#// ??? not really but the imagery might be present

[itspileofgoodthings]

I love the rhyming on ttpd. can only think of two examples currently but I know there’s more.

[thequibblingking13]

Monsters in the corner of your eyes

[m0e-ru]

she had leftover paint from the last show, one minute, and a dream

[duckimate]

GRUMBO WEEK DAY 3 - " Nightmare " @grumboweek

"read more" at your own discretion. messy+wordy explanation of the concept coming:) .

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pardon me for being late but i really couldn't stand leaving this looking unfinished so. had to spend a bittt more time on it (might even post for grumbo week even after the event's over if thats okay!!)

we all got over the progression from their friendship to their betrayal of eachother in Last Life too soon. i need people to mourn with me

"Nightmare" made my mind immediately jump to the series that waffle duo really got their share of angst from, Last Life. How an unbreakable bond of friendship strengthened by literally passing eachother something as valuable as a life so quickly crumbled into them both betraying eachother in the end, a Nightmare scenario that the two of them would've never even considered for sure. even grian, who upon turning red was still clinging onto the hope that their bond was so strong that mumbo would join him as a redname. (concept) even red mumbo, who in his last ditch desperation tried reigniting post-red yellow life grian's humanity by giving him the spyglass, the southlander's physical embodiment of their friendship, only for grian to crush it mercilessly ,,,,,,,,,

anyway for this piece i tried real hard to cram in as much symbolism and imagery and intent behind my lines and colors as possible, so heres some of it! (theres more but thats on you to figure out!)

Composition + just some of the details : the main concept that i really wanted to drive home is the use of the SPYGLASS as symbolism for the progression of their bond throughout Last life, up until the end. yellow-side grian holds up a spyglass, looking towards the right

day4 past and future concepts ahead the spyglass extends through the past to the present, like a solid line of sight into the future before its unfortunately crushed by red-side grian (him shutting down any friendship or reconciliation from mumbo) mumbo, back against the future, faced twoards the past, reaching his spyglass out looking for who his friend was, only to see a cracked figure of him staring back grian, faced towards the future in both drawings, but also looking back at mumbo, with different emotions but both with the same desire to move forward, one with adoration and another with the desire to move on from mumbo's dead body and focus on self-preservation. he knew he had to move on, and he was right.

SOUTHLANDERS BADGE: mostly for visual interest! but also unlike the spyglass, is an unremovable physical reminder for post-red grian (literally lodged deep into his shoulder)

CLIPPED WINGS: i felt like i had to mention that they're supposed to look clipped in the second drawing:) "HE NEEDS TO LEARN" was a real quote that was directed at both jimmy and mumbo, but we gotta adapt pfft ,,, this post is long. LOng long. i should stop. special SPECIAL thanks to my dearest @justrelaxhere for their hours worth of dissection of my drawing! god i could always count on them to squeeze every drop of symbolism out of my work. without them i wouldn'tve been able to fully articulate my ideas! okay thanks for reading people:D

[vixenvoider]

I ENTERED THE VOID STATE

in this post i will explain in depth how i entered the void state and what i manifested. i will be open to questions but if you ask something that i explain in this post i won't answer it just fyi, so even though this will be long, if you are truly curious i encourage you to read the whole thing. i am sorry for any spelling mistakes or grammar mistakes that might be present.

overall story: i have been trying to enter the void for around 2 months now, and finally entered through a lucid dream. one thing i want to note before i tell my story is that i have been lucid dreaming my whole life (so if you never have, i don't know what good steps are for beginners).

the beginning: my journey started when i inadvertently came across a post about how someone else entered the void state and manifested their dream body and face. i was not into manifesting before, in fact, i actually had a problem with the whole concept of the law of attraction and didn't know there were other types of manifestation and never looked deeply into it. that being said, i have always been an open-minded person and also, a more or less spiritual person. i believe in a lot of "out there" things because a lot of said things have been proven to me (through experiences i find hard to explain so i'm not going to). i'm sharing this to let you know that due how deeply i naturally believe in such things i never really had a problem with my void concept, even though i experienced doubts (so for this area i really can't give much advice).

so after learning about the existence of the void state i searched "void state" on tumblr and skimmed some info here and there on it, what i came across included some basic methods on how to enter the void but i didn't fully understand them yet. that same night i followed a shifting guided meditation but i couldn't really get "into" it, i was a naturally anxious person who found it hard to relax so it just wasn't working, but i did see it through and try my best and i think in the long run it helped me. in the guided meditation i listened to, the person makes you walk through a door to get to your desired reality and even though the meditation didn't work, that imagery worked it's way into my subconscious and i had a lucid dream that night. i did not manifest anything that night but it was on purpose (i think). in my lucid dream i woke up in my bedroom. i looked in the mirror and decided i would change what i saw to a more desired appearance and it worked (i looked exactly like the person i was thinking of), then, i decided (with intention) to open my bedroom door and enter my dream house and it worked. at this point in the dream i thought that entering the void must be super easy since i was already basically close and could have done it there if i wanted to BUT i chose to wake up because i wanted to enter the void when i actually knew for sure what i wanted my manifestations to be. i knew i was going to want a lot if i really thought about it and i also didn't want to actually look like someone else (my whole lucid dream i was more trying to test my imagination and build my confidence). the next day i started making a void state list and writing down everything i genuinely wanted for myself.

experiencing doubts: things started to go wrong after that hahah, after my first beginner's luck(?) experience i was struggling to lucid dream (even though i've always naturally been a lucid dreamer, the times it occurs is still random and i couldn't make them happen) and meditations were only getting me so close. all in all, over the past 2 months i had 5 failed lucid dreams and several close, but failed, meditation attempts. this instilled some doubts in me, especially the lucid dreams, because apparently once you lucid dream it's meant to be quite simple but when i would affirm for the void in my dreams i would just wake up or the dream would continue.

another thing that caused me to doubt the void was questioning some of the stories on here. most of them i initially don't believe anyway because it's known there's many liars in the community and there seems to be a trend of people posting void success stories in an attempt to enter to the void (to act as if it already happened) but they technically haven't in reality yet. that being said, i did have some blogs i mostly trusted and then one day one of the blogs i trusted answered an anonymous ask about a success story and it really looked like they sent it to themselves. the reason i thought this was because the op of the blog spells a commonly used word wrong all the time but it's not a spelling mistake people commonly make (in fact, i know no one who makes this spelling mistake) but then the anon that sent them the success story made the exact same spelling mistake. it made me worry that perhaps there were no true success stories because why was this person who supposedly mastered the void bothering with sending asks to themselves to validate their blog? i mean this was all speculation but it still caused me to think.

that being said again, i still basically believed, i just wavered a little, but i definitely believed enough to keep persisting (because why not?)

the success: finally, after almost 2 months i entered the void through a lucid dream. when i realised i was dreaming i tried to make myself stay super grounded in the dream but i also thought about not taking too long since i didn't want to wake up. i did this because i realised the very first night when i had my lucid dream, i didn't get excited and try immediately, i hung around in my dream for a while and just enjoyed things (as i explained). so i wandered around the dream a bit and just looked at things, touched things, tried to feel the temperature and take note of it and then when i felt calm and not too excited i closed my eyes and affirmed for the void and entered. when i got the void i just said "i have everything on my void list" (a few times to make sure) and then stated i was exiting the void state. the void feels how pretty much everyone describes, you just know it's happening and you are pure consciousness.

what i manifested: my void state list ended up being super long and i manifested a lot of personal things that i won't share, which is what i'm sure would be the same for most people, but i'll include a list of things that others might find interesting or encouraging:

desired appearance (including body, face, height etc)

money (i came up with a plan that of how it would make sense in my country to have acquired it)

got rid of my anxiety disorder (having this was probably the most debilitating part of my life, it's also why i know meditation never truly worked for me since i could never relax and it's crazy to feel not severely stressed constantly for the first time in my life)

got rid of my autoimmune disease and fixed my eyesight (i manifested being healthy overall in general)

feel comfortable instantly, i will no longer get too itchy, feel dirty after a long day, be too hot or too cold etc. (can't really attest to this one yet but i have felt no discomfort)

dream living space and whatever bed i sleep in to always be super comfortable

opinion on the void state: overall the point is that the void state is real and you can get anything you want, getting to the void is also easy but it's just about trying to go for it and not getting discouraged. i don't want to share too much of my opinion on this because i actually find it really toxic. some people will get mad if you say you "entered" or "got to" the void because you technically are always the void, and personally, i don't find these slight changes in language to be important unless you are very sensitive to it. for me, it doesn't matter if i think about the void as something i enter or something i am because i believe it exists and that's all i need to know at the end of the day. if you want to see it as something you are, or a state or anything else, i don't think it matters as long as you believe manifestation is possible, you are the creator of your reality, you get to decide what language or thought process works for you :)

common questions: i'm going to answer some question i feel like i will get if people find this post so i'm just going to answer them here. remember that these answers are just my opinion.

question: how come people don't manifest to end world hunger, for everyone to have money, to become the next "big thing", to be a real life superhero, for everyone to be happy etc. truthfully, i think people do manifest that but i don't think they stay in this reality. a lot of people think that using the void at all means you shift your reality, idk if i believe in that, but i would have to assume the people that use the void to manifest very extreme things ultimately have to shift realities. so this would mean the reason you're not seeing these results is because these people are no longer in this reality. if you pay attention i think you will also notice that most void success stories that seem to come from reliable sources (though this is still all personal judgement) seem to be rather humble, these people just manifest to be the prettier version of themselves, to live in a nice place, to be around good people and other similar things. i think people with mostly humble desires stay in this reality and people with more fantastical desires (to be the most famous person ever, to be a multibillionaire, world peace) go elsewhere.

question: why would someone even have humble desires? i can't speak for every single person but i think it's just the desire to stick to the familiar. we want better lives but also want to feel at "home" still, i wanted to still feel like ME. maybe it seems stupid and selfish but if we really are shifting realities every time then there really is no way to actually solve world hunger anyway, it will always exist in this reality even if you or i personally go to another one. at the end of the day, life isn't fair and i am just grateful to have discovered the void to live happily and am sharing this so you can too.

question: i'm worried about the wrong people finding out about the void state. honestly, me too! but i think this falls in line with my past two answers, if someone terrible happened to stumble upon this post and entered the void, i don't think they'd stay here, they will go to some other reality more likely, so i really don't think we have to worry about someone super evil getting to the void and doing something super heinous or whatever. but honestly i do understand the worry. at first when i discovered the void i thought i wouldn't share my success story once i entered because i wanted to keep the void as quiet as possible. but just remember two things: most people do not know about the void and if they do a lot of them will give up and not persist. second, someone really evil finding it will probably leave this reality (my theory).

question: why do people not show better proof. truthfully, i don't know, for me it's because i really do want to live a private life and a lot of stuff i manifested can't be proven anyway. if i show my bank account, it could be photoshop, if i show my new face it means nothing because i revised to always look this way, i can't prove i no longer have my autoimmune disease and the list goes on. i think people with more dramatic proof also want to maintain their privacy or go to other realities. perhaps there's even been people to show dramatic proof in this reality but they had to revise that they didn't because it was a mistake.

question: do you have any overall tips? just keep persisting. and personally, i think it's okay to try several methods at once. i know some people say if you try several then it "cancels out" like, if you try lucid dreaming and it doesn't work so you meditate it means you don't "believe" lucid dreaming can work for you so then that's why it takes you so long but i think you can just tell yourself "every method works for me so i will just keep persisting". another thing i recommend trying for a few days is setting your alarm to go off at different times so day 1 is 8am, day 2 is 7am, day 3 is 9am and so forth. each day set the intention to wake up BEFORE your alarm goes off, once you successfully start waking up a few minutes before your alarm everyday this is your tangible proof that your intentions are working. this isn't really a method but more so a confidence booster that worked for me to remind myself i'm in control and powerful. if you also try this i think after a few days you will feel more confident intending to lucid dream, for your meditations to work, for subliminals to work (whatever is your personal vibe) and you will get there easier hopefully!

question: did you ever do any official lucid dreaming methods. personally the only way i ever had a lucid dream was by intending before sleeping that i would lucid dream. but methods where you wake up by setting your alarm early and going back to sleep and stuff didn't work for me. i tried but due to my anxiety i would always wake up super alert or even stressed, so i could never relax enough. but they are successful for many people so there is no harm in trying.

[xervn]

like a french girl 🎨

part 1 - paint me | part 2 | art major ellie x dance major reader | ellie photo

ao3 link

summary: ellie had been struggling with finding the perfect model for her art final. that was until she saw you.

18+ MDNI | 2.2k words | tags; college au, pining, only a little explicit, no use of y/n, not proofread

disclaimer: not an art or dance major, don't shoot!

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Scribble, scratch, throw. This has been Ellie’s routine since she moved onto campus.

Why? Her professor told her that she draws the human body like it’s lifeless. Ranting about how they’re too one-dimensional and have no depth, her lines are too sharp or not sharp enough; flat and boring in looks and in feeling. 

Now listen, Ellie has nothing against criticism. She respects her professor and she’s aware that her drawings lack “vitality”. It’s been something she’s struggled with for a while now, an effect of some recent events and overall adjusting to college life. 

Ellie isn’t unable to grasp the anatomy of the body, in fact it’s the opposite. She knows the human body is complex and needs thorough observation. The way the sun hits the skin, the hairs on a knuckle, the creases of a smile. Wide, small, big, tall; no two bodies are exactly the same. 

Really, the imagery is so clear to her, but she finds it impossible to transfer the life and motion of the body onto a piece of paper without truly understanding the person. The way she sees it, every body has a story, and in order to make a good piece she needs to know that story.

Since art school is filled to the brim with inspiring, exciting, and vibrant people, she has, of course, tried to talk with them. She attempted to get to know the models, ask them general questions and hope something clicks. Unfortunately, that has yet to happen. She can’t really ask her friends either without it getting awkward. Imagine, “ Oh, hey guys! Can you guys get naked and pose in one spot for my homework?”   Hear how weird that sounds? Even though she’s sure Jesse would definitely be down, she values her eyes.

 Any “muse” she could possibly ever want was right in front of her, so why was it really impossible for her to find one?

 Well, because Ellie didn’t find anyone interesting enough. She’s not shallow or anything, it has nothing to do with how the model looked, Ellie has had several good-looking models. It was more about how she perceived them. It’s just that she hasn’t seen a model that made her ask questions like: “ How’d they get that scar?”  “ What does that tattoo mean?” Stuff like that.

The last interesting model she had was probably a fucking homeless guy she shared a blunt with outside a gas station many moons ago. Till this day, he might be one of her best pieces. There’s not a lot of moments like that here.

Nonetheless, Ellie saw this developing– extremely lame— personal requirement of hers annoying as shit. It’s holding her back big time, but she couldn’t help it even if she really wanted to.

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It’s practically useless to keep trying. The tiny voice in Ellie's head presses her to keep going, keep failing, but enough is enough. She is seriously burnt out and any more of this might kill her. The only thing that could help right now is a meaty slice of pizza and a blunt as soon as she thought of it.

Ellie clears out her desk, knocking the stack of crumpled paper into a conveniently placed trash can; a placement made from her constant trials and errors. She pushes up, and stretches widely, obnoxiously groaning like an old man by the end of it. She quickly tidied herself up, tying up half of her hair into a ponytail and throwing on a dark-green flannel shirt she had to sniff before wearing over her plain white tee. She takes a quick look into her floor-length mirror, making sure she looks presentable before grabbing what she needs to head out.

Just as her hand reached for the silver knob, Ellie felt this overwhelming urge to look back. God, she knows what she is going to look back at, but she really hopes she doesn’t. Unfortunately, her eyes land on her sketchbook, laid flat on the desk underneath a lamp’s warm light. She shouldn’t.

She needs a break. She knows she needs a break, but there is a twinge of hope, faith, lodged somewhere inside her. The same faith that’s kept her from dropping out every day for the past four months. Ellie groans as she drags her feet to her desk where she whisks up the brown book and shoves it in her tote bag with an accompanying pencil. She swivels back to the door and strolls out, silently praying her mood improves in the next hour.

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The cafeteria was surprisingly crowded, but Ellie managed to get her pizza without saying ‘fuck it’ to the line. Still, the thought of eating between this buzzing mess when she was in such a shitty mood turned her off. Thankfully, she knew that everyone would be everywhere but the upstairs balcony, especially during this chilly time of year. No sane person would eat out there, and she’s not particularly sane. Ellie saunters off to the balcony and sits herself at a small table facing the view.

It only took a glance around before she came to the realization that the view is not really a view. There’s only a dorm a few feet away, directly across. It’s a large brick-laid, generic building with wide windows. If it weren’t for the blinds, the view into a room would probably be good enough to read a label on something. Ellie’s freckled face grimaces at the thought, imagining what it’d be like if someone watched her rage as she messed up her homework over and over from this distance. Despite that, she thought it’d probably be a pretty good spot to live in. It’s close to the cafeteria and probably a lot bigger than her 1x1 dorm.

With a twinge of curiosity piquing her mind, Ellie glimpses over the windows, and for the most part, they are all closed.

All closed, but yours.

Yours doesn’t even have blinds. You’re on the 3rd floor and almost completely unobscured in a black camisole, sitting on your questionably roomy windowsill with a leg perched up. Ellie can see the fairy lights strung up in your bedroom, and a line of succulents closer to the window; ordered by size, which she briefly thought was cute. 

You aren’t facing the window, so she can only see your back. What she could see, though, is you doing your hair, occasionally swaying to what she can only imagine is music. Your room is high, but low enough for her to identify you if she had the pleasure of knowing you. Knowing you, reverberates in her head. Does she know you? Has she met you before? Amongst that babble, there is one more question she is slowly trying to gather an answer to. 

Time passes, most definitely shorter than Ellie would have thought passed. Her eyes have been glued on you the whole time, she even forgot about her, now freezing cold, pizza just so she could gawk at you. She still hasn’t seen your face yet, barely even a glimpse, but she already thinks you are stupidly beautiful just by the way you move.

From the graciousness of your movements alone, she thought there was no way in hell you didn’t know she was watching. At some point, your arms got tired, so you smoothly rolled your aching shoulders back; stretching into an arched, effortlessly perfect posture. Ellie’s eyes traced that slight curve of your back as if you’d disappear if she broke off from you.

There is no way it gets better from that, is what she thinks to herself, only to be shut up immediately after when she sees that perfectness of your back stay as you bend over and shift onto both knees to grab something far away, bringing your shorts in view. So short— so tight , they could easily be mistaken for panties. 

It was unexpected to say the least, Ellie could feel her face heating up and had to look around her to see if anyone else could see what she was seeing right now. Ellie wondered about the practicality of those shorts, wondered what exactly they were supposed to cover, leering at the plush of your ass peeking out. She thoughtlessly lets her jaw drop before muttering out a low, impressed, and barely over a whisper, “Well, fuck.”

You must’ve noticed your shorts riding up, since you quickly pulled them down after you grabbed what you wanted. Ellie clears her throat, internally scolding herself for being so gross— so perverted. Her brows furrow in embarrassment from all the dirty thoughts she brewed up in that moment. But for some reason, she still doesn’t look away. Well, there’s a list of reasons for her to look away, but she feels like ignoring it. 

Then a cold gust of wind bites past her face, clearly a sign from the universe that she should snap out of it, and snap out of it she does. 

What the hell happened to her? What is it about you that she keeps leaning into? Suddenly something clicks in her brain. After months of creative agony, something finally clicked. She has sat here completely fascinated by you and she couldn’t tell sooner?

In all honesty, to say she is just “interested” in you would be an understatement. Yeah, now she thinks you’re the perfect model for her final, but she wants to know you beyond just the drawing. A plus is that you just happened to be hot, and Ellie has never been attracted to a subject before, so the whole thing was new and exciting to her. Just the thought of drawing you made her remember why she loved art so much.  Ellie reaches for her tote bag sitting in an empty seat beside her, pulling out her sketchbook with more enthusiasm than she probably ever has. She sets the book down, opening up a blank page with one hand and tightening her grip on her pencil in the other.

She looks back up at your window, ready to sketch your life onto paper and..  Shit. You’re looking back.

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Today has been a good day for you, your teacher chose  you to teach the choreo you’ve been working on for weeks to your classmates. It was an obvious ego booster for you. You felt good and you wanted to look good too, even if you weren’t going out anywhere. It was just one of those nights. You wanted to experiment with your hair, thinking maybe you’ll do something new before your next practice. Dye it, cut it.. something.

It’s been a while since you started, and after several wrist and shoulder cramps, you were finally finished. You take a look into your hand mirror, peering at your reflection. You’re satisfied now, looking exactly how you’re feeling if you minus the dingy sleep clothes you’re in. 

♫ My heart, I never be, I never see, I never know. ♫

Grimes? Really? You pout, upset that your playlist didn’t magically read your mood. What you need is real 2000’s hot girl music. Britney Spears, Nelly Furtado, or Beyoncé for crying out loud.

“Alexa, skip!” You shout across the room, just loud enough for the device to hear. 

The stupid thing doesn’t even light up, so you call out a few more times but to no avail. Isn’t the whole point of that thing to be voice automated? You sigh and look around for your phone, and seeing it’s nowhere in front of you, you figure it’s behind. You twist your torso to find your phone behind you and luckily you do. As you pick it up, you casually glance out the window without any expectations. 

Did you see a figure in the blur as you looked away? You question your eyes, but you decide to take another look and just find out for yourself.

You peer back down and your eyes meet with someone else’s. The sudden eye contact between you and this woman instantly mortified you. Your heart sunk, and all you could do was raise your brows stupidly. She was surprised too, even in the dim light you could see her shocked expression boring back at you. Not only that, it went on for way longer than it should have. Any normal person would’ve looked away, but her eyes lingered on you before she hastily turned away. 

You’ve been sitting here, dressing up your hair, listening to your music without a care in the world. Far too absorbed in yourself to realize there’s someone outside your window. You slide off your windowsill and out of sight. Just as your bottom finally hits the wood floor, you feel the coldness of it against your skin and you’re immediately conscious of the fact that your ass was literally out at some point. 

The poor girl was trying to eat her food and you were bending over in front of your window like a harlot. It certainly didn’t help that she looked kinda hot. Did she? You peeked over your windowsill, hoping to get another look to really assess her hotness, but she was already gone. Whatever, maybe she didn’t see? But she looked embarrassed… embarrassed for you probably!

You hide your face in your hands and topple to the side, letting out a fake sob. Oh, god. You can already imagine Dina’s face when you tell her. You couldn’t help but burst out laughing at that thought. That was humiliating as shit, but it’s whatever. It’s not like you’ll see her again. 

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side note: if you have any tropes you'd like to see w/ this universe pls do drop an ask 🤭

click 4 more!

[ozzgin]

I just read the yan!bodyguard pt.3, and I love it so so much 💗💗💗 thank you for always feeding us well :3

now it got me thinking… maybe some fans started flirting with the bodyguard and got the reader jealous? how would the reader “punish” the bodyguard for such heinous crimes!?? collar him? make him walk on all fours? have fun with this, I really need more scenarios of the bodyguard getting all submissive for an idol!reader who’s annoyed. <3

-🫧 anon

I'm very glad the violent boy hasn't been forgotten, haha. It’s been a while since I last mentioned him.

One thing you have to keep in mind is that the bodyguard can be quite intimidating to everyone else. He might be a humble servant for Reader, but to the masses he's not just stoic and quiet, but downright rude and sometimes even aggressive. The fans that found his chivalry attractive will be swiftly put in their place. If I had to compare him to someone, I'd say he displays the same attitude as Jotaro.

So, a bunch of people flocking to him would be met with an angry, nonchalant shove and a barked threat such as "get the fuck out of my way before I bash your head in". He's not kidding. Which doesn't allow for much flirting opportunity, you know? Besides, you don’t need an excuse to order him around. Just say the words, and he will comply.

I do like the ideas you suggested, the imagery I always have when writing him is that of a mean, collared dog. Although a literal dog collar worn at all times in public might be a little too obvious. Personally, I'm a big fan of the Sid Vicious padlock necklace as a way to showcase ownership. Thus, I present you the doodle below. The little "S" stands for Sunny, a little extra lore from star anon. :D

[ohnoitstbskyen]

So I know you headcanon Nami as a lesbian and Luffy as aroaco (both which is heavily agree with!) What are your romance/sexuality headcanons for the other Strawhats?

Hm. I think Zoro is ace, but not aro, but also the only thing he's really in love with is his dream of fulfilling his promise to Kuina, becoming the greatest swordsman in the world. Once he accomplishes that... well, I am not 100% sure he'll survive accomplishing it, actually, I think the story is signaling pretty hard that his moment of transcendence is going to be connected with the moment of his death (the "King of Hell" thing, all the Buddhism imagery, his tendency to find revelations about swordsmanship on the brink of death) but if he does survive it, that's when maybe romance can become a consideration for him. Maybe. That's when he can figure out who he's even into.

Sanji is extremely romantic - hyperromantic, even - but honestly in a way that's... almost totally disconnected from actual romance? He worships women as divine goddesses and sources of extreme aesthetic and emotional joy for him, but he seems to struggle enormously to actually relate to them a lot of the time. He seems more invested in Being A Gentleman Who Loves Women than he does in... actually being in any sort of a realistic relationship with a woman.

Pudding is the closest he comes to forming an actual romantic relationship, and even then, so much of it is ultimately motivated by his romantic fantasy of Being The Prince, of being the noble, self-sacrificing hero who Saves The Girl, of Being A Good Man. Committing to her is, for him, an act of self-sacrifice, for the sake of his crew, for the sake of his family (Zeff and the Baratie, not the Vinsmokes), and for the sake of her more than it is an earnest desire to build a future with a true partner. He's resigning himself to a life of being her perfect domestic husband servant, in worship and adoration of her, but never in partnership.

In an extremely weird way, the vibe I get from Sanji is he's like a... hyperromantic... aromantic? He's EXTREMELY invested in romantic fantasies, but not so much in the actual day-to-day mundanities of romance, he's in love with the idea of being in love, with the experience of being in love, with the thrill and act and performance of being in love, more than he is in love with any actual person?

Partly this comes down to One Piece just not being a romance story - romance is generally sidelined and elided in most situations, and Sanji's romantic obsessions are played for comedy 99% of the time, they are not taken seriously, so he never has an opportunity to really go through the process of romance as a grounded, flesh-and-blood process, but I can only discuss him as he is presented.

Robin, I think, might be the most straightforward of the crew. I am on board with the Frobin agenda, I think she's probably straight and... if not cis, then about as cis as you can be with a power like the Hana Hana no Mi. And I think she genuinely would be very attracted to a loud, dependable eccentric like Franky, as the other half to her quiet dependable eccentric personality. Especially since he is loudly and obviously an extremely decent man with a heart of gold, and Robin carries so much trauma of being a "devil child," I think she probably needs that kind of uncomplicated light of goodness in her life.

Usopp, again, is probably a fairly straightforward sort. The live action gives him a thing for Kaya, but I could see him being bi or pan, but much like Zoro I don't think he's going to quite have the capacity for Romance™ until he fulfils his dream of becoming a great warrior of the sea (he already has, of course, but he needs to internalize it and realize it within himself). I ONE HUNDRED percent believe he might end up taking a Giant for a spouse.

Franky is... okay this makes no sense whatsoever but I feel that he's gay? But also would fall for Robin? ... but in a gay way???

Look I don't know how that works either, it's a vibe it's a brain feeling it's a wibbly wobbly romance gender sort of situation. Franky is clearly in love with the male body, with masculinity, with maleness, and he especially loves building himself into those images of hypermasculinity, but he does in a way that feels hella queer to me. I don't really think you can be a self-made cyborg building his own body without being some flavor of queer-coded, like, I just don't think that that can be a cishet thing anymore.

He would fall for Robin is my point, in part because they share a knack for creating themselves, in part because Robin would appreciate and need him, in part because she would adore his cybernetic self-creation and find it charming and beautiful, and I think he needs someone who will love his creations (including, y'know, his body) as much as he does.

It's like... y'know how Neo and Trinity in the Matrix are clearly, OBVIOUSLY a t4t couple even though they're both technically cis in the text of the story? It's like that with Frobin for me. Yeah, sure, they're both cis and straight, but also they are trans and gay.

Jinbei I have no idea, actually, he could be into absolutely anything. Kind of a gay bear vibe? That's the best I got. Chopper is a child and I don't think he really has any idea yet either, and Brook... look, I don't think you can be THAT level of flamboyant rockstar and not be some flavor of queer. The Soul King wears Elton John outfits half the time. I don't know that he has a sexuality anymore necessarily (he could be ace, what with the having no carnal flesh and all), but if he's not at least bi romantically then nothing about him makes sense.

[ushiromiya]

(madoka magica / rebellion spoilers below. TW: suicide and controlling behavior)

I don't know the direction in which walpurgisnacht rising will take homura's character but I can say with confidence that from at least where rebellion left off that I truly believe that homura made the decision that she felt was the most correct one even if it meant she had to become a monster in the eyes of every person that loved her. she felt that if things were left in the way the law of the cycle was currently running things that it was inevitable that kyubey would eventually capture madoka in her goddess form, study her, and use her to as a source for mass amounts of energy at the suffering of herself, the others within the law of the cycle, and magical girls at large again. this is something he explains very clearly when talking to homura before her transformation into homulilly.

I get so exhausted when I see people try characterize homura as an actually evil person with completely selfish desires and no regard for others. all of her actions, while not explicitly explained outright, when looked at closely always indicate that she does things out of her care for the other girls but feels like she bears the burden of having to do it alone because she believes she's the only one who doesn't let her emotions get in the way of protecting madoka and the others from kyubey and sometimes each other.

I will always use the scenes of her interactions with mami and sayaka in rebellion as huge examples of this. she has no reason not to kill them if she's a completely selfish and unemphatic person that only cares about madoka and no one else when given many opportunities to do so. I also don't personally think she keeps them around JUST because of madoka's happiness either. she very easily could have suppressed their roles in madoka's life with the world rewrite and clearly choose not to. I believe her mocking sayaka and acting in a clearly "evil" manner is deliberate acting on her part to frame herself as a villain. she might believe this would her actions more palatable and will create distance between herself and everyone else to protect them as well as allow her to assert more control in this situation. it is further emphasized how she truly feels with imagery displayed in homura's new world around herself (shoes abandoned on the side of a building to potentially indicate suicidal ideation, a half moon alluding to homura feeling unfulfilled and unhappy with this decision, her dancing around happily before stopping and slowly falling off the cliff side with a similar implication as the shoes).

homura's relationship with the others is incredibly complicated but she cares for them deeply too as they are also people she considers friends, she just had a particularly strong attachment to madoka. we don't get to see as many instances of her interacting with them as we do them interacting with each other as we are unfortunately only really privy to homura's life after she began looping for the most part but we can see it in the way she has expresses concern and distress for them in moments where she believes they are in real, tangible danger of being hurt (she's winces and tries to turn away when aiming for mami's leg and screams out when she believes mami is about to be truly harmed after their gun fight, which neither ever had the real intention of hitting one another with any of those bullets in the first place). her entire witch's labyrinth is one where everyone is happy and gets the lives they desire. why would her labyrinth, which is meant to reflect in-part her inner feelings and desires, appear that way if she didn't truly want that for everyone?

rebellion is so compelling to me for all of this and so much more!! (I could write a whole other post on the way it presents it's freedom with danger vs control with safety question at the end of the film) she is a girl who has repeatedly suffered incredibly traumatizing events and longs for a world where the person she loves and the friends she considers dear are safe. homura is not really the devil, but she wants to appear to be because being the devil would be easier than being a human being in these circumstances.

[raven-at-the-writing-desk]

Hi! Have you seen the new Mickey Mouse Rebrushed trailer??? Twitter is goin crazy over it and how it’s related to twst 😭 just wanted to hear your thoughts on it

I did spot quite a few parallels with TWST from the Rebrushed trailer! I'm not familiar with Epic Mickey at all, so I'll just be commenting on what I noticed right away. You'll have to excuse my limited knowledge.

Firstly!! This design of Mickey is the exact same as the one we see in TWST. Most noticeable is his white face, which is a fleshy peach color in most modern iterations.

Mickey is reading Alice in Wonderland’s sequel, Through the Looking Glass. Of course, Twisted Wonderland has Wonderland in its title, and even opens with an Alice in Wonderland inspired dorm. Yuu and Mickey also connect via their dreams and through the mirror shared in their rooms.

The theme of dreams is very present and upfront here; Mickey wakes up from sleeping and then creeps to his mirror, which appears to be a portal into another world. Hmm... dreams, mirrors, and traveling to other worlds, now what does that remind you of? You'll also notice that Mickey's room is the exact same as Yuu's room in Ramshackle, right down to the "inverted" room that appears when Mickey passes through the mirror. Everything up until this point is very similar to what is depicted in the 1936 short, Thru the Mirror.

Next, Mickey spies on a wizard carefully using a magic paintbrush over what seems to be a diorama of a bunch of buildings on a plot of land. When the wizard leaves, Mickey fiddles with the paintbrush, causes a mess, and calls forth some kind of black ink monster with green light coming from within it. This seems to be a very close parallel to Overblots, particularly since the most recent OB has a signature neon green color. If we really are to connect Epic Mickey to TWST, this scene also seems to allude that Yuu, Mickey, and/or the "wizard" have parts to play in bringing these Overblots to life. And who do we know that is a powerful wizard that is aware of the corrupting power of blot and runs a large chunk of land... say, a campus? Crowley. This goes hand-in-hand with the theory that Crowley is intentionally allowing these OBs to happen or is even puppeteering his students into OBing.

I find this visual in particular to be very ominous; again, we have the colors that match a certain OB dragon fae but also the map itself reminds me of Twisted Wonderland's and the eerie visual of Malleus's thorns digging into Sage's Island and aiming to go way beyond it.

Anyway, the ink monster is temporarily contained while Mickey returns to his own world. We then get a montage of various Mickey media passing by, as well as a lot of imagery that would imply the passage of time (clocks, the date on the calendar changing, etc.). So... what? Is that implying not only parallel worlds, but also a time skip? Or maybe a time... loop? Like time loop theory???

The ink monster somehow eventually escapes and makes it to Mickey's world, with the blot dripping from the ceiling waking Mickey up from his sleep. It drags Mickey away into a hole drenched in ink. Kind of foreboding when you realize Yuu has also had prophetic dreams... Not of OBs, but of the events leading up to them. And being dragged away into an inky... opening? Like an... abyss? Like book 7, Ruler of the ABYSS?

That's how the trailer concludes!! Gotta say, there's definitely a lot of shared elements between this and TWST. If I recall correctly, Epic Mickey was a game that existed on the Wii waaay before TWST. It even has largely the same cinematic trailer (just with older graphics), so to me it feels like TWST probably took inspiration from Epic Mickey rather than the other way around. There are definitely too many parallels for it to be a coincidence. If that's the case, then we can probably pull some hints for what awaits us in the rest of book 7 from these cinematics. (This is a video comparing the two side-by-side if you think that might be of use!)

[transmutationisms]

Hi Caden don’t know if you listen to Ethel Cain but was wondering what u think abt her subverting the Americana aesthetic since I think she’s often compared to Lana, at least online. I do think she’s doing something different & to me more compelling than Lana, but I don’t really know how to articulate it.

yep i like ethel cain. i agree she and lana are doing very different things. like, i said before that lana uses american nationalism because she's playing off the fact that it makes/has an erotic appeal, and she places herself as the object of desire in that paradigm—tell me i'm your national anthem, etc. my read on ethel is that she's interested in the rural americana 'trad' aesthetic from a very different angle, where she's trying to connect the homestead and american rural social structures to the perpetuation of violence. there's some overlap here in the sense that lana is definitely also interested in sexual violence and sexuality-as-violence, but in her work the violent or abusive man is generally a specific figure who's aberrant from the norm, and a lot of the artistic interest for lana comes (i think) from her interrogating what it is about this man that's appealing to her and how she sees herself through his eyes. with ethel, on the other hand, she portrays violence as coming through the infrastructure of normal and normative social structures, like the family and the church, with abuse understood to be a feature of these and not a bug. family, church, etc are in turn understood to be part of the infrastructure of american rural communities, casting the critique she's making through the ethel character onto this entire social apparatus (& there is some implication here of how this is all a part of westward colonial settlement—which is a potentially fruitful direction to go in, the idea of expansion into the 'frontier' as a narrative of, or narrative prerequisite to, violence).

so for example this is partly why, for ethel, incest specifically is a mode of sexuality & violence that she continually uses and interrogates: she's invoking it as an intensification of the 'normal functioning' of the family, which means the whole family structure gets pretty ruthlessly questioned through the character of ethel and the violence she faces. she invokes the trad aesthetic and the idyllic family homestead, then shows you the brutality that creates and is created by them. for lana, the family is not a concern in this way and is not something she's questioning or challenging the way ethel does (the daddy/girl thing in lana's work is p far removed from even a pseudo-incestuous reading most of the time, even in her lolita references). there's a similar distinction with how ethel examines protestant theology and practice with the explicit goal of pointing out inherently violent aspects of it, whereas for lana, invoking god or christian imagery is generally more on the level of playing off the way that american nationalism resembles and uses rituals of religious worship. lana takes political phenomena like the appeal of nationalism, and expresses them through the erotic configuration of these relationships with older, dominant men. with ethel it's more that she looks at social structures and practices signified by the rural americana aesthetic, and pokes and prods at these structures until the violence inherent to them is glaringly obvious to listeners through the ethel character's story. it's a way of problematising these institutions and practices, not letting them hide in plain sight by presenting themselves as benevolent.

so yeah i can understand why people might want to compare these two artists, but i think they're actually doing very different things. i would probably not say either of them 'subverts' americana or signifiers of nationalism, which is not a criticism, i just think that concept is often poorly defined and less frequently applicable to art than people sometimes think lol. ethel uses her character's story to deconstruct and question the american aesthetics and institutions her work invokes; lana translates these aesthetics and institutions into explicitly erotic discourses and dissects them through the allegorical figures of the people and relationships in her songs. (this is not to discount the importance of erotics in ethel's work as well obvi but this post is already long :P)

[kimberleyjean]

Gabriel's ineffable statue

Ooh time for my first ever post that isn't a reblog - exciting!

So, a while ago now, I came across a post about Gabriel's statue which pointed out what seemed to be a blatantly obvious continuity error. For the life of me, I CANNOT find that post again and so I am going to attempt to recreate it here because I just noticed something else interesting related to Gabriel's statue. If you are the original person who found this, please let me know and I'll credit you!

Edit: I found the original on reddit! https://www.reddit.com/r/goodomens/comments/17tjfdc/spot_the_difference_statue_of_gabriel_s2e6/ Right, so, have you ever looked very closely at the scenes of Gabriel and Beelzebub in the graveyard during Gabriel's flashback? No? Well, here are some clips of these scenes I want you to take a close look at, taken in order they're shown:

Why is the cross missing??? In the distance shot, there is no cross. In the closer shot, there is. Then we switch back to the distance shot and it's gone again. Just for clarity's sake, when we see the Gabriel statue in any other scene, yes the cross is present.

I know there have been many ineffable continuities mentioned by other posters (such as clocks, chairs, rugs, road markings, Crowley's glasses, Maggie's store signage etc). It's still up for debate about how many of these actually mean anything, or if they are genuine continuity errors. However, I find it VERY hard to believe this is a continuity issue... in any other show I could believe that, sure. But the Good Omens team is detail-focused and this is a huge missing cross on a statue that was specifically built for the show. Why would you have the whole scene set up in the graveyard, but without the cross ready, and then not bother to fix it in post? So the above is what I read in someone else's blog post and I'm really sorry that I can't recall where to find that. However, here's what I want to add. The Gabriel statue appears at the end of the opening credits and guess what... :

The cross is missing the top half! What does any of this mean? Who knows? Not me, that's for sure. Is it something to do with S3? Is it some comment on a religious theme? Are Gabriel's memories faulty when they're restored? Several others have pointed out that there are some suspicious things shown in the memory restoration sequence. Why is Gabriel bearing a cross in the first place? If you have any ideas let me know, I'd be interested to hear them!

Regardless of the statue, you might be wondering what is this part of the opening credits all about? The parade of characters is being led by Crowley and Aziraphale up this rickety mountain made of what seems to be a trash heap with a whole bunch of religious iconography scattered through it and a Lady Libertas (aka what the Statue of Liberty is based on) appearing opposite the Gabriel statue here. I always wondered what this whole sequence might be about, but I've seen very little written about it. If you're interested, here's this post from @lady-of-the-puddle. There is a lot of interesting imagery in the opening sequence, that's for sure!

[writingquestionsanswered]

Guide: Inspiration, Motivation, and Passion

Anonymous asked: I have time to write and TONS of ideas in my notes. I want them to eventually be final drafts... but in this moment I just don't care about them. Does that make sense? I wish I did, but I'm disconnected. Is normal? Do all writers/authors struggle to connect with and feel passion for their stories/characters, but they write anyway and it comes eventually? Or do they not write unless those feelings are in place already? Forget making readers care about my protagonist. How do I care about them? Could my chance to write already be over? Also Audhd btw :) Thank you for all your advice ❤️

(Ask edited for length)

Inspiration, motivation, and passion are all things that can wax and wane for writers, but they do have to be there in some combination at some point if you want to write. If you consistently lack any of them, there's definitely something going on that's worth addressing. So, let's look at each component individually to get a better idea of what they are and how they ultimately work together to help you write.

Inspiration is the collection of sparks that ignite story. In other words: ideas. All those ideas you have in your notes--you wrote them down because they excited you when they popped into your head. Something about those ideas intrigued you enough to write them down and want to explore them later. And the thing that makes you want to explore them later is almost always a question... some sort of "what if" that you need to answer for yourself.

Motivation is the "why" that makes you want to take those ideas and turn them into stories. It's the answers to the following questions: why I write, why I want to answer this question for myself, why I want to tell this story, why I want to explore these themes, why I think this character's story is worth telling, why I want to say the thing I'm trying to say with this story.

Passion is the fire that drives us through the process of turning the ideas into a finished story. It's love for the characters, world, and plot. It's love for all the things motivating you to tell this story. It's love for words and imagery and process. It's love for the act of writing and for being a writer.

Again, all of the above need to be present in some form and combination at some point in order for you to actually complete a story, but these things can all wax and wane during not just one story's writing process, but during different periods in your life. They can also exist on a spectrum that's different for each writer, each project, or different periods of time. BUT... if you never have any inspiration, motivation, or passion for writing... or if you have inspiration initially, but lose interest and have no motivation or passion, writing is going to be really difficult.

Lack of Inspiration - Inspiration is the lifeblood of writing. If you don't have ideas, you can't write. Ideas come from experiencing the world around us. As we live life, observe our fellow humans, learn about history and the universe, and speculate about the unknown, ideas start to occur to us. Whereas a non-writer might think, "That documentary about the future of space travel was neat," a writer might think, "I'm intrigued by the idea of generation ships. I wonder what would happen if a generation ship landed on the wrong planet?" That question is what gets you to the next level... the "why" that motivates you to take this further than a mere moment of curiosity. So, if you're lacking that, there's a very good chance it's because you're not absorbing enough from the world around you. Perhaps your experiences aren't varied enough, you're not observing your fellow humans, and aren't learning about history or the universe, or speculating about the unknown. In which case, my post: Guide: Filling Your Creative Well can help you get into that mode.

Lack of Motivation - Motivation in particular can come and go as you work on a story, but it has to be there at the beginning or you never get started. The answer to "why I want to write" is especially important, because one thing that happens sometimes is people try to get into writing for the wrong reasons. They don't get into it because they have ideas for stories they want to tell, and themes they want to explore, and things they want to say. They get into it because it sounds like fun, because "everyone's doing it," or because it's unique, noteworthy, and--they think--a path to notoriety and/or wealth. But without the need to tell stories, those things aren't enough to make those ideas come or transform them into something more than an idea. But something else that can ruin motivation, and often does for those who do want to tell stories: physical and mental well being. If you don't feel good physically or mentally... if you're busy, tired, distracted, depressed, low on energy, in a bad mood, dealing with chronic pain, under the weather, etc., those things can definitely zap your motivation, even if you really want to tell stories. See these posts for help on that: Writing with Chronic Illness, Writing and Depression.

Lack of Passion - Our fiery love for the characters, setting, story, themes, tropes, questions, etc... that's the thing that most commonly wanes (and sometimes disappears) for writers during the writing process. If it's not there at the beginning, though... if you never feel a fiery love for your characters and their stories... you haven't hit upon the right ideas yet, and you need to keep looking until you find something that really sings to you. But if that passion is there at the beginning and disappears, there can be a number of reasons for that. Physical and mental well being, definitely. Exhaustion, boredom, and any of the things we refer to as "writer's block." These posts can help with finding the problem and reigniting the passion: 5 Reasons You Lost Interest in Your WIP, Plus Fixes, Guide: How to Rekindle Your Motivation to Write, Getting Excited About Your Story Again, Getting Unstuck: Motivation Beyond Mood Boards & Playlists

I hope something here will work for you and help you move forward. But just remember: It’s Never Too Late to Become a Writer. If you're just not feeling it right now, that doesn't mean you won't in a month, in a year, in five years. There are famous, well-celebrated authors who didn't start writing until they were beyond their 50s or 60s. So, don't stress about it if it seems like writing just isn't for you right now. Maybe you'll come back around to it eventually, or maybe you'll decide that you're more of a story consumer than a story creator, which is okay, too. ♥

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[overfedvenison]

A sorta clickbaity article came out saying that the Avatar live action remake is going to be toning down Sokka's sexism.

I won't comment on that because it feels kinda like it may be a quote taken out of context, but it does feel like a pattern in live action remakes that like...

These are remakes made for adults. But they are not remakes made for mature people.

These remakes are, at every turn, less capable of handling the mature subject matter involved in their source material, which is usually a children's cartoon. And it's really because what these are aiming for is a psuedo-fan of the original work who sort-of remembers it but thinks themselves too mature for cartoons - that is, an audience who wants the illusion of maturity, who scoff at cartoons, but who are not actually into media and analysis enough to actually handle mature themes.

You know?

Thus. It is totally fine for the original Lion King to have overtly fascist imagery to code Scar as the villain. Hell - between his british accent, cultured affectations, facial scar, and tendency to go around making speeches about the new era, the intent might have been for him to just be a fascist Lion. And, in the recent sequel series Lion Guard, Zira can evoke this exact theme - the show has an entire Racism Arc about the main character learning about hyenas and accepting them, and Zira representing the opposite of that. Further, Main Character Kion can go to war, he can deal with stress, he can get scars, and explore some really deep and serious stuff. This, in a show aimed at an even younger audience than the original.

Yet the Lion King Remake? The emotions are turned down. Scar almost had Be Prepared cut out. The wilder imagery was deemed too silly for the audience. Timon and Pumbaa spell out that their philosophy is bad instead of implying that it's something kinda good for them but bad for Simba. Characters were altered to conform to more mainstream and current trends and tastes. It can pretend to be live action, it can present an illusion of maturity - but while it does so, the movie will file away edges and fills the itself with these generically-affirming themes because it is aimed at the sort of adults who will become offended if media presents ideas that will make them uncomfortable or make them feel childish.

I think it boils down to like... Children do not get offended at media. It's adults who cannot handle cartoons who get offended at media.

And so these remakes, for however mature they pretend to be, are simply less capable of tackling the subject matter of the originals

[atlaculture]

Cultural Architecture: NWT Totem Poles - The Specifics Pt. 2

Among most of the totem poles we see throughout the Northern Water Tribe (NWT), four representations appear consistently throughout. For this post, I will be covering the final two.

Koi Fish

The third totem is clearly a koi fish with long whiskers and a marking on its forehead. In other words, it's clearly a reference to the physical forms of the moon and ocean spirit. I can't help but wonder if Aang's realization of the Tui and La's true forms was unconsciously informed by the all the koi head totems present throughout the NWT.

Culturally, koi fish are yet another example of the Chinese influence in the NWT. In Chinese culture, koi represent fame, family harmony and wealth. There's also a famous Chinese folktale about koi fish and other carp:

Along the Yellow River, there is a legendary waterfall that cascades from a magical mountain top known as Longmen (登龍門), meaning the Dragon's Gate. If a carp can swim upstream against the currents and hop over the waterfall into Longmen, the fish will transform into a dragon.

Thus, koi fish can also represent determination, courage, and perseverance. The connection between koi and dragons also strengthens the fan theory that the dragons, Ran and Shaw, might be the Fire Nation's equivalent to Tui and La. Perhaps the dragons are the spirit of Sun and Fire respectively?

Wolf

The totem beneath the koi depicts a wolf. The wolf head totem also bares a striking resemblance to the headdress that Sokka wears in "Day of the Black Sun" (Season 3, Episode 11). Wolves are prominent figures in the mythologies of many Indigenous American cultures, particularly those whose societies were oriented around hunting.

Within different Inuit groups, wolves are called amarok (multiple groups), amagok (Inuvialuit), and amaguk (Inupiat). These names refer both to normal wolves and to the gigantic, magical wolf of Inuit religion. There are two Amarok-focused tales that I'd like to detail in this post:

A persecuted and physically stunted boy seeks to increase his strength. When he calls out to the lord of strength, Amarok appears and wrestles him to the ground with its tail. This causes a number of small bones to fall from the boy's body. The Amarok tells the boy that the bones had prevented his growth; he instructs the boy to return daily in order to develop his strength. After several days of wrestling with the Amarok, the boy is strong enough to overcome three large bears, thus gaining him the esteem of his village.

The land was once full of caribou; the people lived well and were happy. But the hunters only killed those caribou that were big and strong. Soon all that was left were the weak and the sick. The people began to starve. And so they called upon Amorak, the spirit of the wolf, to winnow out the weak and the sick, so that the herd would once again be strong. The people realized that the caribou and the wolf were one, for although the caribou feeds the wolf, it is the wolf that keeps the caribou strong.

From these two stories, we get quite a nuanced conception of what the wolf represents in Inuit culture. While wolves represent strength in many cultures, these tales really emphasize the wolf as a creature that strengthens those around it. Through this worldview, we understand strength not as an innate or individualistic quality, but one that's nurtured through mentorship and interdependence.

This makes Sokka's adoption of wolf imagery during "Day of Black Sun" all the more interesting. Sokka is certainly not the most powerful character in the show, but his role as the leader strengthens the group as a whole.

[turnaboutfix]

Oh yes of course!!!

I meant specifically like her very early concept art (blue haired) and like, one of the first ones where she has short hair (but still with those 2 loose locks at the front)? I hope you know which one I'm talking about lolol

BUT if you wanna speak your thoughts on like. All of them. I want to hear 👂❓️

( @ellivcca asked what I thought about Maya's concept art and I replied in priv if they could be more specific)

Let's talk about Maya's designs! ✨

I will skip the blue-haired art for now, since I have more to say about her other early designs. They're in a few Japanese AA Guidebooks, but "逆転裁判2 真相解明マニュアル", or "Gyakuten Saiban 2: Fact-Finding Manual" has the most in one place. There are blurbs that discuss the designs, and I'll do my best to summarize them. My Japanese isn't amazing and I had to mostly rely on machine translation + cross referencing dictionaries, so it's possible I may be inaccurate. Also, I'm a novice at Japanese culture, so if I'm misrepresenting anything please bring this to my attention and I'll correct things accordingly!

The book acknowledges that Maya was intended to be of high-school age, hence the the sailor suit artwork. They seem to suggest that the loose socks was a hint at Maya's spunky personality.

When they began to explore her as a spirit medium (1), they wanted her to come from a wealthy, noble family. It looks like a lot of these explorations made it to Franziska's design, with some of the shapes of the shoulders and the jabot-looking neck wear, which is interesting!

As they kept exploring in the second round of sketches (2), they stressed traditional/folk dress as being an important part of her design. They noted they had her carrying something on her back at the time, which I think hints more to her "folksy" feel.

The beaded necklace she's wearing in (2) are drawn from Mala bead necklaces, which are prayer beads rooted in Hinduism and Buddhism and are said to help focus the mind during meditation. They seem present in a lot of spiritual figures in Japan.

Later (3), they explicitly comment drawing inspiration from the Matagi, a group of hunting clans in the northern Japanese mountains (be careful looking them up, they do bear hunting and there's a lot of explicit imagery, even on the wikipedia).

They comment on that this version of her early character might be very athletic. She also seems to be more stoic in these explorations.

Then, for (4) and (5), they evolved the design to make it look appear more feminine, giving her long hair, but making a note that her look isn't typical of modern people. The large orbs in (3), (4) and (5) I think are supposed be drawn from "Yuigesa"(結袈裟), or harnesses decorated with pom-poms worn by Shugendō practitioners, hermits who live in the mountains and practice asceticism.

Then in (6), they added the magatama and committed to her having black hair. They note shortening the hem of her costume from design (5).

The magatama addition is pretty significant! Magatama necklaces are used by noro priestesses of the Ryukyu Kingdom from the islands in the very south of Japan.

Their religion broadly speaking, involves ancestor worship and the relationships between the living and dead, gods and spirits. It seems to me like the culture in Kurain Village draws a lot from the Ryukyuan people--and you can even see this with the beads along with the magatamas.

But there seems to be a lot of generic imagery of Spirit Mediums that I've been able to find in Japanese media which have shared elements of design in Maya's final design. The most interesting of these to me is "ほんとにあった!霊媒先生", or "It Really Happened! Spirit Medium Teacher". The design similarities are striking (and make me wonder if Maya was an inspiration?)

So, to summarize it all up, it seems like the early designers (and there were only two! Kumiko Suekane and Tatsuro Iwamoto) wanted a character who was different, folksy, feminine and spunky that displayed unique spiritual power to aid in the narrative/game mechanics of the games, and they explored the different facets of their own culture--from the northern Matagi clans to the southern Ryukyuan people--Japanese iconography, and tastes into Maya's final design.

And I think that's Real Neat. :)

Thoughts about other designs (Blue-Haired/SoJ Maya) under the cut cuz oh my gosh this post is already huge.

Blue haired Maya!

What's interesting to me is that a lot of the design language on this early Maya art seems to have been carried over to Ema's design (glasses, boots, coat/skirt). She also has similar vibes to Lynne from Ghost Trick.

I definitely enjoy Maya's final design a lot better, but I like the triadic color harmony and spunk here!

And then her design update in Spirit of Justice! These concepts are from "逆転裁判6 公式ビジュアルブック", or "Gyakuten Saiban 6: Official Visual Book". :)

Takuro Fuse (the character designer) comments that he never drew Maya before when he took a stab at updating her, so he wanted to get that down first before tackling the designs. He wondered how she would change over the course of 11 years, and first experimented with a design, thinking about how Mia would look like as a spirit medium. He thought it would be interesting if Phoenix wouldn't be able to tell if Maya channeled Mia. (Me too tbh.)

I feel like this design has a bit too much going on, but I do like the longer cream colored sleeves!

Takuro talks more about how he was exploring all sorts of designs before landing on something more simple. He wanted her to have what he called a "traveling costume" and was very fond of the hat. These designs seem to pull from similar places I've discussed with Maya's early designs, as well as Japanese pilgrims.

As fun as the additions and changes to her design are, I think it was very smart to just add subtle changes: the longer robes, jacket, and the additional beads to her necklace. The shawl is a nice touch, too. This reflects how post-7yg Phoenix and Edgeworth also have subtle changes to their designs as well, which I love and I think were very smart moves from a design-perspective as well as personal taste. Their designs are very iconic and I think it was a service to maintain that iconography.

This was a very fun thing to explore! Thank you kindly @ellivcca for the ask!