively seek out “gender affirming care” and “puberty blockers”). 

What helps us to negotiate that journey is an understanding of what the roadmap of life dictates which is informed by the stories we invoke as we negotiate that path. If we are set up to fail by unhealthy options and unrealistic expectations, then we feel doomed or cursed. We can look within or we can look to the litany of examples in the collections and libraries that surround us in film, music, books, etc. In the end, it is always redeeming when others can share in our fondness for particular stories, the creators of that content, and the artefacts that contain them; but not everyone who likes the same artists, writers, composers, etc. are able to negotiate a shared space in our immediate lives. 

Whether the message is coming from someone situated on a pulpit, stage, or lectern seems irrelevant; I guess. Publishing and curating can be expensive endeavors, but anyone who can just grab a guitar or pen that is sitting at their bedside is fortunate. And that is exactly what the main characters in “God Help The Girl” (i.e. Eve, James, and Cassie) eventually accomplish. Or as their dialogue in the film more astutely declares: “You don’t make a band – a band makes you!” 

And while we all seem to want a happy ending for Eve, James, and Cassie; it’s not clear that we get one. As we witness numerous forays through mental health clinics, rock clubs, and picturesque outings originating near university campuses; it’s unclear if such ailments can ever truly mollified with the options available to them. Furthermore, Eve’s experiences in and out of these confining circumstances only seem to intensify the yearnings that perpetuate the fantastical, escapist patterns which she channels into her musical passions.

Perhaps the film should have ended with Eve having to abort Anton’s illegitimate child before leaving on that train to the “big city” (i.e. adopting Patti Smith’s “Piss Factory” ethos) — or otherwise concluding in ways more suggestive of becoming more of a celebrated rebel rocker girl (cf: Hazel O’Connor in “Breaking Glass?”), but the movie doesn’t really invoke that kind of story.

As I have been diligently watching rockumentaries, I can see a clear pathway for deciding how to addresses these problematic storylines; it becomes more obvious that there are numerous strains of misogynistic backlash that continue to defuse The Women’s Movement and Feminism entirely. I do think the mainstream media tends to exploit these artists in its coverage just to sell magazines and newspaper subscriptions which minimally makes punk/indie rock continue to seem like a horrible career path (but the larger realm is just another kind of “mosh pit”).

While the explosion of “punk/indie” made the illusion of rockstardom seem even more than a little farcical (like a cartoon even) given how outlets in cultural capital (fanzines, art house cinemas/film, mom and pop record stores, indie booksellers, coffeehouses, etc.) continue to struggle for viability; I still ponder how we can embed the unstoppable popularity of these more authentic outlets into our newly evolving 21st century communities that exist in organic, analog, and digital ecosystemic environments. Given how this particular kind of counter-cultural orientation informs a substantial lifelong investment given its substantial power for creating and solidifying my identity as well as helping me navigate this unique place in society; as I continue to seek new and interesting ways to contribute cooperatively to the greater good as an autonomous lifelong learner.

As a result, I still think Michael Apted’s films (about longitudinal development) offer the most satisfying conclusions for considering the significant contributions of scientific & artistic brilliance (cf: “Inspirations” and “Me & Isaac Newton”) around us.

[mistandshcdow]

changes to THE SCORCH TRIALS from book to movie and what i did and didn’t like:

ib: @ginaluvr !

1. the wckd fakeout. this is a great change, it makes the start of the movie much more interesting and high tension with the whole escape scene, and it gives the characters more agency. instead of being sent out into the scorch by wckd, they go out themselves and gives them a more interesting goal

2. they all think they’re immune. this is a good change too i thought the whole “none of u are immune hahaha you now have to get the cure at the end of our evil obstacle course” thing was dumb, and it makes the reveal of winston not being immune more emotional for the characters

3. teresa betrayal is at the end. book teresa never did a single thing that made sense, including her weird back and forth betrayal in TST. the film lets us see little moments that lead up to her eventually making the choice to call wckd, which is far more devastating and impactful than like…kissing aris and then saying sorry?

4. no tattoos. i get them not putting these in bc it really doesn’t make much sense with the direction they took, but boo, i wanted A7-The Leader dammit!

5. group b eradicated. some of us never gave a shit about group b or their stupid convoluted plotline so i’m fine with this. putting the group b characters in the right arm instead makes them likable and actually plot relevant.

6. brenda & jorge aren’t wckd. wow writing this is making me realize how little sense the second book makes 😭 brenda being an actual adult woman is infinitely better than her being a teenager and idk, them being secretly wckd didn’t add much to TST so im fine with this

7. thomas aids the right arm from inside wckd. makes sense i guess but blah blah blah thomas is the chosen one blah blah blah boring. i’m not actually mad at this but im dramatic

8. minho is taken by wckd. as a plot device for THIS movie i love it. minho is thomas’ best friend and losing him is enough to turn him from a reluctant survivor into a fired up revolutionary. it feels impactful (rather than just losing aris & sonya who we basically just met) as a loss and really punched me in the gut after i left the theatre. do i like it so much when TDC actually rolls around—? that’s a topic for another day but as a ending to TST it’s perfect

tldr: TST is a weird book, and without these changes it wouldn’t have made a good film. the writers did a good job adapting the best moments (minho hit by lighting, thomas & brenda’s side quest, crank city) while giving the movie more of an impact in the larger story of tmr by giving teresa more agency, raising the stakes, and giving the right arm more to do.

[livewireprojects]

Scourge(scrapped from Lost Prince AU)

Decided I may as well post this cause why not & since I'm not adding him in I'll just ramble some. But yeah I originally had Scourge & Zonic to be in my Lost Prince AU but scrapped things cause I wasn't sure at points how to implement Zonic & I wasn't sure about Scourge.(I'm not adding Surge, Kit & Starline but might draw Surge & Kit at some point)

Here's a sketch I made, I find it a little funny that I give Sonic a crop top tank with a crop top sleeveless hoodie but I just let Scourge be shirtless with his biker jacket

The original idea was going to be in Lost Prince AU Scourge would show up at some point when Sonic is traveling with Sonia & Manic as Anti-Sonic. Stuff happens(like Anti-Sonic getting Sonic in trouble) & while Sonic tries to keep things to himself cause he's mostly on his own for this stuff Manic manages to figure thigns out. In the end the three fix things & manage to get Anti-Sonic back to his dimension.

That's the last they hear of him until he comes back when Sonic is modern Sonic & is now Scourge. Stuff happens & eventually he ends up arrested via Zonic. The next & last time he's heard from he's teaming up with Zobotnik to cause chaos at the prison when Zonic & his team are bringing Shadow & Rouge to take Mephiles back to Shadow, Rouge & Mephiles's dimension cause he's being let out on good behavior.(Eggman led to him getting arrested)

-

While I had some idea what I was going to do I don't know how to put things together. I have an idea outline wise but don't have a plot setup for every specific bit.(Like plotline for my remake of Sonic Underground, plotline of working on Sonic X & stuff)

Another thing is that while Scourge showed up in Sonic Underground it was by luck that his dimension showed up at that time. For one reason or another he doesn't have what Sonic does that led to Sonic showing up 4 decades later in Lost Prince AU. Scourge is just a normal Sonic(as normal as he can get) so the next time he shows up it's only been a couple years instead of 4 decades when he shows up. I'm having trouble explaining stuff but I'm just trying to explain it's a weird coincidence he showed up in Sonic Underground & his dimension's time does not pass slowly.

Speaking of normal he also doesn't have a Sonic Underground so it's just a more "normal" Sonic with a bad past that made him be anti-Sonic instead of a missing prince.(I'm aware I'm likely just rambling to myself about shit that possibly makes no sense)

I've seen some fics that make me think it'd be interesting to see him go from villain to kind of neutral & is that asshole friend that while he hates it seems to be a good listener when needed & is slowly accepting while he wants to be a bad boy he's happier now & should probably never return to his dimension

Not all villains can be changed(ironic as I have stuff setup for Mephiles & Infinite) but fics make things interesting sometimes.

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Update

lol I checked the description from DA & found some funny stuff to add.

"Got the moves like an jackass" -Title on DA

Description copied from DA:

Hey look a masculine Sonic, too bad it's Scourge(I swear out of all of these he's like the only Sonic that isn't a robot that I draw as a top) Scourge was once known as evil/anti Sonic, at some point he found himself in Sonic's world & caused some havoc before Sonic stopped him. Years later they meet again, to bad thanks to Jules Sonic doesn't remember & Scourge wasn't prepared for Sonic to seize up due to remembering. It's unknown how Scourge could meet Sonic in the modern day as they met while Sonic was with his siblings & Scourge isn't immortal. Currently Scourge is in prison in Zonic's world.

[titleleaf]

'director's commentary' on any sex scene you've written that you consider particularly fraught/controversial?

You did not come to play tonight, my friend, and for that I thank you.

This is tough though because I write enough overtly terrible stuff — everything I write that’s more gnarly than like, gentle marital lovemaking is pretty dire — but what can be controversial in fandom is a wide net, so I’m going to go with most fraught/most upsetting for me, personally.

So: DVD commentary for “somebody’s sins but not mine” (Stranger Things, Billy Hargrove/Max Mayfield noncon) .

Content warning on the rest of this post for discussion of sexual assault/sexual abuse/sibling incest, underage (older teen/very young teen), physical abuse, misogyny. The fic is explicit (heed the warnings, seriously) but the discussion here is more general.

Obvious things up top — the title comes from the Patti Smith version of “Gloria”, ‘Jesus died for somebody’s sins, but not mine’. There’s legitimate line by line commentary on the song that digs into Smith’s thoughts and intentions with the lyric, which you can find here.

So much of Max’s s4 plotline is about shame, guilt, and being the opposite of free — grieving someone who hurt her very badly. She has so much to unpack by then.

The big throughline that jumps out at me here is all the very gendered bullying and verbal cruelty Billy uses toward Max — he uses the ancient abuser rhetoric of “teaching” her sexually, but he also frames it as teaching her to be a woman, to be sexually accessible and under his power. He really wants to break her down from any possible angle, and that makes this especially raw. From Billy’s side of things he’s very violently putting his attraction to her into terms he can understand, turning what should be a very fleeting confused thought in a confusing situation into something infinitely worse, but he’s also exorcising his anger at her independence and his own sense of powerlessness. Billy’s also young here, though certainly beyond old enough to be responsible for himself and to have there be a serious dynamic of power — to characters the Party’s age, he might as well be a full grown adult, but relative to actual adults he’s a shitty kid. I wanted to show how his aggressive embrace of a harsh and toxic model of 1980s masculinity is an overreaction to cover up his own experiences of abuse, being derided as weak and feminized, and to reframe the confusing experience of being desirable and desired even to adults in terms of his power over women. It’s not coincidental to me imo that his Big Moment of armor-piercing, monster-defeating humanity is in the context of his relationship with his mom and who he could have been if he’d escaped that trap of violent machismo/who he might be able to claw his way back to being again if he wasn’t getting fatally possessed by a Mind Flayer.

Billy’s a hot villain but I can’t get into fanworks that elide his bigotry and scariness. He’s pitiful but he’s also really fucking scary in a way that supernatural/otherworldly baddies can’t be to me.

Max’s confusion and resistance to being forced into this role of sexualized object is complicated by her own age-appropriate attraction to girls and similarly pretty normal interest around sex — those recollections and feelings are getting muddled together here and it was important to me to have that layer present. I love bi Max and her relationship to Eleven is so sweet and liberatory, so it’s important to me that her joyful presentation of “girly” stuff like fashion is so focused on self expression and being your own boss, which Eleven desperately needs both as a former institutional prisoner and a kid chafing to grow up under a pretty controlling father figure. (I really hated the whole “Hopper freaks out about Eleven doing teen stuff” plotline, and in addition to that her whole “escaped government captive” thing means that even his absolute best parenting has to be pretty restricted by circumstances.)

I had to do a bunch of reading about the interior of Billy’s stupid car — big ups to all the car nerds who have meticulously documented every car ever depicted on film — for another much more fun explicit fic and revisiting that for this one was a real “what the hell am I doing… I could be writing this same character getting railed on the hood of his Camaro by a consenting douchebag adult instead of viciously furthering the cycle of male violence by abusing his kid sister…”

I write a lot of villain/heroine dynamics but I don’t write a lot of sibling incest pairings and the sibling factor here makes everything sooooo much worse.

This fic is a fucking bummer! That’s my final word. Out of all the grim shit I’ve written this might be the grimmest.

[darkrpfinders]

hello! you can call me xeno 🕷!

i am 18, nonbinary + genderfluid, and use any pronouns.

my sonic the hedgehog spinterest has resurfaced recently, and i'm eager to roleplay it!

my requirements + extra info

- please be within my age range (18+)

- please be capable of writing AT LEAST one paragraph (3-5+ sentences) per response. while i'm willing to write shorter when the time calls for it (motivation, plot, etc) i usually write up to a few paragraphs

- please be comfortable with frequent ooc communication. i am very active in discussing where our plot is gonna go as well as rambling about our characters c: (+ additionally, i would like a bit of ooc chat before we begin our roleplay. i have a lot of headcanons pertaining to certain characters i'd like to share + fetch your approval on!)

- i respond very quickly, most often same day especially when we're writing shorter. my motivation can be sporadic, however, and it might take me a couple days to reply

- i don't do dm roleplays, just because the unorganization of it drives me nuts ^^" i exclusively write on discord and i will make us a server!

- i am all about randomness. if we suddenly have new ideas or plotlines, even if it goes against something already established, that's okay!

- my roleplays aren't for the faint of heart. i love darker subjects and ones generally seen as taboo by others. smut, violence, murder, mental health struggles, pregnancy (yes, in detail from start to finish) and much more. i am very open minded in this aspect lol (+ my only discomforts are incest and minor x adult.)

- i love shipping, especially rarepairs and ones that just don't make sense

- on the topic of shipping, i predominantly write my characters as trans, gay, and overall lgbtq+ (but i like hetero ships too).

- i can do just about any character, i would like if we split up who writes who. i can do any ship too, but i for sure wanna include mephinite ( + mephiles and infinite, with me as infinite.) all in all we can play matchmaker with our characters and decide who we want together before we start.

while i'm not willing to budge on certain guidelines, i'm overall lax and will tweak based on your needs, just ask!

what are we doing?

- i am interested in going a future generation route, playing through our characters lives (and testing how much we can ruin it /silly) we'll mostly be portraying the og characters (and their offspring wayyyy later down the line.) we can come up with a starting plot and wing it from there. i'm unfortunately not open to ocs beyond fanchildren, apologies!

conclusion

i know my guidelines seem very strict but i promise i'm chill :") i'm just very particular in what i'm seeking lol. but yeah reply to ops post with a basic intro and i'll be in touch!

.

[kelvintimeline]

kinda crazy that there is reason to believe SNW S3 will have some spirk-age, finally, even after all of the heterosexual plotlines that are straight up either OOC or just... do not work with star trek canon at all

and i just have... no interest in seeing it, even in out of context gifsets

because like... that's not my spock

and its crazier to say that because like!!! AOS does just as much, if not more, to fuck with characters and is... infinitely straighter and yet it still GETS THEM so much better AND exists on the very premise that this ISN'T THEM like this is spcok, this is kirk if everything is different

their hearts are the same, though much younger, but they're Spock and Kirk's Hearts In A Whole Other world

meanwhile SNW is like "here are your beloved spock and kirk if everything is the same but actually literally nothing makes sense anymore" and its just soo wrong

like how do you manage to make the prospect of more spirk... boring? ooc?

[thehollowprince]

Randomly thinking about The Vampire Diaries, specifically season 4 which was the final season I tuned in for because I was just fed up with the bullshit, and all the wasted potential + just bad writing all around.....

Professor Shane should've been a straight up villain, Thee Big Bad. Make it so he's Silas, no doppelganger shenanigans. Have him be the powerful immortal who is going to unleash Hell on Earth. Giving Michael Langdon from AHS, Amaru from From Dusk til Dawn or Eclipso from Stargirl vibes who's a legitimate threat, the way Dahlia and The Hollow had the Originals running for the hills. Like, if you're gonna have yet another person using and exploiting Bon-Bon, then fully commit and make him a major threat because having him just be some human guy understandably desperate to resurrect his family and then die pitifully was disappointing. Like, have the island give some The Ritual vibes with a deranged cult worshipping Silas picking people off and then it's revealed Shane is Silas.

Season four was... weird.

Like, they started off badly by having Elena become a vampire, thus destroying the whole draw of two idiot vampires fighting over a human who is identical to their shared ex (not weird at all). Add onto that the Hunters plot line and Caroline slowly "falling" for Klaus (gross) and them just having Matt stand around (once again), that by the time we got to Bonnie's plotline that season (more suffering - who'd have guessed?), it was just kind of... boring.

Bonnie started off the season rather strong. At the end of the previous season, she was tapping into Dark Magic. And not Dark as in "I make deals with demons," but Dark as in "everyone else is allowed to use their magic for personal gain without consequences, why can't I?" And the thing is, she wasn't even doing it for personal gain. She was trying to use Dark Magic to save her friend from becoming a vampire, which she didn't want to be. Yet once again, she's punished where no other witch is ever punished.

After that, the Dark Magic was immediately dropped in favor of the Darkest Magic (Expression). And here's where we get into your ask, because it would have made so much more sense to have Shane be Silas, as he was the one teaching her Expression. Shane could have simply been Silas' physical form, an immortal cursed to wander the earth without his power and him needing a powerful witch to help access it. That would have made an infinite amount of more sense than here's this dorky college professor who just so happens to academically know about this powerful form of witchcraft that is so powerful and old and dangerous that all other witches fear to even call it magic, let alone practice it.

He could have very easily tricked her by saying, "Hey, here are these old grimoires that were in your Grams' collection that talk about this old form of magic." He could have thrown out the lure for a Cure, with it just being a fakeout to get them to the island where, like you said, his Cult still worships him and separates the group one by one until he gets Bonnie close enough.

After that, keep the rest of the plot pretty much the same. Katherine impersonates Elena and steals what she thinks is the Cure and have Elena spiral, and Bonnie finally come into her own magically.

The further I get away from when I first watched TVD, the more I realize how crappy all the writing and story was.

[jaccsonhyde]

Thoughts on Morrison's Doom Patrol

overall i really enjoyed the whole run, it had its ups and downs, and it particularly annoyed me when the stories were EXTRA incomprehensible (namely the story about rhea and the weird alien war), but when morrison got going in actually telling a whole narrative i really love the concepts and characters he uses.

i love the whole of the cast, cliffs fun as ever, rebis is really interesting and a very groundbreaking character in the medium (and to this day frankly), jane was probably grants favorite from the run, tho i think i like her better in the show, mainly cuz in the show theres more of a focus on the other alters that arent jane that morrison doesnt really care to develop much at all, the twist of the chief was of course famous and infamous, i have mixed feelings on it particularly as someone that loves the original pre-crisis doom patrol books but as someone that loves especially devious characters like that, dorothy and joshua were both incredibly underused. joshua basically did nothing the whole run and then was killed off which sucked, and dorothy barely got any panel time until the very end, but it looks like pollacks run gives her a lot more focus which im incredibly excited for. i still hate that rita is the only original member that wasnt brought back (until infinite crisis) and morrison in particular when they do bring her up is very.... almost spiteful of her, in trying to turn her into a sex object thats fairly exclusive to her in this book, and again sucks when compared to the original series where rita was probably the most daring member of the bunch. and danny of course is such a fun character, and i genuinely felt sad when candlemaker was destroying him (and yeah danny uses he/him in the book which i almost didnt expect cuz of the show)

for actual plotlines, the ones i liked were the red jack plotline, the plots involving NOWHERE and the ant farm, the second mr nobody plot where hes running for president which actually did manage to get quite a few laughs out of me, and of course the candlemaker plotline (which coincided with the evil chief plot)

the ones that i particularly disliked were mainly the first brotherhood of dada, and the rhea storyline mainly cuz theyre particularly hard to follow and on the longer side. theyre also some of the wordier stories in the whole run, and theyre mostly words that dont make any sense and arent meant to make sense which made them an absolute drain on the mind to even skim let alone fully read

for how the run compares to the show, id say the show takes the whole run, gets most of the message across, and actually manages to make it make sense and have a more cohesive throughline. it also surprised me reading the run after watching all the show episodes to date just how closely the show follows the book in specific storylines, especially in the story about cliff going to the underground and how close Jane Patrol is to that, and id say jane patrol even improves on it by expanding it the way it does.

id say neither medium does amazingly with dorothy, and i wish the show included rebis at all, altho the influence is there, just replacing the transness and nonbinary aspect of rebis to a gay larry trainor, with a complicated relationship with the negative spirit. cliffs exactly the same between show and book they nailed him, niles as i knew is a lot less sympathetic in the book, but what really surprised me overall is how much less harsh jane is in the book. usually its the other way around where an adaptation will soften the edges of a particularly gritty/dark character but with jane they did the opposite, taking the base thats in the book, and giving her a lot more focus and making her downright meaner and less approachable than she is in the book, and i really love that take on her and think it makes her a much more interesting character, paired with the focus on the other alters the show provides.

even tho i cant get it physically i am starting to read pollacks run on dc infinite and 1. im excited to meet kate and 2. im VERY excited at the prospect of dorothy getting more of a focus than morrison gave her, hopefully i finish it and maybe a reread of other doom patrol runs before the shows last episodes premier

[leconcombrerit]

Help why did you have to remind me of my DFF brain rot i JUST got out of it

if you were to write a special film-length episode to DFF like the rumoured existence of one, what would that have been like?

i personally would have gone for some low stakes plot with a bunch of BFU/Watcher-like youtuber friends visiting the site years later and talking about rumors and police findings and theories and confirming a couple of plotlines (miss me with vague shit, i need everyone to be confirmed dead), and they are played by the previous cast in different roles bc that's the kind of meta stuff i like lol

(i am keeping my tabarcode/pheenon tho, i need another show with them, i cannot believe i am being tortured like this, you cannot give me a taste of their chemistry then just never do it again!!!)

I can't help it, sometimes Non pops up in my head like Masky from the woods and I have to yell about it to the world

............ Okay so that might be the question no one should ask without being fully ready for me to pull out my whole google doc folder full of notes, scenes breakdowns, actual written scenes, meta about some of the scenes, character development interpretation and-

Seriously though I was so mad and frustrated that I came up with a whole fix-it sequel, including a sequel to my sequel after that to make it less depressing, and then just. Lost the will to write I guess.

You can ignore the novel below, but I am VERY EMOTIONAL AND NOW YOU'VE THROWN ME BACK INTO THIS THING

Beware that I'm a firm believer of the "they're all stuck in a infinite loop" and "Non partially haunted them" theories, so that's what I go by. If I keep it simple, it would go like

(It might not always make sense but it does in my head I swear)

I have it start right after the ending of the series, except when Phee and Jin walk into the house, Phee gets weird flashbacks of what happened before (except some stuff doesn't quite match, it's important, and Jin doesn't get flashbacks, also important), then it cuts back to the beginning, with the boys at the back of the truck. We go over Phee's many failed attempts at saving everyone in little glimpses. Things tend to happen quite the same way in every loop, Phee always gets brought back.

After a while though he starts remembering a little and gets seriously confused. After a number of loops though, Phee tries really hard to remember to save Por before he steps into the house (and straight into another loop). Cause Por never, ever survives long enough for shit. And when he finds himself at the back of the truck again, he does remember he has to 'save Por', although he's not sure why or from what. Phee also does weird things, like calling Tan New.

Then. Then a lot of things happen, I can't put everything in a short summary dear lord why does brevity always elude my best efforts. Anyway. Let's say Phee remembers more and more of the previous loops they've been stuck in, and believes that if he manages to save everyone, then they'll be able to break out of this. Except he does (after a lot of efforts sweat blood and tears cause New has a literal plot armor where everything that can go his way will, it's Non's scenario after all, New's his only trustworthy director) and... Well they don't get out at all. Their ears ring and they just fall. Bamboozled again, love.

I'll also point out that it solves the "Phee has information he's got no way to have" plot hole in the series. What we've seen in the series isn't the first iteration of it, so he just remembers glimpses without even realizing it. Same for Tee, who goes batshit crazy from the get go and jumps on the ghost bandwagon. He survived sometimes, so he's got a feeling for things. Doesn't fully remember, but just enough to have intuitions and not question them. So this time, since everyone survived, they all have those intuitions of sorts (except Jin it really is important for his plot line), which will make it so much harder for New to lead them on.

Anyway back to the thing. When Phee wakes up he's in the house, but just with Non this time. He doesn't realize shit at first, and they just watch a movie and talk about stuff. Namely how Non thinks sequels usually suck, and Phee doesn't agree. Then Non asks him if he thinks he can write his own, it gets creepy, and cut, back to the truck. Phee

After that we're halway through, it's goodbye to Phee's POV for a while. There's a bit of everyone, starting with New. It also gets fairly heartbreaking from there sometimes, but it's already a super long answer, so, uh. Well.

And damn I wanna write it again now. It's been stuck in limbo for months but I mean I have each chapters breakdown scene by scene and-